A biography of the dancer Isadora Duncan, the 1920s dancer who forever changed people's ideas of ballet. Her nude, semi-nude, and pro-Soviet dance projects as well as her attitudes on free ...
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During the sixteenth century, the Catholic Mary, Queen of Scots engages in over two decades of religious and political conflict with her cousin, the Protestant Queen Elizabeth I of England, amidst political intrigue in her native land.
Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom ... See full summary »
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The extended Forsyte family live a more than pleasant upper middle class life in Victorian and later Edwardian England. The two central characters are Soames Forsyte and his cousin Jolyon ... See full summary »
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Based on the real life of Dr. Marcel Petiot: During world war II Petiot, an MD living in occupied Paris, promised to help wealthy Jewish people among his patients to flee occupied France ... See full summary »
Christian de Chalonge
Based on Nikolai Gogol's story with the location changed from Russia to Italy and the time changed to the present (1952), the story is about a poor city-hall clerk (Renato Rascel) whose ... See full summary »
A biography of the dancer Isadora Duncan, the 1920s dancer who forever changed people's ideas of ballet. Her nude, semi-nude, and pro-Soviet dance projects as well as her attitudes on free love, debt, dress, and lifestyle shocked the public of her time. Written by
John Vogel <firstname.lastname@example.org>
Director Karel Reisz in 1987 prepared a Director's Cut of the film for its television broadcasts, and this version ran at a length of 153 minutes, still about fifteen minutes less than the original cut. See more »
Honestly, I don't want to talk about red pencils with Essenin. I want to talk to him about making love with me. Now, how do say in Russian, "I adore you. You have beautiful thighs"?
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Under-appreciated director, and undervalued screenplay,
Over the past weekend, I viewed a VHS of Isadora. Throughout the movie (and I assume this was in the script), the motif of the scarf is repeated in various ways showing that she loved scarves and billowy fabric; even if she didn't in real life, the reinforcement of the scarf (as well as her pursuit of the man driving the Bugatti), gives her death a logic and finality that "real" life cannot. Surely, Isadora's death must have been so fictional as not to be believed, as well as the fate of her children. Film-makers must craft a film in such a way that the viewer believes that every moment is true. Compare this screenplay with what Robert McKee says about writing screenplays in his incomparable book, Story, and you'll agree that the Isadora screenplay is undervalued. Also, Redgrave's performance is surely one of the finest of any era--and should have gotten the Oscar, but thankfully won at Cannes (outside the Hollywood political machine). The length of the film, to me, was no problem; the life of Isadora Duncan, could not have been shown in less. The stage scenes of her dancing were perfectly directed and illustrated how she could fill a theatre while also being rejected.
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