12 items from 2014
Upon its release in 1990, Madonna's "Vogue" was an appreciation of a long-gone age of Hollywood glamour. Now that age is truly lost: as xoJane's Marci Robin pointed out on Twitter, the passing of Lauren Bacall means every star name-checked in the song has died. Bacall was the last surviving member of the 16 famous names in the song; nine of these stars were still alive when the song hit airwaves on March 20, 1990. ("Vogue" itself is 24 years old.) Below, find the full list of celebrity names included in "Vogue." "Greta Garbo and Monroe, Dietrich and Dimaggio"As fate would have it, Greta Garbo »
- Nate Jones, @kn8
Over at The Telegraph, Robbie Collin has chosen to take on the impossible, he's set out to create a list of films that tells the story of Hollywood "in terms of how one picture or director led to the next." It's a daunting task that creates an interesting narrative and he prefaces his ten selections saying: ...none of the individual works is "great" or "important" enough to drown out the others. I've avoided films such as Citizen Kane, Vertigo, Singin' in the Rain, Casablanca, Gone with the Wind, Lawrence of Arabia and The Godfather, not just because we already know they're great, but because their greatness might throw the story off-balance - although I wouldn't hesitate to describe any of the films that are on this list as a masterpiece. So how does his list shape outc Have a look: One Week (1920) - dir. Buster Keaton It Happened One Night (1934) - dir. »
- Brad Brevet
Week in Review rounds up the best of the rest of film and TV news hitting the web this week. Check out the rest of the Sos Blog for more news updates.
When Tommy Wiseau, the director of self-proclaimed masterpiece The Room (i.e. one of the best worst cult movies ever made), isn’t touring around college campuses and dodging chucked spoons at midnight screenings of his own film, or better yet, trying to play a video game, he’s presumably still out there being the auteur he thinks he is. Those desperate to know what he’d be up to next need wait no longer, as Wiseau has shared a clip from an upcoming sitcom he’s made called The Neighbors. Naturally, it looks awesome.
The clip for the show, as well as the show’s website, says it will premier on “Comedy.TV” this September. Except that might be a total lie, »
- Brian Welk
It didn’t take long for the Nederlander Organization to fill the gap at the Palace Theatre left by the soon-to-depart Holler If Ya Hear Me. As Deadline reported previously, the producers of An American In Paris — the musical with old Gershwin songs and new everything else, including staging and dances by superstar choreographer Christopher Wheeldon and a book by Craig Lucas (Prelude To Kiss) — were hoping to firm up a transfer even before the show opens in the City of Light in November. With many of Broadway’s premiere houses locked in with long-running shows, it’s a seller’s market and most […] »
New York — An American in Paris is moving from Paris to America in March. List The Hollywood Reporter Reveals Hollywood's 100 Favorite Films Based on the 1951 film, the new musical will begin previews on Mar. 13, follow its world premiere in the French capital at Theatre du Chatelet in December. The show's official Broadway opening will take place Apr. 12. The film-to-stage adaptation will move into the Palace Theatre, which currently houses the last few shows of Holler If You Hear Me, which features the music of Tupac Shakur. Featuring songs by George and Ira Gershwin, the show is being adapted by Craig Lucas (The Light
- Ashley Lee, David Rooney
George and Ira are rarely far from a Broadway marquee: Leading dancers from America and the UK, along with one of Broadway‘s most celebrated comediennes will headline a stage adaptation of the Gershwins’ 1951 film classic An American In Paris, slated to open in December at the Théâtre du Châtelet in that city before coming to Broadway next spring. Creatives on the show, in addition to the brothers Gershwin, include Christopher Wheeldon, direction and choreography; Craig Lucas (Prelude To A Kiss), book; Rob Fisher, musical score adaptations and arrangements; Brad Haak, musical director; Christopher Austin, orchestrations; Bob Crowley (Aladdin), sets and costumes; and Natasha Katz (Aladdin), lighting. Related: […] »
The clear difficulty of identifying the definitive movie musicals is separating the musical itself from the film version. The Phantom of the Opera is, without a doubt, a top ten definitive stage musical. Movie musical? Not so much. Drawing a clear line between the two is what makes this list a little trickier. For this segment of the list, we have musicals that have no stage version, two Best Picture winners, a Palme d’Or winner, and a few musicals that may stretch the term a bit.
