Cari Beauchamp, the widely respected historian and author of several books on Hollywood who often appeared on Turner Classics Movies programming and at the network’s annual TCM Classic Film Festival, has died. She was 74.
TCM posted a tribute to Beauchamp on its Twitter/X page Friday.
“We are saddened to hear of the loss of one of our TCM family, trailblazing historian Cari Beauchamp,” the network wrote today. Without her invaluable work, many female creatives would be lost to history. We are grateful for her many contributions to our network over the years.”
Beauchamp’s work focused on the role of women in Hollywood, including in her books Without Lying Down: Frances Marion and The Powerful Women of Early Hollywood and Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s. She also wrote Joseph P. Kennedy Presents: His Hollywood Years, edited Anita Loos...
TCM posted a tribute to Beauchamp on its Twitter/X page Friday.
“We are saddened to hear of the loss of one of our TCM family, trailblazing historian Cari Beauchamp,” the network wrote today. Without her invaluable work, many female creatives would be lost to history. We are grateful for her many contributions to our network over the years.”
Beauchamp’s work focused on the role of women in Hollywood, including in her books Without Lying Down: Frances Marion and The Powerful Women of Early Hollywood and Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s. She also wrote Joseph P. Kennedy Presents: His Hollywood Years, edited Anita Loos...
- 12/16/2023
- by Patrick Hipes
- Deadline Film + TV
Cari Beauchamp, the respected film historian who put readers and viewers in close touch with the early days of Hollywood through her painstaking research as an author, editor and documentary filmmaker, died Thursday. She was 74.
Beauchamp died of natural causes at Cedars-Sinai Medical Center in Los Angeles, her son Jake Flynn told The Hollywood Reporter.
She was unable to attend an Oct. 28 event at the Tcl Chinese Theatre that celebrated authors represented on THR’s recent unveiling of “The 100 Greatest Film Books of All Time.”
Beauchamp is on the exclusive list thanks to Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. First published in 1997, it centers on Marion, who became the highest-paid screenwriter, man or woman, in Hollywood by 1917 before receiving Oscars for The Big House (1930) and The Champ (1931).
Beauchamp then wrote and produced for TCM a 2001 documentary based on the book, earning a WGA nomination along the way.
Beauchamp died of natural causes at Cedars-Sinai Medical Center in Los Angeles, her son Jake Flynn told The Hollywood Reporter.
She was unable to attend an Oct. 28 event at the Tcl Chinese Theatre that celebrated authors represented on THR’s recent unveiling of “The 100 Greatest Film Books of All Time.”
Beauchamp is on the exclusive list thanks to Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. First published in 1997, it centers on Marion, who became the highest-paid screenwriter, man or woman, in Hollywood by 1917 before receiving Oscars for The Big House (1930) and The Champ (1931).
Beauchamp then wrote and produced for TCM a 2001 documentary based on the book, earning a WGA nomination along the way.
- 12/15/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Greta Gerwig’s “Barbie” is destined to be a classic in its own right, already garnering nearly half a billion dollars at the box office in under a week. The film, about a stereotypical Barbie (Margot Robbie) in the grips of an existential crisis that sees her going to the Real World, is all manner of fun and wacky, with a number of Old Hollywood influences.
Gerwig herself has cited a number of features that either directly or indirectly inspired “Barbie,” starting with the 1939 Technicolor classic, “The Wizard of Oz.” That film, with its now iconic transition between Kansas and the land of Oz, no doubt factored into how the feature approaches color. The idea of a character transitioning from one world to another draws comparisons to “The Truman Show” and “Heaven Can Wait.”
Among the more nuanced, less obvious films, Gerwig took inspiration from “Women on the Verge of a Nervous Breakdown,...
Gerwig herself has cited a number of features that either directly or indirectly inspired “Barbie,” starting with the 1939 Technicolor classic, “The Wizard of Oz.” That film, with its now iconic transition between Kansas and the land of Oz, no doubt factored into how the feature approaches color. The idea of a character transitioning from one world to another draws comparisons to “The Truman Show” and “Heaven Can Wait.”
Among the more nuanced, less obvious films, Gerwig took inspiration from “Women on the Verge of a Nervous Breakdown,...
- 7/28/2023
- by Kristen Lopez
- The Wrap
This article contains spoilers for "Perry Mason" through season 2, episode 5, "Chapter Thirteen."
In its first season, HBO's pulpy, hardboiled version of "Perry Mason" introduced us to a version of Erle Stanley Gardner's famous criminal lawyer who had yet to become the formidable figure we know from previous iterations of the character. In this show, Mason is a war vet and private investigator who struggles with horrific memories of his wartime mercy killings, fights to keep hold of his family's farm, and reluctantly takes on the role of attorney after John Lithgow's E.B. Jonathan takes his own life. It's all a bit grim, really.
But with season 2, "Perry Mason" has put supporting characters front and center. While the gritty, somber tone is still there, the violence has been toned down a bit, and there are some genuine moments of joy. Many of those moments come from Juliet Rylance...
In its first season, HBO's pulpy, hardboiled version of "Perry Mason" introduced us to a version of Erle Stanley Gardner's famous criminal lawyer who had yet to become the formidable figure we know from previous iterations of the character. In this show, Mason is a war vet and private investigator who struggles with horrific memories of his wartime mercy killings, fights to keep hold of his family's farm, and reluctantly takes on the role of attorney after John Lithgow's E.B. Jonathan takes his own life. It's all a bit grim, really.
But with season 2, "Perry Mason" has put supporting characters front and center. While the gritty, somber tone is still there, the violence has been toned down a bit, and there are some genuine moments of joy. Many of those moments come from Juliet Rylance...
- 4/6/2023
- by Joe Roberts
- Slash Film
by Cláudio Alves
During the past years, the Criterion Channel has highlighted the careers of many Old Hollywood stars. After Carole Lombard, Mae West, Joan Crawford, Jean Arthur, Rita Hayworth, and many more, it's time to celebrate Jean Harlow. In this case, the selection of titles entices because of how encompassing it is. The Criterion Channel presents 14 films, every feature the starlet did while on contract with MGM, from 1932 to her untimely death in 1937. By watching these works, one can get a good sense of Harlow's meteoric rise, how her persona evolved, how it changed to accommodate personal and physical transformations, a transfiguration of industry ideals and popular tastes. Furthermore, the movies showcase other great stars and the work of such vital 1930s screenwriters as Anita Loos and Dorothy Parker. It's a perfect treasure trove of Old Hollywood moviemaking, history, and scandal…...
