Before Bertrand Bonello transformed The Beast in the Jungle into a time-hopping, existentialist sci-fi melodrama, the most radical cinematic treatment of the work of Henry James was Peter Bogdanovich’s 1974 film maudit Daisy Miller. The adaptation is certainly faithful, with dialogue lifted directly from the text and the core narrative and themes understood and preserved by Bogdanovich and writer Frederic Raphael. But the film also filters James’s tale of a scandalously flirtatious 19th-century American woman in Europe through a screwball prism.
Here, the novella’s cool-tempered Frederick Winterbourne (Barry Brown) is left completely befuddled by the rapid-fire, monopolizing chatter of Daisy Miller (Cybill Shepherd). It’s an oddly compelling approach, but it only intermittently succeeds. When the film premiered, critics and even many of Bogdanovich’s friends and colleagues derided the entire project as a vain folly devoted to the star, the director’s then-girlfriend. The blatant sexism of the reaction aside,...
Here, the novella’s cool-tempered Frederick Winterbourne (Barry Brown) is left completely befuddled by the rapid-fire, monopolizing chatter of Daisy Miller (Cybill Shepherd). It’s an oddly compelling approach, but it only intermittently succeeds. When the film premiered, critics and even many of Bogdanovich’s friends and colleagues derided the entire project as a vain folly devoted to the star, the director’s then-girlfriend. The blatant sexism of the reaction aside,...
- 5/30/2024
- by Jake Cole
- Slant Magazine
Director Stanley Kubrick is known for his perfectionist tendencies while on set. His commitment to getting the shot technically and artistically right has resulted in some of the best films of all time such as 2001: A Space Odyssey, Barry Lyndon, Paths of Glory, Full Metal Jacket, and The Shining among others.
Kubrick passed away before the release of his final film Eyes Wide Shut, which starred Tom Cruise and Nicole Kidman, who were then married. While the psychological thriller drama has been regarded as one of Kubrick’s best and is considered to be one of the greats, the filmmaker himself reportedly did not like the film and especially hated working with Cruise and Kidman.
Stanley Kubrick Reportedly Hated Working With Tom Cruise And Nicole Kidman A still from Stanley Kubrick’s Eyes Wide Shut
After working with newcomers and unknown actors for a long time, Stanley Kubrick reportedly...
Kubrick passed away before the release of his final film Eyes Wide Shut, which starred Tom Cruise and Nicole Kidman, who were then married. While the psychological thriller drama has been regarded as one of Kubrick’s best and is considered to be one of the greats, the filmmaker himself reportedly did not like the film and especially hated working with Cruise and Kidman.
Stanley Kubrick Reportedly Hated Working With Tom Cruise And Nicole Kidman A still from Stanley Kubrick’s Eyes Wide Shut
After working with newcomers and unknown actors for a long time, Stanley Kubrick reportedly...
- 5/5/2024
- by Nishanth A
- FandomWire
Hollywood star Tom Cruise has been branded an “egocentric control freak” by ‘Eyes Wide Shut’ writer Frederic Raphael.
The veteran writer – who has been open about the issues he had working with the 1999 film’s late director Stanley Kubrick – blasted the ‘Mission: Impossible’ actor and questioned the chemistry between him and his then-wife Nicole Kidman in the movie, even though they have never met, reports ‘Female First UK’.
The 91-year-old scribe made the remarks in a letter he has written in his new book ‘Last Post’, in which he accused Tom, along with the filmmaker’s wife Christiane Harlan and her brother Jan of being responsible for his unflattering Wikipedia entry and trying to write him out of the director’s “history”.
According to MailOnline, he wrote: “There has been an incessant campaign, led by the Harlans, whom I never met during the two or three years of addressing myself exclusively to you,...
The veteran writer – who has been open about the issues he had working with the 1999 film’s late director Stanley Kubrick – blasted the ‘Mission: Impossible’ actor and questioned the chemistry between him and his then-wife Nicole Kidman in the movie, even though they have never met, reports ‘Female First UK’.
The 91-year-old scribe made the remarks in a letter he has written in his new book ‘Last Post’, in which he accused Tom, along with the filmmaker’s wife Christiane Harlan and her brother Jan of being responsible for his unflattering Wikipedia entry and trying to write him out of the director’s “history”.
According to MailOnline, he wrote: “There has been an incessant campaign, led by the Harlans, whom I never met during the two or three years of addressing myself exclusively to you,...
- 7/28/2023
- by Agency News Desk
- GlamSham
I can't think of two people who would be more inherently at odds when it comes to filmmaking than Stanley Kubrick and Marlon Brando. Kubrick was a notorious perfectionist, a micro-manager who would do countless amounts of takes for every scene until he got exactly what he wanted. Brando was one of the most wild card actors out there, someone who was brilliant when he cared but often difficult to work with if he didn't. Both men had incredibly strong personalities, and I cannot imagine them sitting across from each other having a meaningful conversation of any kind, let alone developing a film to work on together.
Well, that is exactly what they were doing in the late 1950s. With Kubrick coming off his exquisite 1957 World War I film "Paths of Glory," Brando brought him on to direct an adaptation of the Western novel "The Authentic Death of Hendry Jones" by Charles Neider,...
Well, that is exactly what they were doing in the late 1950s. With Kubrick coming off his exquisite 1957 World War I film "Paths of Glory," Brando brought him on to direct an adaptation of the Western novel "The Authentic Death of Hendry Jones" by Charles Neider,...
- 2/25/2023
- by Mike Shutt
- Slash Film
Photo: ‘Eyes Wide Shut’ The late and undoubtedly great Stanley Kubrick passed away on March 7, 1999. This was a fact that was well established in Kubrick’s mind and something which he gave major thought to as he started to write his last film, ‘Eyes Wide Shut’, with Frederic Raphael based on the novel Traumnovelle by Arthur Schnitzler. With this loose adaptation of a cryptic novel, Kubrick strove to create without a doubt his darkest film in an already dark filmography with films like ‘The Shining’ that are full of blood, murder, and sexual assault. Things to do: Subscribe to The Hollywood Insider’s YouTube Channel, by clicking here. Limited Time Offer – Free Subscription to The Hollywood Insider Click here to read more on The Hollywood Insider’s vision, values and mission statement here – Media has the responsibility to better our world – The Hollywood Insider fully focuses on substance and meaningful entertainment,...
- 8/14/2022
- by Nathaniel Lee
- Hollywood Insider - Substance & Meaningful Entertainment
The director of Spencer, Pablo Larraín, discusses a few of his favorite movies with host Josh Olson.
Show Notes: Movies Referenced In This Episode
Spencer (2021)
Jackie (2016)
Tony Manero (2008)
Eyes of Laura Mars (1978) – David DeCoteau’s trailer commentary
Back To The Future (1985) – Tfh’s time-traveling quiz
Fitzcarraldo (1982) – Dennis Cozzalio’s Herzog guide
Burden of Dreams (1982)
Aguirre: The Wrath Of God (1972)
Paris, Texas (1984) – Karyn Kusama’s trailer commentary
Eyes Wide Shut (1999) – Dan Ireland’s trailer commentary
Barry Lyndon (1975) – Glenn Erickson’s Criterion Blu-ray review
The Shining (1980) – Adam Rifkin’s trailer commentary
Dr. Strangelove (1964) – Michael Lehman’s trailer commentary, Glenn Erickson’s Blu-ray review
Full Metal Jacket (1987)
A Woman Under The Influence (1974)
Salò, Or The 120 Days of Sodom (1975) – Larry Karaszewski’s trailer commentary
Theorem (1968)
Medea (1969)
Naked (1993)
Secrets And Lies (1996) – Glenn Erickson’s Blu-ray review
Vera Drake (2004)
Topsy-Turvy (1999)
Happy-Go-Lucky (2008)
A History Of Violence (2005)
There Will Be Blood (2007)
The Master (2012)
Phantom Thread (2017) – Dennis...
Show Notes: Movies Referenced In This Episode
Spencer (2021)
Jackie (2016)
Tony Manero (2008)
Eyes of Laura Mars (1978) – David DeCoteau’s trailer commentary
Back To The Future (1985) – Tfh’s time-traveling quiz
Fitzcarraldo (1982) – Dennis Cozzalio’s Herzog guide
Burden of Dreams (1982)
Aguirre: The Wrath Of God (1972)
Paris, Texas (1984) – Karyn Kusama’s trailer commentary
Eyes Wide Shut (1999) – Dan Ireland’s trailer commentary
Barry Lyndon (1975) – Glenn Erickson’s Criterion Blu-ray review
The Shining (1980) – Adam Rifkin’s trailer commentary
Dr. Strangelove (1964) – Michael Lehman’s trailer commentary, Glenn Erickson’s Blu-ray review
Full Metal Jacket (1987)
A Woman Under The Influence (1974)
Salò, Or The 120 Days of Sodom (1975) – Larry Karaszewski’s trailer commentary
Theorem (1968)
Medea (1969)
Naked (1993)
Secrets And Lies (1996) – Glenn Erickson’s Blu-ray review
Vera Drake (2004)
Topsy-Turvy (1999)
Happy-Go-Lucky (2008)
A History Of Violence (2005)
There Will Be Blood (2007)
The Master (2012)
Phantom Thread (2017) – Dennis...
