1970 / Black and White /96 Min. / 1:66 / Street Date March 21, 2017
Starring: Divine, David Lochary, Mary Vivian Pearce and Mink Stole.
Cinematography: John Waters
Film Editor: John Waters
Written by John Waters
Produced by John Waters
Directed by John Waters
Andy Warhol was nothing if not a multi-media maven. Along with his ubiquitous silkscreens and sculpture, he embraced movie-making beginning as early as 1963 with such literal-minded efforts as Haircut (a haircut) and Taylor Mead’s Ass (one hour of exactly what you think) and pretty much closed shop with 1968’s Lonesome Cowboys, a 109 minute western satire that, of all his films, came closest to approximating a traditional tinseltown production.
Essentially Warhol was parodying the Hollywood studio system, rounding up his acolytes and hangers-on, from supermodels to pushers, and casting them as regular performers in a series of deadpan documentaries. Meanwhile in the wilds of Baltimore, Warhol fan John Waters
To determine the 10 least expensive Best Picture winners, we looked back at each year, researched reported budgets, and then calculated them at 2017 dollar values. Although independent films have dominated the Oscars for the last decade, the only indie to make the cut from that period was “Crash.” Nor did Woody Allen’s “Annie Hall,” or some black-and-white studio classics like “Casablanca” or “The Lost Weekend.”
The 10 straddle almost every decade of the Oscars and come from either independent producers or smaller distributors (four of the 10 were released by United Artists).
For comparison, the most expensive film to win remains “Titanic;” its adjusted budget was $300 million more than “Moonlight.” That total dwarfs the
1917 was a year of tension and conflict. Europe was war-torn, having been engaged in World War I for 3 years with no hope for peace on the horizon. Several acts by Germany including resuming submarine warfare and the Zimmerman Telegram would cause the United States to reluctantly enter the war and bolster the Allied forces. On the homefront, numerous scientific advances around the turn of the century were proliferating their way through society to modernize cities and improve industrial efficiencies. However, the transition to having more machines and electricity in the workplace was not a smooth one. Industrial accidents were common, working conditions were terrifying, and child labor was the norm. Thus, free time was not
Here’s the good news. In costume design, four of the five nominees are women. Women represented exactly 50% of the nominees in makeup/hairstyling (four of eight individuals cited) and editing (three of the six).
From there, things get a little rockier.
Among production designers, it’s four women out of 11 nominees. In adapted screenplay, women represent two of the six nominated individuals; in original screenplay, it’s two
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Written by William Hurlbut
Directed by John M. Stahl
Written by Eleanore Griffin and Allan Scott
Directed by Douglas Sirk
The debate about the necessity and worth of continual remakes rages on every year. Will the new version be as good as the original? Or even better? Should it have even been made to begin with? While we do seem to hear more about this recently, the concept of a remark is, of course, nothing new. Examples go back to the very dawn of cinema. What makes a remake particularly worthwhile, however, is when the films involved are dissimilar in certain aspects yet notably congruent in other areas: just enough to keep the basic premise or theme consistent, but varied enough to keep it up to date and original in one way or another. If both versions have their merits, a considerate comparison and contrast
If this estimable account of how God delivered
Cecil B. DeMille was famous--apart from giving close-ups to muderesses--to constructing grand epics like Cleopatra (1934), The Ten Commandments (1923/1956) twice, The Greatest Show on Earth (1952) and many others that, while mostly unknown to modern viewers, made heaps of cash. Coming towards the end of his career, Samson and Delilah (1949) was another Biblical epic in the top ten highest grossing films up to that time. After Gone with the Wind (1939), only Walt Disney did better than DeMille. Audiences then and now go to the movies for spectacle, but DeMille is no Michael Bay and Hedy Lamarr isn't Megan Fox. DeMille cared about the story and the characters and they lie at the core of Samson and Delilah with only two dramatic set pieces. DeMille and Bay do have one thing in common, however. Both close out their movies with then-unseen levels of destruction.
By 1930 the breadlines were longer than the ticket lines and people were slow to give up their hard earned money. They wanted to be entertained, they wanted to laugh and forget their troubles for just a while. Comedies, adventure, and musicals quickly became the most popular film genres of the time.
I. Pre-Code Action, Adventure, and Drama
Hollywood took their stories to the far corners of the earth as places like Africa, the South Pacific, and the Far East became exotic settings for movies. An island kingdom somewhere in the Pacific with strange creatures, even stranger natives,
The Paramount continues the summer classic film series with a focus on musicals this weekend (Singin' in the Rain and The Sound of Music on Saturday and Sunday). Then it's film noir at both Paramount and Stateside on Tuesday and Wednesday, with Double Indemnity, Out of the Past, Sunset Boulevard and The Maltese Falcon all on the schedule.
For something completely different, the Alamo Kids Club at the Slaughter Lane location is screening The Muppets Take Manhattan this month.
Set phasers to sell – and sell big.
Captain Kirk's Star Trek phaser gun from the second pilot of the wildly popular 1960s television series sold for a hefty $231,000 (£151,000) on Saturday in Los Angeles, Julien's Auctions said.
The phaser, created at the request of Star Trek creator Gene Roddenberry for use by William Shatner, who played Kirk in the beloved sci-fi show, had been estimated to sell for about $50,000, but achieved more than four times that including commission.
Other extraterrestrial highlights at the two-day Hollywood Legends sale of hundreds of costumes, memorabilia, props and other items included the "alien survey buggy" seen aboard the Nostromo in the 1979 movie Alien, which sold for $10,625, and a complete costume worn by Anubis, played by Carlos Lauchu, in the 1994 movie Stargate, which sold for $16,250, more than three times the estimate.
Eureka Entertainment kicks off a busy Q4 this week with the rerelease of three classic cinematic treats on Dual Format, courtesy of their acclaimed Masters of Cinema label. Restored gems include Cecil B. DeMille's hammy-yet-enjoyable rough diamond Cleopatra (1934), Fritz Lang's expressionist crime sequel The Testament of Dr. Mabuse (1933) and Pier Paolo Pasolini's inaugural colour feature Oedipus Rex (1967) - yet another addition to MoC's growing Pasolini catalogue. Read more »
De Niro has to be one of the most prestigious and recognizable actors of our time. Unfortunately, kids these days may only know him for the Focker movies, but if we look back, De Niro has given us some of the greatest performances and roles in cinematic history.
Robert De Niro, the two-time Oscar winner can most notably be seen in Raging Bull, Taxi Driver, The Godfather Part II, The Deer Hunter, The King of Comedy, Midnight Run, Once Upon a Time in America,
The world's most famous actress-humanitarian might not have single-handedly erased gender inequality in the movie industry, but she sure has struck a major blow for actresses. How else to explain her $20 million payout for Sony's next big summer release, "Salt," an action project that originally was written to star a man -- no less than Tom Cruise?
"It's definitely unusual that a female has become an action star," "Salt" producer Lorenzo di Bonaventura says. "But it's a funny thing. She's not a female action star; she's an action star. She's really the first female to transcend gender. I don't think it's occurred before."
To di Bonaventura's point, a star must be in some rarefied atmosphere when a one-hander lead role in a huge studio action tentpole is rewritten from male to female. It's akin
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