During the past years, the Criterion Channel has highlighted the careers of many Old Hollywood stars. After Carole Lombard, Mae West, Joan Crawford, Jean Arthur, Rita Hayworth, and many more, it's time to celebrate Jean Harlow. In this case, the selection of titles entices because of how encompassing it is. The Criterion Channel presents 14 films, every feature the starlet did while on contract with MGM, from 1932 to her untimely death in 1937. By watching these works, one can get a good sense of Harlow's meteoric rise, how her persona evolved, how it changed to accommodate personal and physical transformations, a transfiguration of industry ideals and popular tastes. Furthermore, the movies showcase other great stars and the work of such vital 1930s screenwriters as Anita Loos and Dorothy Parker. It's a perfect treasure trove of Old Hollywood moviemaking, history, and scandal…...
- 8/23/2021
- by Cláudio Alves
- FilmExperience
MGM’s glamour factory hit heights of grandeur with this nostalgic disaster spectacle, which retains its power even as its pious sentimentality runs amuck. We don’t believe the characters but we believe the Stars: Clark Gable, Jeanette MacDonald and Spencer Tracy succeed with sheer personality. Best of all are the sensational special effects featuring the highly cinematic earthquake montage by Slavko Vorkapich and John Hoffman.
San Francisco
Blu-ray
Warner Archive Collection
1936 / B&w / 1:37 Academy / 115 min. / Street Date February 16, 2021 / available through the WBshop / 21.99
Starring: Clark Gable, Jeanette MacDonald, Spencer Tracy, Jack Holt, Jessie Ralph, Ted Healy, Shirley Ross, Edgar Kennedy, Warren Hymer, Gertrude Astor, Vince Barnett, Tom Dugan, D.W. Griffith, James Murray, Robert J. Wilke.
Montages: Slavko Vorkapich, John Hoffman
Special Effects: James Basevi, Russell A. Cully, A. Arnold Gillespie, Loyal Griggs
Film Editor: Tom Held
Songs: Bronislau Kaper & Walter Jurmann (music), Gus Kahn (lyrics), Nacio Herb Brown
Written...
San Francisco
Blu-ray
Warner Archive Collection
1936 / B&w / 1:37 Academy / 115 min. / Street Date February 16, 2021 / available through the WBshop / 21.99
Starring: Clark Gable, Jeanette MacDonald, Spencer Tracy, Jack Holt, Jessie Ralph, Ted Healy, Shirley Ross, Edgar Kennedy, Warren Hymer, Gertrude Astor, Vince Barnett, Tom Dugan, D.W. Griffith, James Murray, Robert J. Wilke.
Montages: Slavko Vorkapich, John Hoffman
Special Effects: James Basevi, Russell A. Cully, A. Arnold Gillespie, Loyal Griggs
Film Editor: Tom Held
Songs: Bronislau Kaper & Walter Jurmann (music), Gus Kahn (lyrics), Nacio Herb Brown
Written...
- 2/20/2021
- by Glenn Erickson
- Trailers from Hell
Women seeking the vote had already become comic fodder by the time Variety began publishing in 1905. But gags about suffrage gave way to showbiz support as the women’s vote crept closer to reality. The 19th amendment was finally signed into law Aug. 26, 1920, 78 years after the first women’s rights convention in this country and 144 years after the Declaration of Independence asserted that all men are created equal.
Looking back on this 100th year anniversary, there was plenty of resistance to the notion of women voting, and those tensions animated the entertainment community along with the rest of society.
Around the time that Variety began publishing Stateside, U.K. media coined the term suffragette, and the lighter, more dismissive sobriquet quickly gained traction in entertainment circles. In 1908, Harry Houdini employed suffragettes in his stage act, Variety reported. And early film star Charlie Chaplin donned drag for the first time on...
Looking back on this 100th year anniversary, there was plenty of resistance to the notion of women voting, and those tensions animated the entertainment community along with the rest of society.
Around the time that Variety began publishing Stateside, U.K. media coined the term suffragette, and the lighter, more dismissive sobriquet quickly gained traction in entertainment circles. In 1908, Harry Houdini employed suffragettes in his stage act, Variety reported. And early film star Charlie Chaplin donned drag for the first time on...
- 8/19/2020
- by Diane Garrett
- Variety Film + TV
11 March 1987: The famous Hollywood chronicler and stills collector, who has interviewed everybody, meets Richard Boston
“I tend to forget what I’ve just said,” John Kobal said, and a couple of minutes later he said: “What have I just said?” It’s not surprising that he can’t always remember what he’s just said because he says so much. He talks nineteen to the dozen. He also listens.
He must do, because he’s interviewed everyone from Arletty, Tallulah Bankhead, Louise Brooks and Joan Crawford at one end of the alphabet to Mae West and Loretta Young at the other end, with Bette Davis, Marlene Dietrich, Katherine Hepburn, Anita Loos, Joel McCrea and almost every other Hollywood star you can think of in between. Somehow they all managed to get plenty of words in edgeways and the result is a whole shelf of books.
“I tend to forget what I’ve just said,” John Kobal said, and a couple of minutes later he said: “What have I just said?” It’s not surprising that he can’t always remember what he’s just said because he says so much. He talks nineteen to the dozen. He also listens.
He must do, because he’s interviewed everyone from Arletty, Tallulah Bankhead, Louise Brooks and Joan Crawford at one end of the alphabet to Mae West and Loretta Young at the other end, with Bette Davis, Marlene Dietrich, Katherine Hepburn, Anita Loos, Joel McCrea and almost every other Hollywood star you can think of in between. Somehow they all managed to get plenty of words in edgeways and the result is a whole shelf of books.
- 3/11/2020
- by Richard Boston
- The Guardian - Film News
When Jennifer Aniston won a SAG Award Jan. 19, the mainstream media seized on one fact: She and her ex Brad Pitt were together in the winner’s circle. Woo-woo, hot stuff!
For gossip rags, that’s fun, but this angle misses the bigger picture. First, her award for “The Morning Show” was a nice validation for Apple TV Plus. Second, this was a project on which she and Reese Witherspoon are exec producers, meaning actor-producers have moved beyond the realm of “vanity productions,” as such deals used to be called for performers.
The 21st century has seen a sharp rise in actors with successful production companies. That list includes Sandra Bullock, Viola Davis, Jennifer Lopez, Salma Hayek, Eva Longoria and Nicole Kidman.
Though 2019 Oscar nominations inspired protests for lack of gender diversity among directors, the tallies in the best picture rank are better — not 50-50 yet, but getting there. Eight...
For gossip rags, that’s fun, but this angle misses the bigger picture. First, her award for “The Morning Show” was a nice validation for Apple TV Plus. Second, this was a project on which she and Reese Witherspoon are exec producers, meaning actor-producers have moved beyond the realm of “vanity productions,” as such deals used to be called for performers.
The 21st century has seen a sharp rise in actors with successful production companies. That list includes Sandra Bullock, Viola Davis, Jennifer Lopez, Salma Hayek, Eva Longoria and Nicole Kidman.
Though 2019 Oscar nominations inspired protests for lack of gender diversity among directors, the tallies in the best picture rank are better — not 50-50 yet, but getting there. Eight...
- 1/31/2020
- by Tim Gray
- Variety Film + TV
I have spent a large portion of my adult life being angry about the disparity between men and women in the arts industry. That was until 2019. Because that’s when I won a Tony Award for producing “Hadestown.” Here’s what I can tell you: Awards are nice, checks are better. It was a lesson taught to me through the years by many important industry heavyweights, including Whoopi Goldberg, an Egot winner. In fairness, one might need to experience both to really understand the magnitude of that statement, but from my experience it’s true.
Obviously, there has been a fantastic leap in the number of female protagonists in the top 100 films — up from 31% in 2018 to 40% in 2019 — but women still only accounted for 10.6% of the directors of those top hits. Those statistics are magnified by the fact that only five women have ever been nominated for the Best Director Oscar...
Obviously, there has been a fantastic leap in the number of female protagonists in the top 100 films — up from 31% in 2018 to 40% in 2019 — but women still only accounted for 10.6% of the directors of those top hits. Those statistics are magnified by the fact that only five women have ever been nominated for the Best Director Oscar...
- 1/16/2020
- by Jenna Segal
- The Wrap
The Half Breed (1916) with live music by The Rats and People Motion Picture Orchestra will screen after the new documentary I, Douglas Fairbanks Saturday at Webster University’s Moore Auditorium as part of this year’s St. Louis International Film Festival. The prgram starts at 7pm. Ticket information can be found Here
There’s nothing better than silent films accompanied by live music! The Rats and People is a treasure and St. Louis is lucky to have them here. I’ve seen them perform with silent films several times, often at The St. Louis International Film Festival, and usually at Webster University’s Moore Auditorium and it’s always a stunning good time at the movies. You’ll have the chance to see them perform their magic this Saturday, November 10th when they premiere their new score for The Half Breed (1916)
During the peak of the silent era, the dashing...
There’s nothing better than silent films accompanied by live music! The Rats and People is a treasure and St. Louis is lucky to have them here. I’ve seen them perform with silent films several times, often at The St. Louis International Film Festival, and usually at Webster University’s Moore Auditorium and it’s always a stunning good time at the movies. You’ll have the chance to see them perform their magic this Saturday, November 10th when they premiere their new score for The Half Breed (1916)
During the peak of the silent era, the dashing...
- 11/6/2018
- by Tom Stockman
- WeAreMovieGeeks.com
George Cukor’s rereleased firecracker comedy, with Rosalind Russell and Norma Shearer as ladies who lunch, is an exhilarating delight
‘It’s all about men!” said the tagline on the poster for this extraordinary, almost Dalíesque Hollywood comedy from 1939, now on rerelease, gallopingly directed by George Cukor and adapted by Anita Loos and Jane Murfin from the stage play by Claire Boothe.
But there isn’t a single (or married) man in it. Every character on camera is female, and it’s an elegant whirl of moneyed and married Manhattan women: ladies who lunch off each other’s reputations in health salons and beauty parlours, participating in bizarre regimens and surreal treatments, breaking out firecracker dialogue and indiscreetly tattling about whose husbands are stepping out with shopgirls on the sly. But these gossips get karmically punished by having their own husbands pinched.
‘It’s all about men!” said the tagline on the poster for this extraordinary, almost Dalíesque Hollywood comedy from 1939, now on rerelease, gallopingly directed by George Cukor and adapted by Anita Loos and Jane Murfin from the stage play by Claire Boothe.
But there isn’t a single (or married) man in it. Every character on camera is female, and it’s an elegant whirl of moneyed and married Manhattan women: ladies who lunch off each other’s reputations in health salons and beauty parlours, participating in bizarre regimens and surreal treatments, breaking out firecracker dialogue and indiscreetly tattling about whose husbands are stepping out with shopgirls on the sly. But these gossips get karmically punished by having their own husbands pinched.
- 8/16/2018
- by Peter Bradshaw
- The Guardian - Film News
Editor’s note: The following is an exclusive excerpt from “Film Censorship in America: A State-by-State History” by Jeremy Geltzer. The book, which follows Geltzer’s previous effort “Dirty Words & Filthy Pictures: Film and the First Amendment,” will be released on December 19. In this excerpt, Geltzer explores the forgotten legacy of pioneering female filmmaker Nell Shipman.
Far from the soundstages of Hollywood, Nell Shipman ventured into the wild to produce movies that celebrated independent women in exciting scenarios. Although Shipman’s name may no longer be familiar, she deserves to be remembered as one of cinema’s important female pioneers.
Nell Shipman was born in British Columbia and arrived in Southern California by 1912. She found success as a writer—winning both first and second prize in a scriptwriting contest. In the early days of Hollywood before corporate structure was set in place, several women were able to develop behind-the-scenes power.
Far from the soundstages of Hollywood, Nell Shipman ventured into the wild to produce movies that celebrated independent women in exciting scenarios. Although Shipman’s name may no longer be familiar, she deserves to be remembered as one of cinema’s important female pioneers.
Nell Shipman was born in British Columbia and arrived in Southern California by 1912. She found success as a writer—winning both first and second prize in a scriptwriting contest. In the early days of Hollywood before corporate structure was set in place, several women were able to develop behind-the-scenes power.
- 11/8/2017
- by Indiewire Staff
- Indiewire
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
A recent article (based on a very unscientific poll) argued that millennials don’t really care about old movies. Maybe that’s true, and maybe it isn’t, but the fact remains that many people disregard classic cinema on principle. These people are missing out, but it only takes one film — the right film — to change their minds and forever alter their viewing habits.
This week’s question: What is one classic film you would recommend to someone who doesn’t watch them?
Candice Frederick (@ReelTalker), Hello Beautiful, /Film, Thrillist, etc
“Rebel Without a Cause.” I’ll out myself by saying that I’ve only recently seen this film...
A recent article (based on a very unscientific poll) argued that millennials don’t really care about old movies. Maybe that’s true, and maybe it isn’t, but the fact remains that many people disregard classic cinema on principle. These people are missing out, but it only takes one film — the right film — to change their minds and forever alter their viewing habits.
This week’s question: What is one classic film you would recommend to someone who doesn’t watch them?
Candice Frederick (@ReelTalker), Hello Beautiful, /Film, Thrillist, etc
“Rebel Without a Cause.” I’ll out myself by saying that I’ve only recently seen this film...
- 8/28/2017
- by David Ehrlich
- Indiewire
By 1914, D.W. Griffith's studio for two years had been buying scripts from a mysterious writer known as "A. Loos." Griffith already had turned one, The New York Hat, into a hit starring Lionel Barrymore and Mary Pickford. Now he was poised to meet this person he would come to see as one of his closest collaborators and dub "the most brilliant young woman in the world." He could not have been more stunned when Anita Loos — elfin at 4-foot-11 and 90 pounds, with a penchant for pigtails and sailor suits — materialized before him.