courtesy of writeonnewjersey.com
20. Jailhouse Rock (1957)
Directed by Richard Thorpe
It brought “The King” to the big screen for the first time in a film about a man in prison who learns to express himself through music, rather than violence (he’s in prison for manslaughter). Vince (Elvis Presley) accidentally kills a drunk in »
- Joshua Gaul
Here's new contributor Diana D. Drumm to with a trip back to a film that opened today in 1964...
We open at the 1964 Cannes Film Festival, with all of its bubbles and laughter and cinema. A jury, including the likes of Fritz Lang and Charles Boyer, peer at a roster featuring now-classics The Umbrellas of Cherbourg and The Pumpkin Eater alongside cult favorite The World of Henry Orient... Oh, you haven’t heard of The World of Henry Orient?
Well, that isn’t so surprising, even considering its headliner, the late great Peter Sellers, it’s been lost to TCM and cult nostalgists. In terms of Sellers’s filmography, it’s sandwiched between two biggies -- Dr. Strangelove and A Shot in the Dark (this loaded schedule along with a marriage to Swedish bombshell Britt Ekland would lead to his first major heart attack in 1964).
Sellers stars at the eponymous “Henry »
- Diana D Drumm
- Don Groves
The 85-year history of the Academy Awards is rife with statistical oddities, and one that has the potential to play out this Sunday is among the most intriguing: a split between the films that win Best Picture and Best Director.
Though conventional wisdom has long held that only one film will walk away with both prizes on Oscar night, many pundits are predicting that the awards will instead go to two different movies this year, with "Gravity" director Alfonso Cuaron expected to snag the Best Director statuette, while "12 Years a Slave" (or "American Hustle," depending on where your loyalties lie) is the favorite to win Best Picture.
While such a split has occurred just 22 times since the Academy of Motion Picture Arts and Sciences started handing out trophies in 1929, four of the first five ceremonies produced a divide between the Best Director and Best Picture prizes. "Wings," dubbed the original »
- Katie Roberts
Irene SharaffIf Catherine Martin wins an Oscar this year for her work on The Great Gatsby, she will join prolific costume Designer Orry-Kelly as Australia’s most Oscared individual. If Martin wins both of her nominations? She will become the first Australian to ever win more than three statues (having already won the same two for Moulin Rouge! 12 years ago). We’re not here to talk about Martin, nor Orry-Kelly really, but that’s an interesting statistic nonetheless. One of Orry-Kelly’s wins was for An American in Paris, which he won alongside Walter Plunkett and the main subject of this entry, Irene Sharaff.
Sharaff was a 15-time Oscar nominee for her work as a costume designer and was also nominated once for art direction, which certainly places her as one of the designers' favorites. She doesn’t have the famous name of, say, Edith Head or contemporaries Sandy Powell, »
- Glenn Dunks
Often considered one of Robert Altman’s best films, Nashville subverts and revisits the tropes of the classic Hollywood musical through a revisionist lens. Though musicals still found success in the 1970s, the golden age of the genre was long gone and was due for a revival and re-evaluation. Utilizing tropes from classic Hollywood musicals, Nashville transforms our understanding of the genre. Altman situates the film in a contemporary setting, often negating the fantasy elements long associated with musicals. Nashville utilizes the conventions of genre in order to explore a vision of a New America and a New Cinema.
The classic Hollywood musical is very much tied to the idea of the subjective emotional experience. This is often done through the engagement with fantasy as an aesthetic choice. The subjectivity and the fantasy become a realization of the individual’s dreams and fantasies, keeping the genre in line with traditional narrative practises. »
- Justine Smith
12 items from 2014
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners