HEAD IN THE CLOUDS is a sweeping romantic drama set in 1930's England, Paris, and Spain. Gilda Bessé shares her Paris apartment with an Irish schoolteacher, Guy Malyon, and Mia, a refugee ... See full summary »
A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
The professional and personal life of actor and comedian Peter Sellers was a turbulent one. His early movie fame was based primarily on his comic characterizations, often of bumbling and foreign-accented persons, characters which he embodied. As his movie fame rose, he began to lose his own personal identity to his movie characters, leading to self-doubt of himself as a person and a constant need for reassurance and acceptance of his work. This self-doubt manifested itself in fits of anger and what was deemed as arrogance by many. In turn, his personal relationships began to deteriorate as his characterizations were continually used to mask his problems. His first wife, Anne Howe, left/divorced him and his relationships with his parents and children became increasingly distant. His relationship with his second wife, Swedish actress Britt Ekland, was based on this mask. In his later life, he tried to rediscover himself and his career with what would become his penultimate film role, ... Written by
Robin Williams was the original choice for the role of Peter Sellers but he was too busy with other projects. Robin said it would have been a great honor to play Peter Sellers. See more »
Other motor vehicle anachronisms; Sellers and his family arrive at their new house in a Jaguar S-Type, this model was released in 1963, this scene is set several years previously in 1960; Sellers' red Bentley is towed away by a 1963 Shelvoke & Drewry TZ truck, this scene is set during the making of The Millionairess in 1960; when Sellers has sex with Sophia Loren's stand-in in a Rolls-Royce, the camera moves across some parked cars including a Wolseley 6/110, which was released in 1961, this scene is set in 1960; during the filming of Casino Royale (1966) the director chases after Sellers in a Mercedes W115, which was released in 1968; when Sellers rushes Britt to the hospital to give birth to their daughter Victoria (who was born in 1965) he pulls out in front of a 1966 Ford Zephyr MkIV; and finally in the scene where Sellers is talking to Anne about wanting to make Being There, a Series III Jaguar XJ is visible in the background, this wasn't released until late 1979, this scene is set prior to filming of Being There which began in January 1979. See more »
Blake Edwards is the hottest director in Hollywood right now. "Days of Wine and Roses", "Breakfast at Tiffany's"... He can get anyone he wants. And, Peter, he wants you! United Artists are putting a lot of weight behind it. It's going to be very wide, very international release. You may be a big star in Britain, but the folks in Duluth have never heard of you.
Then we're even. I've never heard of Duluth.
It's in the United States.
Oh. That Duluth.
It's called "The Pink Panther".
Sounds like a ...
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The frame freezes and the end credits start. After some informations about the last part of life of Peter Sellers have scrolled up the screen, the credits stop and the camera suddenly pulls back, revealing Geoffrey Rush watching the end titles sitting in front of a monitor on a studio set. He turns toward the camera, waves, gets up, leaves the set and walks to a trailer. The camera tries to follow him inside, but he turns and says "You can't come in here". The door closes, and the camera zooms in on the sign with the name "Peter Sellers". The film again fades to black and we see the rest of the end credits. See more »
I'm a sap when it comes to movie watching so the peeling away of the character of Peter Sellers made the film a hard watch for me. That in no way implies anything derogatory about this wonderful film, just that Seller's life as depicted on the screen made me uncomfortable watching it as it unfolded before me.
Intellectually I can understand the forces driving Sellers but I find it difficult when these forces begin to devour the personality behind them as happened to Sellers throughout the film. You're left with those timeless questions about the price of greatness and with this movie you're left with even more than the viewer might be expected to deal with.
It was not pretty watching the Greek tragedy that was the life of Peter Sellers and now, having seen the movie only several hours ago, I have great respect for Rush and the director for having crafted such a brilliant film. I can't imagine another actor who could have brought Sellers to life so accurately. The film was far from straight forward-it pulsed and entwined itself around Seller's life such that the viewer was challenged constantly to involve themselves with the characters rather than being a dumb waiter between screen and viewer.
A tough, excellent film not to be missed.
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