- 11/2/2021
- by Kris Millsap
- Trailers from Hell
Editor’s Note: We wanted to take a moment to acknowledge some of the terrible events in the news recently. Our guest, Bilge Ebiri, is a staffer at New York Magazine, and the editors there have assembled a great resource via The Strategist entitled 61 Ways to Donate in Support of Asian Communities. Please take a look and donate if you can. Be kind to each other, always.
Welcome to The B-Side, from The Film Stage. Here we talk about movie directors! Not the movies that made them famous or kept them famous, but the ones that they made in between.
Today we’re trying something new – again!. This is the second episode of what we are calling The Final Frame. Here we will dissect the final film of a great, well-respected filmmaker, wrapped in the context of said filmmaker’s entire career. Our subject today: the insurmountable Stanley Kubrick. His final film: Eyes Wide Shut,...
Welcome to The B-Side, from The Film Stage. Here we talk about movie directors! Not the movies that made them famous or kept them famous, but the ones that they made in between.
Today we’re trying something new – again!. This is the second episode of what we are calling The Final Frame. Here we will dissect the final film of a great, well-respected filmmaker, wrapped in the context of said filmmaker’s entire career. Our subject today: the insurmountable Stanley Kubrick. His final film: Eyes Wide Shut,...
- 3/18/2021
- by Dan Mecca
- The Film Stage
Nothing But the Best (1964) signifies a turning point in the British new wave: a sudden flip from grim northern drama to swinging London archness, here under the controls of three masters of that tone.1. Frederic Raphael is best known for writing Two For the Road (impossibly arch) and Eyes Wide Shut (strange... very strange), and this film does have some kind of commonality with those: glamorous young people, sporty cars, hard-to-get-into parties in sprawling country houses... but in essence it's more like a glib black comedy version of The Talented Mr. Ripley. Raphael had previously adapted the source story (by American crime writer Stanley Ellin) as a TV play, and in expanding it for cinema he threw out the ironic twist of fate that dooms the murderous, social-climber anti-hero, perhaps seeing it as an old-fashioned harking-back to Kind Hearts and Coronets (whose ironic twist was imposed by the censor). Now...
- 10/10/2019
- MUBI
It is interesting this Oscar weekend to reflect on the life and career of the great Stanley Donen who died today at the age of 94. For those nominated tomorrow night who end up losing, don’t despair and just think of Stanley Donen , the director behind the camera on Singin’ In The Rain, Seven Brides For Seven Brothers, On The Town, Damn Yankees, The Pajama Game, It’s Always Fair Weather, Royal Wedding, Indiscreet, Charade , Arabesque, Two For The Road, Funny Face, and so many more. He never got a single Academy Award nomination in his career, not one, yet he made so many movies that are the epitome of style , and virtually (with mentors like Gene Kelly in particular) helped to reinvent the movie musical before passing the baton to Bob Fosse ,Rob Marshall, and Damien Chazelle among others all clearly influenced by him in one way or another.
- 2/24/2019
- by Pete Hammond
- Deadline Film + TV
Some directors make their presence felt in every frame of their films, while others operate in service of the stories and the stars.
There is no such thing as an egoless director, but Stanley Donen, who died at age 94, made every effort to efface himself from the picture in order to let a film’s assets shine to their full potential. But even in so doing, he left an undeniable signature on his work — films that radiate with color, and music, and some of the most inventive choreography until Bob Fosse came along in the late ’60s.
While his work hasn’t necessarily been studied to the degree that Hitchcock’s and Hawks’ have, it was Donen who made it possible for Gene Kelly to splash and tap around the lamppost in “Singin’ in the Rain,” he enabled Fred Astaire to dance up the walls and across the ceiling in “Royal Wedding,...
There is no such thing as an egoless director, but Stanley Donen, who died at age 94, made every effort to efface himself from the picture in order to let a film’s assets shine to their full potential. But even in so doing, he left an undeniable signature on his work — films that radiate with color, and music, and some of the most inventive choreography until Bob Fosse came along in the late ’60s.
While his work hasn’t necessarily been studied to the degree that Hitchcock’s and Hawks’ have, it was Donen who made it possible for Gene Kelly to splash and tap around the lamppost in “Singin’ in the Rain,” he enabled Fred Astaire to dance up the walls and across the ceiling in “Royal Wedding,...
- 2/23/2019
- by Peter Debruge
- Variety Film + TV
Like a lot of great filmmakers, Stanley Donen never won a competitive Academy Award — or even got nominated for one. But the “Singin’ in the Rain” and “Charade” director, who died this morning at 94, did receive an honorary Oscar for Lifetime Achievement in 1998. Presented by Martin Scorsese, it was emblematic of Donen’s vibrant spirit — and, apropos of his career, featured a musical interlude.
“Marty, it’s backwards, I should be giving this to you, believe me. And I want to thank the Board of Governors for this cute little fella which to me looks titanic,” he said before launching into song (the Titanic reference was a nod to how this was the night James Cameron’s film would win 11 Oscars). “Tonight, words seem inadequate. In musicals that’s when we do a song, so…”
Then he sang:
“Heaven, I’m in heaven,
and my heart beats so that I can hardly speak,...
“Marty, it’s backwards, I should be giving this to you, believe me. And I want to thank the Board of Governors for this cute little fella which to me looks titanic,” he said before launching into song (the Titanic reference was a nod to how this was the night James Cameron’s film would win 11 Oscars). “Tonight, words seem inadequate. In musicals that’s when we do a song, so…”
Then he sang:
“Heaven, I’m in heaven,
and my heart beats so that I can hardly speak,...
- 2/23/2019
- by Michael Nordine
- Indiewire
Tim here. This week marks the fiftieth anniversary of one of the tiny gems in the careers of Audrey Hepburn, Albert Finney, and director Stanley Donen: Two for the Road. It's a British film that picked up a handful of important awards nominations – writer Frederic Raphael at both the Oscars and Baftas, Hepburn at the Golden Globes, Donen with the DGA – and went on to be largely overlooked in the following five decades.
That's understandable; it's not a film primed to appeal to the fandom that it seems like it should have. Donen in the director's seat and Hepburn as the top-billed lead both suggest certain kinds of films, if not necessarily the same kind of film: bubbly comedies in his case, elegant Continental romances in hers (splitting the difference, four years earlier they collaborated on Charade, a bubbly Continental comedy). Two for the Road isn't devoid of humor,...
That's understandable; it's not a film primed to appeal to the fandom that it seems like it should have. Donen in the director's seat and Hepburn as the top-billed lead both suggest certain kinds of films, if not necessarily the same kind of film: bubbly comedies in his case, elegant Continental romances in hers (splitting the difference, four years earlier they collaborated on Charade, a bubbly Continental comedy). Two for the Road isn't devoid of humor,...
- 9/22/2017
- by Tim Brayton
- FilmExperience
In a sense, Arabesque (1966) is a sort of warmed-over rehash of Donen's earlier Charade (1963), which was a really nifty mock-Hitchcockian comedy thriller with Audrey Hepburn and Cary Grant. The later film stars Gregory Peck, who's no Grant, and Sophia Loren, who isn't Hepburn but is Loren—which ain't nothing.Donen was reputedly highly unhappy with the script, despite being the movie's producer, and his cinematographer Christopher Challis records him saying that their only hope was to present the story in as stylish and eccentric a manner as possible: this, for the most part, they do. (A pretty-well identical tale is told of Sidney J. Furie and The Ipcress File, and the result is similar in each case: a pop-art expressionist fairyland London in which everyone is or might be a spy or double or treble agent.)The opening scene, in which George Coulouris is murdered at the optician with poisoned eyedrops,...
- 9/5/2017
- MUBI
Two for the Road
Blu-ray
Twilight Time
1967 / Color / 2:35 widescreen / 111 min. / Street Date January 10, 2017 / Available from the Twilight Time Movies Store 29.95
Starring: Audrey Hepburn, Albert Finney, Eleanor Bron, William Daniels, Claude Dauphin, Nadia Gray
Cinematography: Christopher Challis
Art Direction: Marc Frederic, Willy Holt
Film Editor: Madeleine Gug
Original Music: Henry Mancini
Written by Frederic Raphael
Produced and Directed by Stanley Donen
Some so-called sophisticated ‘sixties romantic dramas have dated pretty badly, as it’s not easy to create a movie acceptable to a fickle audience, that doesn’t end up with attitudes, politics or even costumes that don’t look ‘wrong’ just a few years later. I’ve found that enjoying Audrey Hepburn’s Breakfast at Tiffany’s takes a conscious act of selective blindness. The music, the style, the images were swooningly vital to an audience perhaps ten years older than this reviewer. Hepburn’s ravishing Holly Golightly misses...
