Helena Bonham Carter's costume from A Room with a View, designed by Jenny Beavan and John Bright. Images courtesy Kerry Taylor Auctions
In Conversation with Kerry Taylor,
Director/Owner, Kerry Taylor Auctions
by Chad Kennerk
Last year, Bafta & Academy-award winning costumier and designer John Bright invited Kerry Taylor to visit the renowned Cosprop store in London to select costumes for a special charity auction in aid of The Bright Foundation. Cosprop has been owned and managed by Bright since its founding in 1965. The company is known for providing the entertainment industry with authentic, highly-detailed period costumes. Bright and fellow collaborator Jenny Beavan have been nominated six times for the Academy Award for Best Costume Design, winning for A Room with a View, for which they also received a Bafta award.
The 69 lots chosen in Lights, Camera, Auction - Live Cosprop Sale represent iconic roles, actors, and moments from the last 50 years of film history.
In Conversation with Kerry Taylor,
Director/Owner, Kerry Taylor Auctions
by Chad Kennerk
Last year, Bafta & Academy-award winning costumier and designer John Bright invited Kerry Taylor to visit the renowned Cosprop store in London to select costumes for a special charity auction in aid of The Bright Foundation. Cosprop has been owned and managed by Bright since its founding in 1965. The company is known for providing the entertainment industry with authentic, highly-detailed period costumes. Bright and fellow collaborator Jenny Beavan have been nominated six times for the Academy Award for Best Costume Design, winning for A Room with a View, for which they also received a Bafta award.
The 69 lots chosen in Lights, Camera, Auction - Live Cosprop Sale represent iconic roles, actors, and moments from the last 50 years of film history.
- 2/28/2024
- by Chad Kennerk
- Film Review Daily
There’s often been unfair snobbery about the films of Merchant Ivory, the production banner founded in 1961 by producer Ismail Merchant and director James Ivory, which gives Stephen Soucy’s entertaining documentary study its title. The British costume drama was widely considered a wheezing genre — fusty, middlebrow and too calcified in its literary sources to acquire much cinematic vitality — when A Room with a View came along in 1986 and became a global art-house crossover hit. At their best, notably in Howards End and Remains of the Day, Merchant Ivory’s films stand the test of time as influential works that removed the starch from the stodgy period piece.
Contemporaries reductively dismissed their output as “Laura Ashley filmmaking,” referencing the design firm known for its pretty Romantic Victorian inspirations. But Merchant Ivory did more than anyone from the mid-1980s to the early ‘90s to popularize and legitimize the thematically and emotionally rich costume drama.
Contemporaries reductively dismissed their output as “Laura Ashley filmmaking,” referencing the design firm known for its pretty Romantic Victorian inspirations. But Merchant Ivory did more than anyone from the mid-1980s to the early ‘90s to popularize and legitimize the thematically and emotionally rich costume drama.
- 11/13/2023
- by David Rooney
- The Hollywood Reporter - Movie News
The best moments of Merchant Ivory––a documentary directed by Stephen Soucy concerning the legendary production company––feel like their most-successful pictures: restrained and revealing at the same time. Mostly told chronologically and split into chapters with talking heads to drive the narrative, the film dutifully recounts the agony and ecstasy of Merchant Ivory Productions. Sections are devoted to producer Ismail Merchant, director James Ivory, writer Ruth Prawer Jhabvala, and composer Richard Robbins. Dedicated crew members and stars sing their praises while softly criticizing their methods of madness, most of the latter directed at Merchant. Highlights include recollections of Merchant’s culling together funds for each production, often starting a film before all the money was put together. Or Jhabvala’s brutal judgment: Ivory recalls her dislike of Maurice from pre-production onward, all because the novel wasn’t, in her opinion, up to snuff. Somewhat ironically, Maurice is perhaps the...
- 11/13/2023
- by Dan Mecca
- The Film Stage
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