Yet this curious pixie,...
Yet this curious pixie,...
- 2/16/2017
- by Lesley M.M. Blume
- The Hollywood Reporter - Movie News
Sturges’s screwball comedies play with big ideas and serious themes. So what makes them some of the funniest films ever made?
It was a sprint worthy of his greatest farces: between 1937 and 1944, Preston Sturges made some of the funniest films Hollywood ever produced, including The Great McGinty, The Lady Eve, Sullivan’s Travels, The Palm Beach Story, The Miracle of Morgan’s Creek, and Hail the Conquering Hero. Then suddenly, as if his frantic, frenzied comedies had exhausted not only himself but his form, Sturges ran out of steam. Blending the comical and serious, farcical and cerebral, high and low, Sturges found catalytic energy in mixing formulas like a madcap scientist; as if he had released actual kinetic energy, he went ricocheting through Hollywood cinema, until he fell to earth with a thud. Happily, the BFI season celebrating Sturges offers audiences the chance to rediscover golden-era Hollywood’s minister of misrule.
It was a sprint worthy of his greatest farces: between 1937 and 1944, Preston Sturges made some of the funniest films Hollywood ever produced, including The Great McGinty, The Lady Eve, Sullivan’s Travels, The Palm Beach Story, The Miracle of Morgan’s Creek, and Hail the Conquering Hero. Then suddenly, as if his frantic, frenzied comedies had exhausted not only himself but his form, Sturges ran out of steam. Blending the comical and serious, farcical and cerebral, high and low, Sturges found catalytic energy in mixing formulas like a madcap scientist; as if he had released actual kinetic energy, he went ricocheting through Hollywood cinema, until he fell to earth with a thud. Happily, the BFI season celebrating Sturges offers audiences the chance to rediscover golden-era Hollywood’s minister of misrule.
- 2/12/2016
- by Sarah Churchwell
- The Guardian - Film News
The writer of Gentlemen Prefer Blondes was an extraordinary, barbed genius of the silent era, Hollywood and Broadway
Anita Loos, the screenwriter and author, claimed – in typically waggish style – to be furious at the women’s lib movement. “They keep getting up on soapboxes and proclaiming that women are brighter than men,” she said. “That’s true, but it should be kept very quiet or it ruins the whole racket.” Loos was a veteran of silent-era Hollywood, when women worked at all levels of the film industry – directing, editing, producing and designing. Scriptwriting, Loos’s forte, was the most feminine department: a “manless Eden” of female screenplay writers, scenario authors, story editors, intertitle artists and “script girls”. Loos may not have been the most successful screenwriter during Hollywood’s silent years (that honour falls to Frances Marion), but she was one of its greatest wits, most popular characters and one of its key storytellers.
Anita Loos, the screenwriter and author, claimed – in typically waggish style – to be furious at the women’s lib movement. “They keep getting up on soapboxes and proclaiming that women are brighter than men,” she said. “That’s true, but it should be kept very quiet or it ruins the whole racket.” Loos was a veteran of silent-era Hollywood, when women worked at all levels of the film industry – directing, editing, producing and designing. Scriptwriting, Loos’s forte, was the most feminine department: a “manless Eden” of female screenplay writers, scenario authors, story editors, intertitle artists and “script girls”. Loos may not have been the most successful screenwriter during Hollywood’s silent years (that honour falls to Frances Marion), but she was one of its greatest wits, most popular characters and one of its key storytellers.
- 1/11/2016
- by Pamela Hutchinson
- The Guardian - Film News
Danièle Delorme: 'Gigi' 1949 actress and pioneering female film producer. Danièle Delorme: 'Gigi' 1949 actress was pioneering woman producer, politically minded 'femme engagée' Danièle Delorme, who died on Oct. 17, '15, at the age of 89 in Paris, is best remembered as the first actress to incarnate Colette's teenage courtesan-to-be Gigi and for playing Jean Rochefort's about-to-be-cuckolded wife in the international box office hit Pardon Mon Affaire. Yet few are aware that Delorme was featured in nearly 60 films – three of which, including Gigi, directed by France's sole major woman filmmaker of the '40s and '50s – in addition to more than 20 stage plays and a dozen television productions in a show business career spanning seven decades. Even fewer realize that Delorme was also a pioneering woman film producer, working in that capacity for more than half a century. Or that she was what in French is called a femme engagée...
- 12/5/2015
- by Andre Soares
- Alt Film Guide
It's the role that catapulted a newcomer named Audrey Hepburn to international stardom and later served as the centerpiece to one of the most Oscar-laden movie musicals in Hollywood history. Now, Vanessa Hudgens - exclusively seen here for the first time in character - is stepping into the enviable shoes of French novelist Colette's irresistible gamine in turn-of-the-20th-century Paris, Gigi, for the splashy stage musical of the same name. "Excited isn't a strong enough word!" the actress, who rose to fame as Gabriella Montez on the Disney Channel's High School Musical, tells People about landing the title role in the Broadway-bound adaptation.
- 11/19/2014
- by Stephen M. Silverman, @stephenmsilverm
- PEOPLE.com
It's the role that catapulted a newcomer named Audrey Hepburn to international stardom and later served as the centerpiece to one of the most Oscar-laden movie musicals in Hollywood history. Now, Vanessa Hudgens - exclusively seen here for the first time in character - is stepping into the enviable shoes of French novelist Colette's irresistible gamine in turn-of-the-20th-century Paris, Gigi, for the splashy stage musical of the same name. "Excited isn't a strong enough word!" the actress, who rose to fame as Gabriella Montez on the Disney Channel's High School Musical, tells People about landing the title role in the Broadway-bound adaptation.
- 11/19/2014
- by Stephen M. Silverman, @stephenmsilverm
- PEOPLE.com
Anne Marie here to celebrate a personal favorite. There are two ways to enjoy George Cukor’s sparkling comedy, The Women. The most obvious is to thrill in the delights of the best that a 1930s MGM comedy had to offer: an A-List, all-lady cast including Norma Shearer, Rosalind Russell, Joan Fontaine, Paulette Goddard and Joan Crawford; costumes designed by Adrian (with a Technicolor fashion show bonus), and lavish sets, from department stores to nightclubs to Reno, including a bizarrely beautiful bathtub courtesy of Cedric Gibbons. But strip the elegant frivolity away, and you see the true nature The Women: A claws out, teeth bared, no-holds-barred bitchfest.
The Women is social satire aimed squarely at the myth of love in marriage. Neither Clare Boothe Luce (original playwright) nor Anita Loos (who adapted the screenplay) was shy about uncovering the backbiting of upper class socialites. The fights get more vicious...