Blu-ray
Twilight Time
1967 / Color / 2:35 widescreen / 111 min. / Street Date January 10, 2017 / Available from the Twilight Time Movies Store 29.95
Starring: Audrey Hepburn, Albert Finney, Eleanor Bron, William Daniels, Claude Dauphin, Nadia Gray
Cinematography: Christopher Challis
Art Direction: Marc Frederic, Willy Holt
Film Editor: Madeleine Gug
Original Music: Henry Mancini
Written by Frederic Raphael
Produced and Directed by Stanley Donen
Some so-called sophisticated ‘sixties romantic dramas have dated pretty badly, as it’s not easy to create a movie acceptable to a fickle audience, that doesn’t end up with attitudes, politics or even costumes that don’t look ‘wrong’ just a few years later. I’ve found that enjoying Audrey Hepburn’s Breakfast at Tiffany’s takes a conscious act of selective blindness. The music, the style, the images were swooningly vital to an audience perhaps ten years older than this reviewer. Hepburn’s ravishing Holly Golightly misses...
- 1/17/2017
- by Glenn Erickson
- Trailers from Hell
Krzysztof Kieślowski's magnum opus for Polish Television is a transcendent 'cycle' of moral tales, each based on one of the Ten Commandments. But sometimes it's difficult to get the connection -- these brilliant mini-movies are pretty tricky. Dekalog Blu-ray The Criterion Collection 837 1988 / Color / 1:33 flat full frame; 1:70 widescreen / 583 min. / available through The Criterion Collection / Street Date September 27, 2016 / 99.95 Starring Aleksander Bardini, Janusz Gajos, Krystyna Janda, Bugoslaw Linda, Daniel Olbrychski many others. Cinematography Witold Adamek, Jacek Blawut, Slavomir Idziak, Andrzej Jaroszewicz, Edward Klosinski, Dariusz Kuc, Krzysztof Pakulski, Piotr Sobocinski, Wieslaw Zdort Film Editor Ewa Smal Original Music Zbigniew Preisner Written by Krzysztof Kieślowski, Krzysztof Plesiewicz Produced by Ryszard Chutkowski Directed by Krzysztof Kieślowski
Reviewed by Glenn Erickson
Back in the early 1990s I believe my first access to Polish director Krzystof Kieślowski was a laserdisc of his film The Double Life of Veronique. I also remember a big reaction in 1996 when...
Reviewed by Glenn Erickson
Back in the early 1990s I believe my first access to Polish director Krzystof Kieślowski was a laserdisc of his film The Double Life of Veronique. I also remember a big reaction in 1996 when...
- 10/17/2016
- by Glenn Erickson
- Trailers from Hell
Once upon a time, Tom Cruise and Nicole Kidman were supposed to be Jewish.
Bill and Alice Harford, the decidedly gentile married couple that the actors portrayed in 1999's Eyes Wide Shut, are about as kosher as a bacon milkshake. But when Stanley Kubrick first conceived of adapting Arthur Schnitzler's 1926 novella Traumnovelle in the Seventies, the filmmaker allegedly envisioned the male lead as Woody Allen, a man so Jewish that Shabbat practically observes him.
Kubrick's initial casting idea, which is all but inconceivable to anyone who's seen the finished film,...
Bill and Alice Harford, the decidedly gentile married couple that the actors portrayed in 1999's Eyes Wide Shut, are about as kosher as a bacon milkshake. But when Stanley Kubrick first conceived of adapting Arthur Schnitzler's 1926 novella Traumnovelle in the Seventies, the filmmaker allegedly envisioned the male lead as Woody Allen, a man so Jewish that Shabbat practically observes him.
Kubrick's initial casting idea, which is all but inconceivable to anyone who's seen the finished film,...
- 12/17/2015
- Rollingstone.com
The new issue of Screening the Past features articles on Béla Tarr's Damnation, Robert Altman, Barbara Stanwyck, Otto Preminger and costume designer Edith Head. Also in today's roundup: The films besides Alfred Hitchcock's Vertigo that inform Christian Petzold's Phoenix; more discussion of David Foster Wallace and The End of the Tour; Frederick Raphael's memoir; Jonathan Rosenbaum's conversation with Jim Jarmusch about Dead Man; Xavier Dolan on Tom at the Farm; Jacques Rivette revivals on both sides of the Atlantic; a Vittorio De Sica retrospective; Yasujiro Ozu's Tokyo Story tops a list of the best of Asian cinema; and more. » - David Hudson...
- 8/14/2015
- Fandor: Keyframe
The new issue of Screening the Past features articles on Béla Tarr's Damnation, Robert Altman, Barbara Stanwyck, Otto Preminger and costume designer Edith Head. Also in today's roundup: The films besides Alfred Hitchcock's Vertigo that inform Christian Petzold's Phoenix; more discussion of David Foster Wallace and The End of the Tour; Frederick Raphael's memoir; Jonathan Rosenbaum's conversation with Jim Jarmusch about Dead Man; Xavier Dolan on Tom at the Farm; Jacques Rivette revivals on both sides of the Atlantic; a Vittorio De Sica retrospective; Yasujiro Ozu's Tokyo Story tops a list of the best of Asian cinema; and more. » - David Hudson...
- 8/14/2015
- Keyframe
It’s summer time so why not go on a road trip? Well unless of course you want to spend the whole time bickering and trying to work out why your relationship slowly unraveling; Stanley Donen’s Two for the Road is this week’s film as well as an in-depth look at how relationships fail.
From Masters of Cinema:
One of the great fims by Stanley Donen (Singin’ in the Rain, Charade) after the studio era had come to a close, Two for the Road was a break-off with the old system, one which allowed Donen to further stretch his art, aided by screenwriter Frederic Raphael (Stanley Kubrick’s Eyes Wide Shut), in this tale of a couple voluntarily stretching themselves through the long period of their relationship.
Portrayed in fragments that span the couple’s time together in marriage, Two for the Road runs the course of a...
From Masters of Cinema:
One of the great fims by Stanley Donen (Singin’ in the Rain, Charade) after the studio era had come to a close, Two for the Road was a break-off with the old system, one which allowed Donen to further stretch his art, aided by screenwriter Frederic Raphael (Stanley Kubrick’s Eyes Wide Shut), in this tale of a couple voluntarily stretching themselves through the long period of their relationship.
Portrayed in fragments that span the couple’s time together in marriage, Two for the Road runs the course of a...
- 8/6/2015
- by Tom Jennings
- CriterionCast
Efm: Penelope Cruz and Diane Kruger are in final talks to star in the romance from Isabel Coixet, whose Nobody Wants The Night will open the Berlinale next week.
Fortitude International will finance the film as the year-old company moves into its second phase of aggressively backing original productions.
Co-founders Nadine de Barros, Robert Ogden Barnum and Daniel Wagner made the announcement on Wednesday (January 28) with This Man, This Woman producer Mike Lobell.
Frederic Raphael has written the screenplay to the story about a love triangle involving a man and woman who meet on a plane and a female talk show host who changes the course of their relationship.
Lobell produces his passion project while De Barros and Barnum serve as executive producers. Coixet is pictured.
CAA represents Us rights.
Fortitude International will finance the film as the year-old company moves into its second phase of aggressively backing original productions.
Co-founders Nadine de Barros, Robert Ogden Barnum and Daniel Wagner made the announcement on Wednesday (January 28) with This Man, This Woman producer Mike Lobell.
Frederic Raphael has written the screenplay to the story about a love triangle involving a man and woman who meet on a plane and a female talk show host who changes the course of their relationship.
Lobell produces his passion project while De Barros and Barnum serve as executive producers. Coixet is pictured.
CAA represents Us rights.
- 1/29/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
• Penelope Cruz and Diane Kruger are in final negotiations for This Man, This Woman. Isabel Coixet is directing from a script by Frederic Raphael. The story follows Matt Heller and Martha Parks (Cruz), a former romantic item who look back on their roller coaster past when they run into each other on a plane. Kruger takes the role of a talk show host, Kirsty Sachs, who has an affair with Heller, and alters his relationship with Parks as a result. [Deadline] • Geoffrey Rush will star as Lionel Bart in Vadim Jean's musical feature, Consider Yourself. Bart was a composer and...
- 1/29/2015
- by C. Molly Smith
- EW - Inside Movies
Oscar winner Penelope Cruz (Vicky Cristina Barcelona, Pirates Of The Caribbean: On Stranger Tides) and Diane Kruger (Inglorious Basterds, National Treasure) are in final negotiations to star in the romance feature film This Man, This Woman, to be directed by Isabel Coixet whose new film Nobody Wants The Night opens the 2015 Berlin International Film Festival, it was announced today by Fortitude International co-founders, Nadine de Barros and Robert Ogden Barnum, and producer Mike Lobell (The Freshman, Striptease).
