The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s.
After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes. Written by
Steve Fenwick <firstname.lastname@example.org>
In his dressing room after the performance of "Princess Ida" in which he strains his voice, Richard Temple recites some dialog from "H.M.S. Pinafore". Temple created the character of Dick Deadeye in "H.M.S. Pinafore", and sang it during the initial 1878 run and several subsequent revivals. See more »
This well known quote from the film is a factual mistake: "If you wish to write a Grand Opera about a prostitute, dying of consumption in a garret, I suggest you contact Mr Ibsen in Oslo. I am sure he will be able to furnish you with something suitably dull". The city of Oslo got the name in 1925 - a long time after Ibsen's death in 1906. During Ibsen's lifetime, the capital of Norway was called Kristiania. See more »
[giving notes to the cast after a dress rehearsal]
Ko-ko's entrance: Mr. Kent and Mr. Conyngham. Please ensure that you do not flinch at Mr. Grossmith's sword. You must have confidence that he is not about to chop off your heads, even if it may appear that that is your inevitable fate.
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Artfully Constructed and one of the year's best films.
Much has been said here regarding the brilliant costumes, art direction and acting. The one thing I would like to point out is the misconception many have had about the script itself.
Several comments here have claimed that the film is "clunky" in that several scenes apparently added nothing to the film. They also said there was no character development. I think these people need to realize that the depth they seek is contained in the very scenes they wished excised. Which show us all of the different aspects of these characters' lives.
While appearing to be unimportant, empty or simple these many scenes reveal incalculable depth and character insight. The rehearsal scene for just one example, while seeming initially to be a little comedic scene shows us the nature and attitude of both the author and the actors involved in their creative processes.
The performance scenes are also not superfluous as some have wrongly asserted. We can see the characters we have come to know and how they deal onstage with the problems we know they have in their lives: through expressing themselves in their art!!!
In addition the scenes are not arbitrarily strung together but all contain a subtle cause and effect throughline. Sometimes these are reversed as when a cause is revealed only after we have repeatedly seen the effect (as in the revelation of Grossman's illness). Many of the scenes which people have called "tacked on" at the end (like the stunning scene between Gilbert and his wife Kitty) are in fact set up in the earlier parts of the film if you pay close attention and are in actuality a natural progression of these relationships.
Even the very last scene when the leading lady sings is there to show us her identification with the song she is singing and therefore an indirect relationship with her lyricist and composer. This film needs to be seen more than once to appreciate how well constructed it truly is
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