The Women is social satire aimed squarely at the myth of love in marriage. Neither Clare Boothe Luce (original playwright) nor Anita Loos (who adapted the screenplay) was shy about uncovering the backbiting of upper class socialites. The fights get more vicious...
- 9/12/2014
- by Anne Marie
- FilmExperience
Honorary Award: Gloria Swanson, Rita Hayworth among dozens of women bypassed by the Academy (photo: Honorary Award non-winner Gloria Swanson in 'Sunset Blvd.') (See previous post: "Honorary Oscars: Doris Day, Danielle Darrieux Snubbed.") Part three of this four-part article about the Academy of Motion Picture Arts and Sciences' Honorary Award bypassing women basically consists of a long, long — and for the most part quite prestigious — list of deceased women who, some way or other, left their mark on the film world. Some of the names found below are still well known; others were huge in their day, but are now all but forgotten. Yet, just because most people (and the media) suffer from long-term — and even medium-term — memory loss, that doesn't mean these women were any less deserving of an Honorary Oscar. So, among the distinguished female film professionals in Hollywood and elsewhere who have passed away without...
- 9/4/2014
- by Andre Soares
- Alt Film Guide
‘Gilda,’ ‘Pulp Fiction’: 2013 National Film Registry movies (photo: Rita Hayworth in ‘Gilda’) See previous post: “‘Mary Poppins’ in National Film Registry: Good Timing for Disney’s ‘Saving Mr. Banks.’” Billy Woodberry’s UCLA thesis film Bless Their Little Hearts (1984). Stanton Kaye’s Brandy in the Wilderness (1969). The Film Group’s Cicero March (1966), about a Civil Rights march in an all-white Chicago suburb. Norbert A. Myles’ Daughter of Dawn (1920), with Hunting Horse, Oscar Yellow Wolf, Esther Labarre. Bill Morrison’s Decasia (2002), featuring decomposing archival footage. Alfred E. Green’s Ella Cinders (1926), with Colleen Moore, Lloyd Hughes, Vera Lewis. Fred M. Wilcox’s Forbidden Planet (1956), with Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly, Robby the Robot. Charles Vidor’s Gilda (1946), with Rita Hayworth, Glenn Ford, George Macready. John and Faith Hubley’s Oscar-winning animated short The Hole (1962). Stanley Kramer’s Judgment at Nuremberg (1961), with Best Actor Oscar winner Maximilian Schell,...
- 12/20/2013
- by Andre Soares
- Alt Film Guide
Don Jon is yet another example of a film where the women only exist in order to teach the men a lesson
In his supremely cocky directorial debut Don Jon (out later this month) Joseph Gordon-Levitt plays the eponymous Jon, a self-professed porn fanatic who openly acknowledges his preference for internet porn stars over "real pussy" – a telling synecdoche he applies to the female gender at large. And who can blame him, given the sorry assortment of real pussy Gordon-Levitt surrounds his creation with. Of the two anaemic love interests in the film, Scarlett Johansson's selfish Joisey girl Barbara exists solely to illustrate what's wrong with Jon's taste in women, while Julianne Moore's older, wiser Esther is merely a catalyst for his inevitable redemption (1).
A lot is made of the scarcity of female characters in Hollywood, but equally troubling is the nature of those who do exist. Women...
In his supremely cocky directorial debut Don Jon (out later this month) Joseph Gordon-Levitt plays the eponymous Jon, a self-professed porn fanatic who openly acknowledges his preference for internet porn stars over "real pussy" – a telling synecdoche he applies to the female gender at large. And who can blame him, given the sorry assortment of real pussy Gordon-Levitt surrounds his creation with. Of the two anaemic love interests in the film, Scarlett Johansson's selfish Joisey girl Barbara exists solely to illustrate what's wrong with Jon's taste in women, while Julianne Moore's older, wiser Esther is merely a catalyst for his inevitable redemption (1).
A lot is made of the scarcity of female characters in Hollywood, but equally troubling is the nature of those who do exist. Women...
- 11/2/2013
- by Charlie Lyne
- The Guardian - Film News
Helen Hayes was the second person after Richard Rodgers to complete the Egot, winning all four top showbiz awards. Fittingly, the "First Lady of the American Theater" won the first of her two Tony Awards for Best Actress at the inaugural ceremony of these kudos in 1947. She picked up the prize for her performance in Anita Loos' "Happy Birthday" tying with Ingrid Bergman ("Joan of Lorraine"). For the first two years of these awards -- which were a tribute to Antoinette Perry, the founder of the American Theater Wing who died in 1946 -- winners were given a scroll with the men also getting a money clip and cigarette lighter and the women a compact. And that is what Nate D. Sanders Auction house has on the block Tuesday -- a Tiffany sterling silver compact with the initials "Hh" engraved on it while inside is the inscription: "The American Theatre...
- 4/1/2013
- Gold Derby
A new musical production of Gigi is coming to Broadway.
Created 40 years ago by Anita Loos, the musical is based on the well-known novel of the same name by French writer Colette and the Oscar-winning 1958 film that starred Leslie Caron. (Audrey Hepburn originally played the heroine in a popular 1951 play.) Loos’ musical didn’t last long when it originally opened in 1973; Alan Jay Lerner and Frederick Loewe’s music and lyrics won a Tony but the show closed after only 103 performances.
British playwright and TV screenwriter Heidi Thomas (Upstairs Downstairs) is writing the newest adaptation of the classic romantic comedy about Gigi,...
Created 40 years ago by Anita Loos, the musical is based on the well-known novel of the same name by French writer Colette and the Oscar-winning 1958 film that starred Leslie Caron. (Audrey Hepburn originally played the heroine in a popular 1951 play.) Loos’ musical didn’t last long when it originally opened in 1973; Alan Jay Lerner and Frederick Loewe’s music and lyrics won a Tony but the show closed after only 103 performances.
British playwright and TV screenwriter Heidi Thomas (Upstairs Downstairs) is writing the newest adaptation of the classic romantic comedy about Gigi,...
- 3/28/2013
- by Samantha Highfill
- EW.com - PopWatch
Everybody's favorite movie decade: Which ones are the best movies released in the 20th century's second decade? Best Film (Pictured above) Broken Blossoms: Barthelmess and Gish star as ill-fated lovers in D.W. Griffith’s romantic melodrama featuring interethnic love. Check These Out (Pictured below) Cabiria: is considered one of the major landmarks in motion picture history, having inspired the scope and visual grandeur of D.W. Griffith’s Intolerance. Also of note, Pastrone's epic of ancient Rome introduced Maciste, a bulky hero who would be featured in countless movies in the ensuing decades. Best Actor (Pictured below) In the tragic The Italian, George Beban plays an Italian immigrant recently arrived in the United States (Click below for film review). Unfortunately, his American dream quickly becomes a horrendous nightmare of poverty and despair. Best Actress (Pictured below) The movies' super-vamp Theda Bara in A Fool There Was: A little...