Fortitude International is financing the film and will handle foreign sales on the project being introduced to buyers at the European Film Market in Berlin next month.
De Barros and Barnum serve as executive producers. Lobell is producing the film.
The romance is written by Oscar winner Frederic Raphael (Eyes Wide Shut, Darling, Two For The Road).
CAA is representing domestic rights.
An estranged man, Matt Heller, and a woman, Martha Parks (Cruz...
Fortitude International is financing the film and will handle foreign sales on the project being introduced to buyers at the European Film Market in Berlin next month.
De Barros and Barnum serve as executive producers. Lobell is producing the film.
The romance is written by Oscar winner Frederic Raphael (Eyes Wide Shut, Darling, Two For The Road).
CAA is representing domestic rights.
An estranged man, Matt Heller, and a woman, Martha Parks (Cruz...
- 1/28/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Penelope Cruz and Diane Kruger are in final talks to star in Isabel Coixet's "This Man, This Woman" at Fortitude International.
Frederic Raphael ("Eyes Wide Shut") penned the script about an estranged man, Matt Heller, and a woman, Martha Parks (Cruz) who encounter each other by chance on a plane and relive memories of their turbulent romantic relationship.
Kruger will play Kirsty Sachs, a talk show host who has an affair with Heller and changes the course of his whirlwind relationship with Parks. The male lead is expected to be cast very soon.
Robert Ogden Barnum, Mike Lobell and Nadine de Barros will produce.
Source: Deadline...
Frederic Raphael ("Eyes Wide Shut") penned the script about an estranged man, Matt Heller, and a woman, Martha Parks (Cruz) who encounter each other by chance on a plane and relive memories of their turbulent romantic relationship.
Kruger will play Kirsty Sachs, a talk show host who has an affair with Heller and changes the course of his whirlwind relationship with Parks. The male lead is expected to be cast very soon.
Robert Ogden Barnum, Mike Lobell and Nadine de Barros will produce.
Source: Deadline...
- 1/28/2015
- by Garth Franklin
- Dark Horizons
Efm: Penelope Cruz and Diane Kruger are in final talks to star in the romance from Isabel Coixet, whose Nobody Wants The Night will open the Berlinale next week.
Fortitude International will commence pre-sales at the Efm next week and is financing the film as the one-year-old company moves into its second phase of aggressively backing original productions.
Co-founders Nadine de Barros, Robert Ogden Barnum and Daniel Wagner made the announcement on Wednesday (January 28) with This Man, This Woman producer Mike Lobell.
Frederic Raphael has written the screenplay to the story about a love triangle involving a man and woman who meet on a plane and a female talk show host who changes the course of their relationship.
Lobell is producing his passion project while De Barros and Barnum serve as executive producers. Coixet is pictured.
CAA represents Us rights.
Fortitude International will commence pre-sales at the Efm next week and is financing the film as the one-year-old company moves into its second phase of aggressively backing original productions.
Co-founders Nadine de Barros, Robert Ogden Barnum and Daniel Wagner made the announcement on Wednesday (January 28) with This Man, This Woman producer Mike Lobell.
Frederic Raphael has written the screenplay to the story about a love triangle involving a man and woman who meet on a plane and a female talk show host who changes the course of their relationship.
Lobell is producing his passion project while De Barros and Barnum serve as executive producers. Coixet is pictured.
CAA represents Us rights.
- 1/28/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Smart, stylish, insightful and brimming with technical inventiveness, Stanley Donen's Two For The Road is a wonderful examination of the modern marriage whose influence can still be felt in Hollywood cinema today, nearly 50 years after it was originally released.Inspired in part by his own marriage, screenwriter Frederic Raphael (Darling, Eyes Wide Shut) penned Two For The Road at the specific request of director Stanley Donen (Singing In The Rain, Charade), after seeing his earlier efforts in 1964's Nothing But The Best. According to Raphael, he deliberately wrote the script in random order, accentuating its episodic structure, as it revisits the various trips from London to the South of France by the same British couple.Mark Wallace (Albert Finney), a successful architect, and his wife Joanna...
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- 1/26/2015
- Screen Anarchy
Actor and director who brought dark good looks and a commanding presence to his roles
Austrian by birth, Swiss by circumstance and international by reputation, Maximilian Schell, who has died aged 83, was a distinguished actor, director, writer and producer. However, he will be best remembered as an actor, especially for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961) – an early highlight among scores of television and movie appearances. He also directed opera, worked tirelessly in the theatre and made six feature films, including Marlene (1984) - a tantalising portrait of Dietrich, his co-star in Judgment, who is heard being interviewed but not seen, except in movie extracts.
Schell courted controversy and much of his work, including The Pedestrian (1973), dealt with the second world war, its attendant crimes and the notion of collective guilt. In 1990, when he was offered a special award for his contributions to German film, he refused to accept it.
Austrian by birth, Swiss by circumstance and international by reputation, Maximilian Schell, who has died aged 83, was a distinguished actor, director, writer and producer. However, he will be best remembered as an actor, especially for his Oscar-winning performance in Stanley Kramer's Judgment at Nuremberg (1961) – an early highlight among scores of television and movie appearances. He also directed opera, worked tirelessly in the theatre and made six feature films, including Marlene (1984) - a tantalising portrait of Dietrich, his co-star in Judgment, who is heard being interviewed but not seen, except in movie extracts.
Schell courted controversy and much of his work, including The Pedestrian (1973), dealt with the second world war, its attendant crimes and the notion of collective guilt. In 1990, when he was offered a special award for his contributions to German film, he refused to accept it.
- 2/3/2014
- by Brian Baxter
- The Guardian - Film News
It took me a while to watch something in tribute to the late Peter O'Toole—too upsetting—and I still haven't been able to face Joan Fontaine on the screen since her recent passing, though when I do perhaps I'll go for September Affair (1950) or Something to Live For (1952), neither of which I've ever seen.
With O'Toole, I eventually plumped for Rogue Male (1977): the title seemed to fit him to a tee. This is a television adaptation of Geoffrey Household's excellent thriller, previously filmed by Fritz Lang under the title Man Hunt, back in 1941 when the events were current.
A hunter (O'Toole) called Hunter takes aim at Hitler, but is apprehended before he can pull the trigger. Tortured by the Gestapo, he miraculously escapes and now Hunter becomes the hunted, pursued all the way back to England and run to earth in a self-made burrow, trapped like a rat.
With O'Toole, I eventually plumped for Rogue Male (1977): the title seemed to fit him to a tee. This is a television adaptation of Geoffrey Household's excellent thriller, previously filmed by Fritz Lang under the title Man Hunt, back in 1941 when the events were current.
A hunter (O'Toole) called Hunter takes aim at Hitler, but is apprehended before he can pull the trigger. Tortured by the Gestapo, he miraculously escapes and now Hunter becomes the hunted, pursued all the way back to England and run to earth in a self-made burrow, trapped like a rat.
- 1/9/2014
- by David Cairns
- MUBI
Student revue group helped launch careers of Peter Cook, Stephen Fry and Emma Thompson
Considering how successful Cambridge has been as a theatrical training ground for writers and performers, outsiders may be surprised to find that the university has no drama school.
The whole thing, Marlowe Society and Adc (Amateur Dramatic Club) presenting the classics, and Footlights tickling the comic muse, is kept going by the initiative of generation after generation of undergraduates. There are of course senior members of the university to advise and guide, but the various clubs lurch from flop to triumph with only ticket sales and members' enthusiasm and talent to sustain them.
Next week Cambridge celebrates the centenary of the Footlights, which came into existence on June 9, 1883. The Footlights has certainly lived off its wits. And what wits they have been. Skimming through Robert Hewison's centennial history of the club, the eye catches names like Ian Hay,...
Considering how successful Cambridge has been as a theatrical training ground for writers and performers, outsiders may be surprised to find that the university has no drama school.
The whole thing, Marlowe Society and Adc (Amateur Dramatic Club) presenting the classics, and Footlights tickling the comic muse, is kept going by the initiative of generation after generation of undergraduates. There are of course senior members of the university to advise and guide, but the various clubs lurch from flop to triumph with only ticket sales and members' enthusiasm and talent to sustain them.
Next week Cambridge celebrates the centenary of the Footlights, which came into existence on June 9, 1883. The Footlights has certainly lived off its wits. And what wits they have been. Skimming through Robert Hewison's centennial history of the club, the eye catches names like Ian Hay,...
- 6/3/2013
- The Guardian - Film News
Exclusive: Mike Lobell, the veteran producer whose 14-years of persistence helped make the remake Gambit happen, is getting close on three other projects with strong elements. He has re-teamed with former partner, writer-director Andrew Bergman, on A Film By Alan Stuart Eisner, an ensemble comedy which so far has Project X‘s Oliver Cooper, Shirley MacLaine and Robin Williams attached, with Rob Reiner making a cameo. Lobell reports that the film has added Sienna Miller, Isla Fisher and Audra MacDonald. Eisner is a comedy dealing with a young man making a documentary to learn what happened to his family during WWII. He is out looking for financing. Gambit, by the way, ended up with Michael Hoffman directing a script by Joel and Ethan Coen. Colin Firth, Cameron Diaz and Alan Rickman star and CBS Films is releasing. At the same time, Lobell is getting traction on This Man This Woman,...
- 5/21/2013
- by MIKE FLEMING JR
- Deadline
Like it or not, filmmaking is undeniably a director's medium. It wasn't always like that, of course: it was only the coming of the auteur theory in the 1950s and 1960s that popularized the idea of the director as the person responsible for all that was great and terrible about a picture. And while anyone who's worked in film knows that it's a collaborative medium, there's still no better way of seeing where the form might be going in the next few years than by looking at the directors who've been making splashes of late.
So, hot on the heels of our On The Rise pieces focusing on actors, actresses and screenwriters, we've picked out ten directors who've arrived in a big way in the last year or so, and look set for even greater things in the near future. Any tips of your own? Let us know in the comments section below.
So, hot on the heels of our On The Rise pieces focusing on actors, actresses and screenwriters, we've picked out ten directors who've arrived in a big way in the last year or so, and look set for even greater things in the near future. Any tips of your own? Let us know in the comments section below.
- 5/15/2012
- by Oliver Lyttelton
- The Playlist
It was no surprise to hear this week that studios already have sequels like The Avengers 2 and Smurfs 3 in the works, but with Cannes kicking off, there are bound to be many more, new and exciting projects announced soon. In the meantime, here are a few interesting and/or noteworthy projects that were recently added to IMDbPro's database of development titles:
Amazing Girl – Zoe Saldana stars in this project from Transformers producer Ian Bryce. Written by Pool Boys scribe Justin Ware, the comedy centers on a burnt-out superhero looking to make a fresh start for herself as a normal civilian.
They Came Together – Parks and Recreation rivals Paul Rudd and Amy Poehler are set to star in this romcom from their Wet Hot American Summer creators David Wain and Michael Showalter. Lionsgate is producing the project with Wain on board to direct.
D – Roman Polanski reunites with his Ghost Writer scribe Robert Harris for this dramatic feature based on the scandalous Dreyfus Affair, which involved the wrongful conviction of a Jewish French captain who was accused of treason in the late 19th Century and sentenced to death.
This Man, This Woman – Pariah filmmaker Dee Rees has been tapped to direct this indie drama about a divorced couple who begin to rekindle their relationship after randomly being seated next to each other on an airplane. Veteran screenwriter Frederic Raphael (Two for the Road, Eyes Wide Shut) penned the script. Mike Lobell produces.
Cali – Nick Cassavettes teams up with Twilight's Kristen Stewart for this action comedy about a guy and a girl trying to flee L.A., but are forced to return in order to save the woman's sister. Voltage Pictures and New School Media are producing the film written by 30:Minutes or Less writer Michael Diliberti.
If you know of something in the works, please consider submitting it for listing it via our online submission form.
Amazing Girl – Zoe Saldana stars in this project from Transformers producer Ian Bryce. Written by Pool Boys scribe Justin Ware, the comedy centers on a burnt-out superhero looking to make a fresh start for herself as a normal civilian.
They Came Together – Parks and Recreation rivals Paul Rudd and Amy Poehler are set to star in this romcom from their Wet Hot American Summer creators David Wain and Michael Showalter. Lionsgate is producing the project with Wain on board to direct.
D – Roman Polanski reunites with his Ghost Writer scribe Robert Harris for this dramatic feature based on the scandalous Dreyfus Affair, which involved the wrongful conviction of a Jewish French captain who was accused of treason in the late 19th Century and sentenced to death.
This Man, This Woman – Pariah filmmaker Dee Rees has been tapped to direct this indie drama about a divorced couple who begin to rekindle their relationship after randomly being seated next to each other on an airplane. Veteran screenwriter Frederic Raphael (Two for the Road, Eyes Wide Shut) penned the script. Mike Lobell produces.
Cali – Nick Cassavettes teams up with Twilight's Kristen Stewart for this action comedy about a guy and a girl trying to flee L.A., but are forced to return in order to save the woman's sister. Voltage Pictures and New School Media are producing the film written by 30:Minutes or Less writer Michael Diliberti.
If you know of something in the works, please consider submitting it for listing it via our online submission form.
- 5/14/2012
- by Eric Greene
- IMDbPro News
Last year writer-director Dee Rees won serious acclaim from critics for her compelling coming-of-age indie drama Pariah. Though made on a shoestring budget, the Brooklyn-set feature unfolded the compelling and subtly told story of an African-American teen, struggling to find her own identity amidst conflicting parental and peer pressure. Unfortunately, while it won honors within the indie community at Sundance and the Spirit Awards, Pariah was overlooked at the Oscars and Golden Globes, meaning Rees, her star Adepero Oduye and the film were cheated from some major and well-deserved praise and exposure. Happily, critics weren't the only ones who took notice of Rees' talents as Variety has announced producer Mike Lobell (Tears of the Sun) has attached her to his long in-development drama This Man, This Woman. Penned by Eyes Wide Shut scribe Frederic Raphael, This Man, This Woman centers on a divorced couple whose forced to confront their shared,...
- 5/2/2012
- cinemablend.com
"Pariah" helmer Dee Rees is set to direct the indie love story "This Man, This Woman" reports Variety.
Frederic Raphael's script follows a divorced couple struck by tragedy who find themselves seated next to each other on an airplane, where they rekindle their relationship as they reminisce about what went wrong.
Meanwhile "Foo Fighters" frontman Dave Grohl is set to direct and produce the documentary "Sound City" about the historic San Fernando Valley recording studio of the same name says The Hollywood Reporter.
The likes of Tom Petty, Trent Reznor, Stevie Nicks and Lindsay Buckingham will appear in the doco about the studio which was used to record acts including Neil Young, Elton John, Guns N’ Roses, Metallica, The Grateful Dead, Arctic Monkey, Rage Against the Machine, Johnny Cash and Josh Groban.
Frederic Raphael's script follows a divorced couple struck by tragedy who find themselves seated next to each other on an airplane, where they rekindle their relationship as they reminisce about what went wrong.
Meanwhile "Foo Fighters" frontman Dave Grohl is set to direct and produce the documentary "Sound City" about the historic San Fernando Valley recording studio of the same name says The Hollywood Reporter.
The likes of Tom Petty, Trent Reznor, Stevie Nicks and Lindsay Buckingham will appear in the doco about the studio which was used to record acts including Neil Young, Elton John, Guns N’ Roses, Metallica, The Grateful Dead, Arctic Monkey, Rage Against the Machine, Johnny Cash and Josh Groban.
- 5/2/2012
- by Garth Franklin
- Dark Horizons
With her star Adepero Oduye set to team with Steven McQueen for his next project, Pariah director Dee Rees is looking to what she’ll helm next. After directing one of last year’s most well-realized indies, she has is already developing a few, including a South-set thriller titled Bolo for Focus Features and another film called Large Print, which follows an insurance adjustor in their 50s. But now Variety has another one to add to her slate.
Rees has been attached to direct the indie romance project This Man, This Woman, written by Eyes Wide Shut co-writer Frederic Raphael. Mike Lobell, who has produced films like Striptease, Tears of the Sun and the upcoming Coens-scripted Gambit remake, has been developing this film for nearly 20 years, which follows “a divorced couple struck by tragedy who find themselves seated next to each other on an airplane, where they rekindle their relationship...
Rees has been attached to direct the indie romance project This Man, This Woman, written by Eyes Wide Shut co-writer Frederic Raphael. Mike Lobell, who has produced films like Striptease, Tears of the Sun and the upcoming Coens-scripted Gambit remake, has been developing this film for nearly 20 years, which follows “a divorced couple struck by tragedy who find themselves seated next to each other on an airplane, where they rekindle their relationship...
- 5/1/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Director Dee Rees hasn't been in any particular hurry to follow up the acclaimed and excellent "Pariah," but she's not without options. Earlier this year it was reported she was writing a new film entitled "Large Print," about a recently divorced, mid-50s insurance adjuster, she's got a thriller called "Bolo" she's developing with Focus Features and she's working on a project at HBO with Viola Davis. Well, now her slate is beginning to get a little more crowded.
Variety reports that Rees has been tapped to helm the indie love story "This Man, This Woman." Penned by Frederic Raphael ("Eyes Wide Shut," "Two For The Road," "Far From The Madding Crowd") the film will center on a divorced couple, who are struck by tragedy and find themselves seated together on an airplane. They use the opportunity to figure out what went wrong in their relationship, and fall back in love.