- 3/27/2013
- by Andre Soares
- Alt Film Guide
If a reviewer decided to adhere to the old maxim about comparisons being odious in the case of the City Center Encores! series Gentlemen Prefer Blondes concert reading, he'd be obliged to say that Megan Hilty does a solid job as Lorelei Lee.
She gets her laughs on the lines Anita Loos and Joseph Fields supplied the deceptively savvy, supposedly dumb blonde Loos first immortalized in her 1920s Harper's Bazaar sketches and eventually published in novel form. Wearing a dazzling gown on which costumer David C. Woolard consulted, Hilty delivers an applause-reaping "Diamonds Are a Girl's Best Friend." Indeed, throughout the show, she acquits herself as well as might be hoped and expected.
If, on the other hand, a reviewer admits it's impossible to sit through any Gentlemen Prefer Blondes iteration without flashing on the previous two attention-demanding Lorelei Lees -- Carol Channing on Broadway in 1949 (following her scintillating Great...
She gets her laughs on the lines Anita Loos and Joseph Fields supplied the deceptively savvy, supposedly dumb blonde Loos first immortalized in her 1920s Harper's Bazaar sketches and eventually published in novel form. Wearing a dazzling gown on which costumer David C. Woolard consulted, Hilty delivers an applause-reaping "Diamonds Are a Girl's Best Friend." Indeed, throughout the show, she acquits herself as well as might be hoped and expected.
If, on the other hand, a reviewer admits it's impossible to sit through any Gentlemen Prefer Blondes iteration without flashing on the previous two attention-demanding Lorelei Lees -- Carol Channing on Broadway in 1949 (following her scintillating Great...
- 5/10/2012
- by David Finkle
- Aol TV.
In a case of life imitating art imitating life, curvy blonde Broadway vet Megan Hilty — who portrays the non-Katharine McPhee ingenue vying for the lead in a Marilyn Monroe stage biopic on NBC’s Smash – will play Lorelei Lee in the Encores! revival of Anita Loos’ Gentlemen Prefer Blondes at New York City Center this spring.
Monroe played the part of Lorelei — originated by Carol Channing in the 1949 stage production — in Howard Hawks’ 1953 musical adaptation. It is widely considered one of her most iconic roles, and includes her sexy rendition of “Diamonds Are a Girl’s Best Friend,” which...
Monroe played the part of Lorelei — originated by Carol Channing in the 1949 stage production — in Howard Hawks’ 1953 musical adaptation. It is widely considered one of her most iconic roles, and includes her sexy rendition of “Diamonds Are a Girl’s Best Friend,” which...
- 2/1/2012
- by Aubry D'Arminio
- EW.com - PopWatch
Each year New York residents can look forward to two essential series programmed at the Film Forum, noirs and pre-Coders (that is, films made before the strict enforcing of the Motion Picture Production Code). These near-annual retrospective traditions are refreshed and re-varied and re-repeated for neophytes and cinephiles alike, giving all the chance to see and see again great film on film. Many titles in this year's Essential Pre-Codeseries, running an epic July 15 - August 11, are old favorites and some ache to be new discoveries; all in all there are far too many racy, slipshod, patter-filled celluloid splendors to be covered by one critic alone. Faced with such a bounty, I've enlisted the kind help of some friends and colleagues, asking them to sent in short pieces on their favorites in an incomplete but also in-progress survey and guide to one of the summer's most sought-after series. In this entry: what's playing Friday,...
- 8/4/2011
- MUBI
Paulette Goddard, Modern Times Paulette Goddard on TCM Part I: Modern Times, Reap The Wild Wind I've never watched Alexander Korda's British-made An Ideal Husband, a 1948 adaptation (by Lajos Biro) of Oscar Wilde's play, but it should be at least worth a look. The respectable cast includes Michael Wilding, Diana Wynyard, C. Aubrey Smith, Hugh Williams, Constance Collier, and Glynis Johns. George Cukor's film version of Clare Boothe Luce's hilarious The Women ("officially" adapted by Anita Loos and Jane Murfin) is definitely worth numerous looks; once or twice or even three times isn't/aren't enough to catch the machine-gun dialogue spewed forth by the likes of Goddard, Rosalind Russell, Joan Crawford, Mary Boland, Phyllis Povah, Lucile Watson, et al. A big hit at the time, The Women actually ended up in the red because of its high cost. Norma Shearer, aka The Widow Thalberg, was the nominal star; curiously,...
- 8/2/2011
- by Andre Soares
- Alt Film Guide
Jack Nicholson, Barbra Streisand in Vincente Minnelli's On a Clear Day You Can See Forever At Film Threat, Phil Hall comes up with a follow-up to his 2008 article about important lost films. Among the 50 titles on Hall's highly eclectic new list are a version of Carmen (1915) starring Fox vamp Theda Bara; The Life of General Villa (1914), in which Mexican revolutionary Pancho Villa plays himself and future filmmaker Raoul Walsh played Villa as a young man; and the Rudolph Valentino vehicle A Sainted Devil (1924). Also, the 1928 version of Anita Loos' Gentlemen Prefer Blondes, featuring Ruth Taylor; Jealousy (1929) one of two talkies (the other being The Letter) starring Broadway legend Jeanne Eagels; Lon Chaney's last silent film, Thunder (1929); and Alam Ara (1931), the first Indian talking picture. And more: Heartache (1936), the first Cantonese-language American production; segments from what was to become part III of Sergei [...]...
- 4/20/2011
- by Andre Soares
- Alt Film Guide
Filed under: Features
It's been said that blondes have more fun. For years -- millennia -- blond hair has been a signifier of something special, otherworldly and seductive. Venus was graced with flowing blond curls, Milton gave Adam and Eve golden tresses, and fairy tale maidens like Goldilocks and Rapunzel were adored for their flaxen hair.
In the 20th century, the blonde fervor increased. Anita Loos published her 1925 novel 'Gentlemen Prefer Blondes' (later turned into the classic '50s film), and after the brown tendrils of cinema's great silent actresses, the '30s dropped a tantalizing bomb. Blondie Jean Harlow starred as sexpot Lola Burns in 'Bombshell,' becoming the first 'blonde bombshell' and ushering in a wave of tow-headed cinematic seductresses from Jayne Mansfield to Marilyn Monroe. For years, the double-b's reigned, though a new millennium and a Judi Dench film attempted to end the reign...
It's been said that blondes have more fun. For years -- millennia -- blond hair has been a signifier of something special, otherworldly and seductive. Venus was graced with flowing blond curls, Milton gave Adam and Eve golden tresses, and fairy tale maidens like Goldilocks and Rapunzel were adored for their flaxen hair.