Variety reports that Rees has been tapped to helm the indie love story "This Man, This Woman." Penned by Frederic Raphael ("Eyes Wide Shut," "Two For The Road," "Far From The Madding Crowd") the film will center on a divorced couple, who are struck by tragedy and find themselves seated together on an airplane. They use the opportunity to figure out what went wrong in their relationship, and fall back in love.
- 5/1/2012
- by Kevin Jagernauth
- The Playlist
This Man, This Woman from scribe Frederic Raphael (Eyes Wide Shut), lands Pariah director Dee Rees Producer Mike Lobell's project which has been in development for some seventeen years, will finally make production with Pariah helmer Dee Rees on board as helmer, reports Variety. Eyes Wide Shut writer Frederic Raphael penned the script for the indie romance which tells of a divorced couple hit with a tragedy who then end up seated next to one another on an airplane, and rekindle their relationship as they speak about what went wrong. The deal apparently came about after Lobell called Wme who rep Rees, leading to a meeting which lasted for three hours at Lobell's home. Director and producer are now looking for talent prior to searching for financiers. ..
- 5/1/2012
- Upcoming-Movies.com
This Man, This Woman from scribe Frederic Raphael (Eyes Wide Shut), lands Pariah director Dee Rees Producer Mike Lobell's project which has been in development for some seventeen years, will finally make production with Pariah helmer Dee Rees on board as helmer, reports Variety. Eyes Wide Shut writer Frederic Raphael penned the script for the indie romance which tells of a divorced couple hit with a tragedy who then end up seated next to one another on an airplane, and rekindle their relationship as they speak about what went wrong. The deal apparently came about after Lobell called Wme who rep Rees, leading to a meeting which lasted for three hours at Lobell's home. Director and producer are now looking for talent prior to searching for financiers. ..
- 5/1/2012
- Upcoming-Movies.com
Few genres of film inspire more personal responses than the romantic comedy. Given how much of our lives is spent on love and romance (falling into it, falling out of it, chasing it, giving up on it), it's no surprise that the rom-com has remained one of the most popular formulas since the dawn of cinema, and while the genre has undisputed classics, you can end up cherishing certain films purely because of their connection to your own life. They can help pull you out of a post break-up tailspin, they can comfort you through unrequited love, and, if a film hits you at the height of your passion for someone, they can end up associated forever, even blinding you to the movie's flaws -- seeing "Elizabethtown" in the midst of first love left this writer swooning after exiting the theater (thankfully, a subsequent rewatch put me straight as to how terrible it is.
- 4/27/2012
- by Oliver Lyttelton
- The Playlist
1941, PG, Optimum
Hitler and Goebbels were great admirers of Fritz Lang's films, most especially Metropolis. When the Nazis came to power they banned his first two sound movies, but then invited him to run the German film industry. A Jewish liberal, Lang fled into exile and seven years later directed this Hollywood version of Geoffrey Household's novel Rogue Male, the first of his four anti-Nazi movies. It begins with Captain Alan Thorndike, a celebrated British big-game hunter (Walter Pidgeon) holding Hitler in the cross hairs of his gunsight from a hill above Berchtesgaden in July 1939. The audience is similarly transfixed for the next 90 minutes. Thorndike doesn't fire the shot, is captured, tortured and escapes back to a very Hollywoodian England where the hunter becomes the prey.
He's pursued by suave, monocled Nazi colonel George Sanders and sinister Gestapo agent John Carradine, and along the way he's assisted by...
Hitler and Goebbels were great admirers of Fritz Lang's films, most especially Metropolis. When the Nazis came to power they banned his first two sound movies, but then invited him to run the German film industry. A Jewish liberal, Lang fled into exile and seven years later directed this Hollywood version of Geoffrey Household's novel Rogue Male, the first of his four anti-Nazi movies. It begins with Captain Alan Thorndike, a celebrated British big-game hunter (Walter Pidgeon) holding Hitler in the cross hairs of his gunsight from a hill above Berchtesgaden in July 1939. The audience is similarly transfixed for the next 90 minutes. Thorndike doesn't fire the shot, is captured, tortured and escapes back to a very Hollywoodian England where the hunter becomes the prey.
He's pursued by suave, monocled Nazi colonel George Sanders and sinister Gestapo agent John Carradine, and along the way he's assisted by...
- 2/6/2011
- by Philip French
- The Guardian - Film News
"Clive Donner, who helped launch the careers of actors such as Sir Ian McKellen and Alan Bates, has died at the age of 84," reports the BBC. "He was best known for a series of 1960s films including Here We Go Round the Mulberry Bush and What's New Pussycat," which, "released in 1965, featured Peter Sellers, Peter O'Toole, Woody Allen and Ursula Andress in the leading roles. Allen also wrote the screenplay, while Burt Bacharach composed the music."
The BFI's screenonline has a fine biography; let's pick it up in the early 60s, when he's just had a surprise box office hit, Some People (1962). "Despite this success Donner was unable to find a backer for a film version of The Caretaker (1963 [clip above]), written by his friend Harold Pinter, but a private consortium, headed by Elizabeth Taylor, Richard Burton, Noël Coward and Peter Sellers, agreed to put up a minimum of £1000 each. The film...
- 9/7/2010
- MUBI
Director who captured swinging London's zeitgeist and remade classics for television
For a few years in the 1960s, Clive Donner, who has died aged 84 after suffering from Alzheimer's disease, was among the leading film directors of swinging London. Unfortunately, when London stopped swinging, so did Donner. The four films that made his name were a low-budget adaptation of Harold Pinter's play The Caretaker (1963); Nothing But the Best (1964), a wicked satire on the British class structure; the farcical What's New Pussycat? (1965); and the coming-of-age comedy Here We Go Round the Mulberry Bush (1968).
Already in his 30s when he started directing, Donner gained a reputation for being tuned in to "youth". His debut movie, The Secret Place (1957), a heist drama shot on location in the East End, had David McCallum as a Brandoesque leather-jacketed "crazy mixed-up kid".
The Heart of a Child (1958) concerned a boy and his St Bernard dog, Rudi,...
For a few years in the 1960s, Clive Donner, who has died aged 84 after suffering from Alzheimer's disease, was among the leading film directors of swinging London. Unfortunately, when London stopped swinging, so did Donner. The four films that made his name were a low-budget adaptation of Harold Pinter's play The Caretaker (1963); Nothing But the Best (1964), a wicked satire on the British class structure; the farcical What's New Pussycat? (1965); and the coming-of-age comedy Here We Go Round the Mulberry Bush (1968).
Already in his 30s when he started directing, Donner gained a reputation for being tuned in to "youth". His debut movie, The Secret Place (1957), a heist drama shot on location in the East End, had David McCallum as a Brandoesque leather-jacketed "crazy mixed-up kid".
The Heart of a Child (1958) concerned a boy and his St Bernard dog, Rudi,...
- 9/7/2010
- by Ronald Bergan
- The Guardian - Film News
Claudia Winkleman looks forward to co-presenting with 'a fantastic companion' in revamped version of BBC1 show
Guardian film blogger Danny Leigh was yesterday named as a presenter on the revamped Film 2010 programme, which returns to BBC1 this autumn. Leigh, who has written a weekly series entitled The View since 2007, will co-host alongside Claudia Winkleman following the March departure of Jonathan Ross.
The new, extended show will be broadcast live for 40 minutes, rather than 30, and is aiming for a chattier format, with viewers contributing to the debate in real-time via social networking sites. Other regulars will include Empire magazine's Chris Hewitt and novelist and journalist Antonia Quirke. The first show in the new series will screen in October, to coincide with the start of the London film festival.
The BBC1 controller, Jay Hunt, said: "We are moving away from the idea that the film programme is a monologue and one person's take on film,...
Guardian film blogger Danny Leigh was yesterday named as a presenter on the revamped Film 2010 programme, which returns to BBC1 this autumn. Leigh, who has written a weekly series entitled The View since 2007, will co-host alongside Claudia Winkleman following the March departure of Jonathan Ross.
The new, extended show will be broadcast live for 40 minutes, rather than 30, and is aiming for a chattier format, with viewers contributing to the debate in real-time via social networking sites. Other regulars will include Empire magazine's Chris Hewitt and novelist and journalist Antonia Quirke. The first show in the new series will screen in October, to coincide with the start of the London film festival.
The BBC1 controller, Jay Hunt, said: "We are moving away from the idea that the film programme is a monologue and one person's take on film,...
- 8/11/2010
- by Ben Child
- The Guardian - Film News
The BBC presenter Claudia Winkleman is to take over from Jonathan Ross as host of the flagship cinema show formerly fronted by Barry Norman
Claudia Winkleman has been named the new presenter of the BBC's Film 2010 programme. She will replace Jonathan Ross, who presented his final show on 17 March after annoucing his departure from the corporation.
Winkleman will not be the first female presenter of the long-running show: Joan Bakewell was among a roster of hosts, including Frederic Raphael, Iain Johnstone and Barry Norman, who alternated when the programme began in November 1971. The following year, Norman took sole charge, and remained on board until 1998, when he was replaced by Ross.
According to the BBC, Winkleman's appointment will not be the only change, with Film 2010 now set to incorporate more studio guests including experts and insiders from the world of cinema. The programme's format - one man talking to...
Claudia Winkleman has been named the new presenter of the BBC's Film 2010 programme. She will replace Jonathan Ross, who presented his final show on 17 March after annoucing his departure from the corporation.
Winkleman will not be the first female presenter of the long-running show: Joan Bakewell was among a roster of hosts, including Frederic Raphael, Iain Johnstone and Barry Norman, who alternated when the programme began in November 1971. The following year, Norman took sole charge, and remained on board until 1998, when he was replaced by Ross.
According to the BBC, Winkleman's appointment will not be the only change, with Film 2010 now set to incorporate more studio guests including experts and insiders from the world of cinema. The programme's format - one man talking to...
- 3/29/2010
- by Paul MacInnes
- The Guardian - Film News
Complete Dubai fest coverage
Dubai -- The next novel from Vikas Swarup, author of "Q&A" -- on which Dubai International Film Festival closer "Slumdog Millionaire" was based -- has been optioned by British producer Paul Raphael's Starfield Prods. and BBC Films.
"Six Suspects" is "Agatha Christie meets Elmore Leonard in Delhi," Raphael said Monday at the festival, where his "Under the Bombs" won top prize in 2007.
Raphael, who has an 18-month option on the newly published novel, has begun a search for a "heavy-hitting" scriptwriter, he said.
After "Bombs" took Raphael and Lebanese director Philippe Aractingi on a world tour that saw the film earn 21 awards, Raphael partnered with the film's co-producer, Maya Hariri, to form London- and Paris-based Har Films.
Raphael, 50, said that "Under the Bombs," Lebanon's official entry for the foreign-language Oscar, opened doors for him in the Middle East and North Africa.
"It took a...
Dubai -- The next novel from Vikas Swarup, author of "Q&A" -- on which Dubai International Film Festival closer "Slumdog Millionaire" was based -- has been optioned by British producer Paul Raphael's Starfield Prods. and BBC Films.
"Six Suspects" is "Agatha Christie meets Elmore Leonard in Delhi," Raphael said Monday at the festival, where his "Under the Bombs" won top prize in 2007.
Raphael, who has an 18-month option on the newly published novel, has begun a search for a "heavy-hitting" scriptwriter, he said.
After "Bombs" took Raphael and Lebanese director Philippe Aractingi on a world tour that saw the film earn 21 awards, Raphael partnered with the film's co-producer, Maya Hariri, to form London- and Paris-based Har Films.
Raphael, 50, said that "Under the Bombs," Lebanon's official entry for the foreign-language Oscar, opened doors for him in the Middle East and North Africa.
"It took a...
- 12/15/2008
- by By Jonathan Landreth
- The Hollywood Reporter - Movie News
Dennis Hopper has signed to star in America, Polish director Jerzy Skolimowski's adaptation of Susan Sontag's 2001 novel In America. The French/Polish/Spanish co-production is being produced by Paulo Branco's Gemini Films, which is also selling the title. Set in the late 19th century, the film stars Isabelle Huppert as Polish actress Maryna Zatezowska, who immigrates to the U.S. and travels to California to found a utopian commune. Hopper, who was in Cannes earlier in the festival, will play an impresario who revives the actress' career. Helen Mirren also has joined the cast of America and Harvey Keitel is in talks for a role, Branco said. The picture, scripted by Frederic Raphael, is budgeted at ?15 million ($19 million).
- 5/19/2005
- The Hollywood Reporter - Movie News
Dennis Hopper has signed to star in America, Polish director Jerzy Skolimowski's adaptation of Susan Sontag's 2001 novel In America. The French/Polish/Spanish co-production is being produced by Paolo Branco's Gemini Films, which is also selling the title. Set in the late 19th century, the film stars Isabelle Huppert as Polish actress Maryna Zatezowska, who immigrates to the U.S. and travels to California to found a utopian commune. Hopper, who was in Cannes earlier in the festival, will play an impresario who revives the actress' career. Helen Mirren also has joined the cast of America and Harvey Keitel is in talks for a role, Branco said. The picture, scripted by Frederic Raphael, is budgeted at $15 million ($19 million).
- 5/18/2005
- The Hollywood Reporter - Movie News
The Hours director Stephen Daldry has been criticized for pulling out of a political drama set in the Middle East. British Daldry was to film Hiding Room, based on the 1995 novel by Jonathon Wilson, but became too busy while making his Oscar-nominated drama. The script was to be written by Academy Award winner Frederic Raphael and Cate Blanchett and John Malkovich were lined up to star. Frederic says, "It's sad that Stephen seems not to be doing it any more, because it's a great story with plenty of contemporary resonance. But directors are not known as being the most loyal of people." An insider says, "Hiding Room would have been a great epic film, so it's surprising Stephen has lost interest. In view of all the current initiatives aimed at resolving the Arab-Israeli conflict, the movie would have had a potent message about the situation in the Middle East."...
- 3/25/2003
- WENN
The late Stanley Kubrick's "Eyes Wide Shut" is one last daring and unique cinematic achievement in an incomparable 13-film career that's sadly over too soon. After only one viewing, the film generates a range of reactions and impressions -- from puzzlement to fascination with the puzzle.
Destined like all his films to be discussed and dissected by the multitude of fans and pundits, Kubrick's final work is challenging and richly rewarding. Big domestic and international boxoffice numbers are a certainty.
It almost goes without saying that the years-in-the-making Warner Bros. release is a risky, demanding film for summer 1999 audiences gorged on fast-food movies. Although comparable only in their using Hollywood stars to help create major works with personal visions, "Eyes" opens almost the same weekend as the similarly R-rated "Saving Private Ryan", which was last year's boxoffice champ -- and there wasn't a single naked woman in it.
While no shots are fired in anger or axes swung or bones thrown, "Eyes" is unmistakably a Kubrick creation. Alas, it will be immediately known as the season's most fleshy offering, starting with the first brief shot of Nicole Kidman. It's also her real-life husband Tom Cruise's first appearance on film since "Jerry Maguire" three Christmases ago.
This potent combination of stars, subject matter and master filmmaker, with the story "inspired" by Austrian writer Arthur Schnitzler's 1926 short novel "Traumnovelle", results in a powerful drama. The unusual plot centers on a successful Manhattan doctor and his young wife who come close to breaking up during a lost weekend of damaging revelations, betrayals and fantastic encounters with sad and strange denizens of the city's erotic subculture.
To dispell one possible misconception about the film: There may be lots of nudity, but there's not much sex. There is an orgy scene -- with 65 seconds of various copulating couples obscured by digitally inserted partygoers to get an R-rating -- but it comes and goes quickly with an hour still to go in the film (not at the end, as has been erroneously reported).
The unclothed female form more than the sexual act is the focus of Kubrick's somewhat unnerving eroticism. There is the fleeting warmth of the early embraces between Bill Harford (Cruise) and his spouse Alice (Kidman) in the short sequence that Kubrick released months ago as a teaser. Later, they lounge in bed partially clothed and get stoned, but the lazy mood is shattered when talk turns to a party they attended where both flirted dangerously with strangers.
"Eyes" opens with Bill and Alice preparing for that party, held in the mansion of Ziegler (Sydney Pollack). They leave a 7-year-old daughter with a babysitter and appear untroubledly in love. But separated from Bill at the posh gathering, Alice has a few drinks and dances in the arms of a seductive older man (Sky Dumont).
She really lets herself go in these remarkable scenes, approaching but not giving into temptation. Bill is likewise almost swept away by the attentions of two young women before he's summoned by Ziegler to handle a difficult situation. Professionally detached at first in the host's cavernous bathroom, Bill treats a naked party guest (Julienne Davis) who has collapsed after shooting drugs.
In their talk after the fact, when Bill is too casual in his acknowledgement of his wife's sexual allure and his too-proud lack of jealousy, Alice angrily deconstructs his statements and then relates a story of an affair she almost had. Bill is shocked and imagines in pornographic black-and-white fantasies, several times through the rest of the film, her passionate trysts with a strange man. But before things get worse between them, work weirdly intervenes and he leaves.
"Eyes" then becomes Bill's unpredictable odyssey through a nocturnal world of sex-hungry souls, like the grieving woman (Marie Richardson) who loves the dashing doctor but is engaged to another (Thomas Gibson). On his way home, Bill is threatened by anti-gay thugs for no reason and then follows a prostitute (Vinessa Shaw) to her place. Maybe he wants to cheat on Alice, to have adventures, but Bill is on the road again before anything serious happens.