In the 20th century, the blonde fervor increased. Anita Loos published her 1925 novel 'Gentlemen Prefer Blondes' (later turned into the classic '50s film), and after the brown tendrils of cinema's great silent actresses, the '30s dropped a tantalizing bomb. Blondie Jean Harlow starred as sexpot Lola Burns in 'Bombshell,' becoming the first 'blonde bombshell' and ushering in a wave of tow-headed cinematic seductresses from Jayne Mansfield to Marilyn Monroe. For years, the double-b's reigned, though a new millennium and a Judi Dench film attempted to end the reign...
- 4/7/2011
- by Monika Bartyzel
- Moviefone
Voluptuous star of The Outlaw and Gentlemen Prefer Blondes
The actor Jane Russell, who has died aged 89, was among the most desired women of the 20th century. She had great erotic force and great likability. Russell made just over 20 films, but only a handful of those are remembered: her first film, The Outlaw (1943); the comedy western The Paleface (1948), with Bob Hope; and the musical Gentlemen Prefer Blondes (1953), co-starring Marilyn Monroe.
The Outlaw, produced by Howard Hughes, was famously promoted with a series of publicity stills showing Russell lying in the hay, and bending down to pick up bales. The experience made her savvy about the vulgarity of the film industry. Her breasts were less covered and more fetishised, lit, photographed, designed and dreamed about than any woman's in the cinema had been until that time. Hughes even designed a special bra for her to wear in the film (although she...
The actor Jane Russell, who has died aged 89, was among the most desired women of the 20th century. She had great erotic force and great likability. Russell made just over 20 films, but only a handful of those are remembered: her first film, The Outlaw (1943); the comedy western The Paleface (1948), with Bob Hope; and the musical Gentlemen Prefer Blondes (1953), co-starring Marilyn Monroe.
The Outlaw, produced by Howard Hughes, was famously promoted with a series of publicity stills showing Russell lying in the hay, and bending down to pick up bales. The experience made her savvy about the vulgarity of the film industry. Her breasts were less covered and more fetishised, lit, photographed, designed and dreamed about than any woman's in the cinema had been until that time. Hughes even designed a special bra for her to wear in the film (although she...
- 3/2/2011
- by Mark Cousins
- The Guardian - Film News
Los Angeles — She was the voluptuous pin-up girl who set a million male hearts to pounding during World War II, the favorite movie star of a generation of young men long before she'd made a movie more than a handful of them had ever seen.
Such was the stunning beauty of Jane Russell, and the marketing skills of the man who discovered her, the eccentric billionaire Howard Hughes.
Russell, surrounded by family members, died Monday at her home in the central coast city of Santa Maria. Her death from respiratory failure came 70 years after Hughes had put her on the path to stardom with his controversial Western "The Outlaw." She was 89.
Although she had all but abandoned Hollywood after the 1960s for a quieter life, her daughter-in-law Etta Waterfield said Russell remained active until just a few weeks ago when her health began to fail. Until then she was active with her church,...
Such was the stunning beauty of Jane Russell, and the marketing skills of the man who discovered her, the eccentric billionaire Howard Hughes.
Russell, surrounded by family members, died Monday at her home in the central coast city of Santa Maria. Her death from respiratory failure came 70 years after Hughes had put her on the path to stardom with his controversial Western "The Outlaw." She was 89.
Although she had all but abandoned Hollywood after the 1960s for a quieter life, her daughter-in-law Etta Waterfield said Russell remained active until just a few weeks ago when her health began to fail. Until then she was active with her church,...
- 3/1/2011
- by AP
- Huffington Post
hollywoodnews.com:Emmy Award-winning Murphy Brown creator Diane English has been named recipient of the Writers Guild of America, West’s 2011 Paddy Chayefsky Laurel Award for Television, honoring lifetime achievement for outstanding television writing. English will be feted, along with other honorees, at the 2011 Writers Guild Awards West Coast ceremony on Saturday, February 5, 2011, in Hollywood.
“Diane English is a total class act – a trailblazing, supremely talented writer whose groundbreaking body of work has helped to both equalize and revolutionize television, while raising the bar for insightful, caustic, and moving writing on primetime TV. Her unique voice influenced not only a generation of women writers, but all creative artists who strive to deliver quality work,” said Wgaw President John Wells.
A Wgaw member since 1977, multiple award-winning writer-producer English first began her career at Wnet/13, New York City’s PBS affiliate. She worked first as a story editor for the Theatre in America series,...
“Diane English is a total class act – a trailblazing, supremely talented writer whose groundbreaking body of work has helped to both equalize and revolutionize television, while raising the bar for insightful, caustic, and moving writing on primetime TV. Her unique voice influenced not only a generation of women writers, but all creative artists who strive to deliver quality work,” said Wgaw President John Wells.
A Wgaw member since 1977, multiple award-winning writer-producer English first began her career at Wnet/13, New York City’s PBS affiliate. She worked first as a story editor for the Theatre in America series,...
- 1/20/2011
- by HollywoodNews.com
- Hollywoodnews.com
Originally published in the Manchester Guardian on 7 August 1926
Our civilisation has come in for some shrewd blows from this year's meeting of the British Association. Professor Graham Kerr yesterday gave it another by denouncing a feature of it in which we are apt to take pride – its facilities for communication of ideas and of material. Such, we understand him to mean, are the enormous conveniences in this respect that we tend to become lazy.
Compared with his slothful descendant of to-day our savage ancestor, this critic maintains, was a really lively fellow. His mind was constantly alert. It had to be, for he was liable at any time to be clubbed on the head by an ill-disposed neighbour or eaten alive by a marauding monster, and these are conditions of life that do not make for lethargy. Moreover, his children had the salutary help in life of an education in the fundamentals of science.
Our civilisation has come in for some shrewd blows from this year's meeting of the British Association. Professor Graham Kerr yesterday gave it another by denouncing a feature of it in which we are apt to take pride – its facilities for communication of ideas and of material. Such, we understand him to mean, are the enormous conveniences in this respect that we tend to become lazy.
Compared with his slothful descendant of to-day our savage ancestor, this critic maintains, was a really lively fellow. His mind was constantly alert. It had to be, for he was liable at any time to be clubbed on the head by an ill-disposed neighbour or eaten alive by a marauding monster, and these are conditions of life that do not make for lethargy. Moreover, his children had the salutary help in life of an education in the fundamentals of science.
- 8/10/2010
- The Guardian - Film News
1970s-era midnight movie poster for The Mystery of the Leaping Fish.