Through an old med-school friend (Todd Field), now a piano player, Bill finds out about a secret orgy and begs to go along. In a sense of anticipation, even his after-hours search for a costume reveals that the teenage daughter (Leelee Sobieski) of the shop owner (Rade Sherbedgia) is a shameless flirt. Nothing compares to his crashing the decadent, almost medieval gathering of ceremonial orgygoers in a country dwelling he reaches by cab.
Remaining faithful in many ways to Schnitzler's original book, Kubrick and screenwriter Frederic Raphael make a few key departures, but the idea of a group of many people who meet for anonymous sexual encounters is central to both. Bill, in an elegant Venetian mask and cloak, is approached by a nearly naked woman with a voluptuous body and headdress, her features hidden as well. She seems to know immediately that he doesn't belong and warns him to leave, but he is smitten by her.
Bill's refusal to go has unexpected consequences, and later he'll literally linger over the corpse of his waking dream of erotic fulfillment. Set during the Christmas season, the film ends on an uneasy but hopeful note. If there is a sense of emotional detachment from the characters in the latter parts of the film, the residual effect of "Eyes" is anything but a numbed mind. Once again, Kubrick invites the viewer to react naturally and then think about the experience. It works.
The performances are unformly inspired, particularly Kidman's. Her baring of body and soul on screen is nothing less than convincing, while Cruise has an even harder task: playing the personality-deficient Bill with star-stiffling restraint.
As one has come to expect from Kubrick, technical aspects of the film are superb. Filmed at Pinewood Studios, with terrific recreations of New York street exteriors and luxury townhouses, "Eyes" exudes artistry in every frame. Lighting cameraman Larry Smith and Kubrick make the most mundane nightclub scene a visual feast, while the soundtrack features many styles of music and a magical score by Jocelyn Pook.
EYES WIDE SHUT
Warner Bros.
Producer-director: Stanley Kubrick
Screenwriters: Stanley Kubrick, Frederic Raphael
Based on the novel "Traumnovelle" by: Arthur Schnitzler
Executive producer: Jan Harlan
Co-producer: Brian W. Cook
Lighting cameraman: Larry Smith
Production designers: Les Tomkins, Roy Walker
Editor: Nigel Galt
Costume designer: Marit Allen
Music: Jocelyn Pook
Casting: Denise Chamian, Leon Vitali
Color/stereo
Cast:
Dr. William Harford: Tom Cruise
Alice Harford: Nicole Kidman
Victor Ziegler: Sydney Pollack
Marion: Marie Richardson
Mandy: Julienne Davis
Domino: Vinessa Shaw
Nick Nightingale: Todd Field
Milich: Rade Sherbedgia
Sandor Szavost: Sky Dumont
Running time -- 159 minutes
MPAA rating: R...
Destined like all his films to be discussed and dissected by the multitude of fans and pundits, Kubrick's final work is challenging and richly rewarding. Big domestic and international boxoffice numbers are a certainty.
It almost goes without saying that the years-in-the-making Warner Bros. release is a risky, demanding film for summer 1999 audiences gorged on fast-food movies. Although comparable only in their using Hollywood stars to help create major works with personal visions, "Eyes" opens almost the same weekend as the similarly R-rated "Saving Private Ryan", which was last year's boxoffice champ -- and there wasn't a single naked woman in it.
While no shots are fired in anger or axes swung or bones thrown, "Eyes" is unmistakably a Kubrick creation. Alas, it will be immediately known as the season's most fleshy offering, starting with the first brief shot of Nicole Kidman. It's also her real-life husband Tom Cruise's first appearance on film since "Jerry Maguire" three Christmases ago.
This potent combination of stars, subject matter and master filmmaker, with the story "inspired" by Austrian writer Arthur Schnitzler's 1926 short novel "Traumnovelle", results in a powerful drama. The unusual plot centers on a successful Manhattan doctor and his young wife who come close to breaking up during a lost weekend of damaging revelations, betrayals and fantastic encounters with sad and strange denizens of the city's erotic subculture.
To dispell one possible misconception about the film: There may be lots of nudity, but there's not much sex. There is an orgy scene -- with 65 seconds of various copulating couples obscured by digitally inserted partygoers to get an R-rating -- but it comes and goes quickly with an hour still to go in the film (not at the end, as has been erroneously reported).
The unclothed female form more than the sexual act is the focus of Kubrick's somewhat unnerving eroticism. There is the fleeting warmth of the early embraces between Bill Harford (Cruise) and his spouse Alice (Kidman) in the short sequence that Kubrick released months ago as a teaser. Later, they lounge in bed partially clothed and get stoned, but the lazy mood is shattered when talk turns to a party they attended where both flirted dangerously with strangers.
"Eyes" opens with Bill and Alice preparing for that party, held in the mansion of Ziegler (Sydney Pollack). They leave a 7-year-old daughter with a babysitter and appear untroubledly in love. But separated from Bill at the posh gathering, Alice has a few drinks and dances in the arms of a seductive older man (Sky Dumont).
She really lets herself go in these remarkable scenes, approaching but not giving into temptation. Bill is likewise almost swept away by the attentions of two young women before he's summoned by Ziegler to handle a difficult situation. Professionally detached at first in the host's cavernous bathroom, Bill treats a naked party guest (Julienne Davis) who has collapsed after shooting drugs.
In their talk after the fact, when Bill is too casual in his acknowledgement of his wife's sexual allure and his too-proud lack of jealousy, Alice angrily deconstructs his statements and then relates a story of an affair she almost had. Bill is shocked and imagines in pornographic black-and-white fantasies, several times through the rest of the film, her passionate trysts with a strange man. But before things get worse between them, work weirdly intervenes and he leaves.
"Eyes" then becomes Bill's unpredictable odyssey through a nocturnal world of sex-hungry souls, like the grieving woman (Marie Richardson) who loves the dashing doctor but is engaged to another (Thomas Gibson). On his way home, Bill is threatened by anti-gay thugs for no reason and then follows a prostitute (Vinessa Shaw) to her place. Maybe he wants to cheat on Alice, to have adventures, but Bill is on the road again before anything serious happens.
Through an old med-school friend (Todd Field), now a piano player, Bill finds out about a secret orgy and begs to go along. In a sense of anticipation, even his after-hours search for a costume reveals that the teenage daughter (Leelee Sobieski) of the shop owner (Rade Sherbedgia) is a shameless flirt. Nothing compares to his crashing the decadent, almost medieval gathering of ceremonial orgygoers in a country dwelling he reaches by cab.
Remaining faithful in many ways to Schnitzler's original book, Kubrick and screenwriter Frederic Raphael make a few key departures, but the idea of a group of many people who meet for anonymous sexual encounters is central to both. Bill, in an elegant Venetian mask and cloak, is approached by a nearly naked woman with a voluptuous body and headdress, her features hidden as well. She seems to know immediately that he doesn't belong and warns him to leave, but he is smitten by her.
Bill's refusal to go has unexpected consequences, and later he'll literally linger over the corpse of his waking dream of erotic fulfillment. Set during the Christmas season, the film ends on an uneasy but hopeful note. If there is a sense of emotional detachment from the characters in the latter parts of the film, the residual effect of "Eyes" is anything but a numbed mind. Once again, Kubrick invites the viewer to react naturally and then think about the experience. It works.
The performances are unformly inspired, particularly Kidman's. Her baring of body and soul on screen is nothing less than convincing, while Cruise has an even harder task: playing the personality-deficient Bill with star-stiffling restraint.
As one has come to expect from Kubrick, technical aspects of the film are superb. Filmed at Pinewood Studios, with terrific recreations of New York street exteriors and luxury townhouses, "Eyes" exudes artistry in every frame. Lighting cameraman Larry Smith and Kubrick make the most mundane nightclub scene a visual feast, while the soundtrack features many styles of music and a magical score by Jocelyn Pook.
EYES WIDE SHUT
Warner Bros.
Producer-director: Stanley Kubrick
Screenwriters: Stanley Kubrick, Frederic Raphael
Based on the novel "Traumnovelle" by: Arthur Schnitzler
Executive producer: Jan Harlan
Co-producer: Brian W. Cook
Lighting cameraman: Larry Smith
Production designers: Les Tomkins, Roy Walker
Editor: Nigel Galt
Costume designer: Marit Allen
Music: Jocelyn Pook
Casting: Denise Chamian, Leon Vitali
Color/stereo
Cast:
Dr. William Harford: Tom Cruise
Alice Harford: Nicole Kidman
Victor Ziegler: Sydney Pollack
Marion: Marie Richardson
Mandy: Julienne Davis
Domino: Vinessa Shaw
Nick Nightingale: Todd Field
Milich: Rade Sherbedgia
Sandor Szavost: Sky Dumont
Running time -- 159 minutes
MPAA rating: R...
- 7/12/1999
- The Hollywood Reporter - Movie News
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