The Mystery of the Leaping Fish (1916) is a short film starring Douglas Fairbanks and Bessie Love. In this unusually broad comedy for Fairbanks, the acrobatic leading man plays "Coke Ennyday," a cocaine-shooting detective parody of Sherlock Holmes given to injecting himself with cocaine from a bandolier of syringes worn across his chest and liberally helping himself to the contents of a hatbox-sized round container of white powder labeled "Cocaine" on his desk.
The movie, written by D.W. Griffith, Tod Browning, and Anita Loos, displays a surreally lighthearted attitude toward cocaine and opium. Fairbanks otherwise lampoons Sherlock Holmes with checkered detective hat, coat, and even car, along with the aforementioned propensity for injecting cocaine whenever he feels momentarily down, then laughing with delight. In addition to observing visitors at his door on what appears to be a closed-circuit television referred...
The Mystery of the Leaping Fish (1916) is a short film starring Douglas Fairbanks and Bessie Love. In this unusually broad comedy for Fairbanks, the acrobatic leading man plays "Coke Ennyday," a cocaine-shooting detective parody of Sherlock Holmes given to injecting himself with cocaine from a bandolier of syringes worn across his chest and liberally helping himself to the contents of a hatbox-sized round container of white powder labeled "Cocaine" on his desk.
The movie, written by D.W. Griffith, Tod Browning, and Anita Loos, displays a surreally lighthearted attitude toward cocaine and opium. Fairbanks otherwise lampoons Sherlock Holmes with checkered detective hat, coat, and even car, along with the aforementioned propensity for injecting cocaine whenever he feels momentarily down, then laughing with delight. In addition to observing visitors at his door on what appears to be a closed-circuit television referred...
- 5/20/2010
- by The Hollywood Interview.com
- The Hollywood Interview
Marilyn Monroe and Jane Russell star in this musical comedy which lacks the wit of the original novel
This 1953 musical comedy, among the last of its kind to be made before the coming of the widescreen, features a golddigging Monroe and a man-eating Russell as busty girls en route by sea from the States to Paris, France. There are a couple of well-staged numbers but less wit and style than are to be found in Anita Loos's demotic classic on which it's based. Released the year Playboy was launched, it features much characteristic 50s coarseness and leering. Gentleman Prefer Blondes is among the weaker works of a great filmmaker, whose two finest comedies (Bringing Up Baby, His Girl Friday) were made before the war and whose greatest film (Rio Bravo) was yet to come.
MusicalComedyRomanceMarilyn MonroePhilip French
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is...
This 1953 musical comedy, among the last of its kind to be made before the coming of the widescreen, features a golddigging Monroe and a man-eating Russell as busty girls en route by sea from the States to Paris, France. There are a couple of well-staged numbers but less wit and style than are to be found in Anita Loos's demotic classic on which it's based. Released the year Playboy was launched, it features much characteristic 50s coarseness and leering. Gentleman Prefer Blondes is among the weaker works of a great filmmaker, whose two finest comedies (Bringing Up Baby, His Girl Friday) were made before the war and whose greatest film (Rio Bravo) was yet to come.
MusicalComedyRomanceMarilyn MonroePhilip French
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is...
- 2/28/2010
- by Philip French
- The Guardian - Film News
The Rules of the Game by Jean Renoir Film Gone with the Wind d: Victor Fleming; scr: Sidney Howard Le Jour se lève / Daybreak d: Marcel Carné; scr: Jacques Viot, Jacques Prévert Midnight d: Mitchell Leisen; scr: Billy Wilder, Charles Brackett Mr. Smith Goes to Washington d: Frank Capra; scr: Sidney Buchman Ninotchka d: Ernst Lubitsch; scr: Billy Wilder, Charles Brackett, Walter Reisch The Old Maid d: Edmund Goulding; scr: Casey Robinson The Rains Came d: Clarence Brown; scr: Philip Dunne, Julien Josephson La Règle du jeu / The Rules of the Game d: Jean Renoir; scr: Jean Renoir, Carl Koch The Women d: George Cukor; scr: Anita Loos, Jane Murfin Laurence Olivier, Merle Oberon in Wuthering Heights Check These Out Bachelor Mother d: Garson Kanin; scr: Norman Krasna Beau Geste d: William A. Wellman; scr: Robert Carson Hello Janine d: Carl Boese; scr: Hans Fritz Beckmann, Karl Georg Külb The...
- 5/10/2009
- by Andre Soares
- Alt Film Guide
LONDON -- Organizers of this year's Edinburgh International Film Festival have lined up Christopher Hampton, William Nicholson, Paul Laverty and Irvine Welsh to talk about Cinema and the Written Word, the subject of the first themed year in the festival's history.
As part of that theme, the festival also will feature a retrospective dedicated to legendary Hollywood screenwriter Anita Loos, who penned a variety of movies including Gentlemen Prefer Blondes, based on her novel.
First-year EIFF artistic director Hannah McGill said that the festival's 61st edition will showcase 120 movies from 31 countries, with 25 billed as world or international premieres.
Gala events will be held for Stefan Ruzowitzky's The Counterfeiters, Judd Apatow's Knocked Up, Ethan Hawke's The Hottest State, Mike White's Year of the Dog, Billy Ray's Breach and Matthew Vaughn's Stardust.
This year's lineup also includes Anton Corbijn's Control, Gus Van Sant's Paranoid Park, Michael Winterbottom's A Mighty Heart, Quentin Tarantino's Death Proof and new Pixar entry Ratatouille.
The festival will close with Julie Delpy's romantic comedy Two Days in Paris.
Other guests on the talk roster include directors John Waters, Apatow, Stephen Frears and Mike Leigh, and actors Samantha Morton, Chris Cooper, Delpy, Bob Hoskins, Stellan Skarsgard and Tilda Swinton.
As part of that theme, the festival also will feature a retrospective dedicated to legendary Hollywood screenwriter Anita Loos, who penned a variety of movies including Gentlemen Prefer Blondes, based on her novel.
First-year EIFF artistic director Hannah McGill said that the festival's 61st edition will showcase 120 movies from 31 countries, with 25 billed as world or international premieres.
Gala events will be held for Stefan Ruzowitzky's The Counterfeiters, Judd Apatow's Knocked Up, Ethan Hawke's The Hottest State, Mike White's Year of the Dog, Billy Ray's Breach and Matthew Vaughn's Stardust.
This year's lineup also includes Anton Corbijn's Control, Gus Van Sant's Paranoid Park, Michael Winterbottom's A Mighty Heart, Quentin Tarantino's Death Proof and new Pixar entry Ratatouille.
The festival will close with Julie Delpy's romantic comedy Two Days in Paris.
Other guests on the talk roster include directors John Waters, Apatow, Stephen Frears and Mike Leigh, and actors Samantha Morton, Chris Cooper, Delpy, Bob Hoskins, Stellan Skarsgard and Tilda Swinton.
- 7/12/2007
- The Hollywood Reporter - Movie News
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