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7966
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https://www.rottentomatoes.com/m/formula
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en
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Rotten Tomatoes
|
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1980-12-19T00:00:00
|
While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
|
en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/formula
|
Let's keep in touch!
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7966
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dbpedia
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3
| 8
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https://letterboxd.com/film/the-formula/
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en
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The Formula (1980)
|
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While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel, who clearly has his own agenda regarding the formula.
|
en
|
https://letterboxd.com/film/the-formula/
|
1980 In Review - December
While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
A really interesting film involving the discovery of a synthetic fuel that obviously big oil companies would want to suppress. Unfortunately I think this wastes that idea on a long and meandering murder mystery that ends up a…
I'm checking in on THE FORMULA as I try to embrace the cinema of both George C. Scott and John G Avildsen. Avildsen doesn't give us the gritty Frank Capra "Feel good about humanity or self" messaging that I feel we get from him at times. However, this works as an engaging procedural. A function of 1970s cop films, to be certain. And on paper, it probably had some marketing and awards appeal--although I don't think it really succeeded in either regard. Brando gives an interesting supporting performance while George C Scott leads the audience through an international mystery that cuts through local police noise AND international story threads whose tentacles stretch into modern oil-price fixing AND back into the…
SPRING CLEANING - FILM #52
George C. Scott is an LA detective tasked with unravelling the murder of an old friend. He stumbles onto a conspiracy involving a synthetic fuel formula that dates back to Nazi Germany.
The entire film is made of up scenes where Scott interviews a witness/suspect, leaves, and then that witness/suspect is assassinated. This happens at least 4 times. It becomes pretty tedious because the mystery is far from mysterious. Just waiting for it to end. The ending, by the way, does feature some good dialogue that hits the movie's theme nicely.
Brando is in his lazy, don't-give-a-fuck period with a very distracting set of false teeth that look fake and fuck up his already garbled…
This doesn’t look good, but it’s part of this Marlon Brando box set, so I’m gonna watch it.
⏰ Two hours later…
I didn’t expect Nazis, elephants, and alligators.
Honestly, I don’t think the plot is interesting enough to warrant the talents of George C. Scott and Marlon Brando. The idea of big oil suppressing alternative forms of fuel is compelling in real life, or as a documentary, but it’s not very cinematic. Maybe that’s why they needed to add Nazis, elephants, and alligators.
That said, our two stars do make it worth watching. George C. Scott walking around talking to people can never be boring! Plus, it was a great time for mainstream movies in general. It’s that 1970s…
Lt. Caine (George C. Scott) begins to investigate the murder of his friend and this leads him to Germany where there seems to have been a special formula for synthetic fuel that the Nazis were working on.
As the new decade kicked off you'd think that THE FORMULA would be a certain hit. After all, both Scott and Brando had won Oscars in the previous decade and director John G. Avildsen also picked up an Oscar. So three Oscar-winners and a story involving a cover-up with the Nazi party and yet, somehow, this film turned out to be a major dud, which is really too bad.
There are all sorts of problems with this film but I think the biggest…
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7966
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dbpedia
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https://faculty.washington.edu/baldasty/JAN13.htm
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The history of motion pictures
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The purpose of this lecture:
1. to provide a brief overview of the development of motion pictures
2. with an emphasis on the economic culture that developed historically.
3. This has meant an emphasis on profits and
4. an avoidance of controversy.
I. Early moving pictures
Note the term used in the early days of the industry: Moving pictures. Pictures that movied. From the 1850s on, there had been experimentation by photographers and others in reproducing human motion. First short motion pictures arrived in the 1890s.
In their first phase, motion pictures emphasized just movement. There was no sound, usually no plot and no story. Just movement. One of the earliest movie shorts was a collection of 15-30 second scenarios created by the Lumiere Brothers, in France. The first movie "shows," which lasted 5-8 minutes, were a collection of these short scenes: a train arriving at a station, a man watering his garden, men playing cards, people getting off of a ferry boat and a street vendor selling his wares. The early Lumiere presentations in Paris delighted people, drawing huge crowds.
In the United States, at the same time, Thomas A. Edison was producing similar short shows (water going over Niagara Falls, waves crashing at the ocean, two trains colliding).
By todays standards, these early movies were extremely primitive. Weve become accustomed to fairly elaborate movie effects (think of the Star War movie series, or the James Bond movies). However, for people at the start of the movie era, even these somewhat primitive films were exciting and highly realistic. For many Americans, the movies brought them their view view of a street car, or of the Pacific or Atlantic oceans. All of this seemed quite real to motion picture viewers. In one film, a train pulled into a station -- coming directly at the viewers. Some theater viewers were scared, thinking the train would come right into the theater; some in front rows panicked and ran out.
This first phase of the motion pictures, in the late 1890s and into the 1900s, emphasized reproducing human motion. The second phase, telling a story, began to emerge around 1900. Film makers moved beyond the technical aspects of just showing motino and began to tell stories. Edwin Porters 1903 film, "The Great Train Robbery" is a good example of the story telling nature of films. It is the story of a robbery, with a chase scene and the inevitable capture of the robbers.
These early films were quite short, running 5 to 8 minutes long; they were called "one reelers" (they were just one reel of film). In the U.S., these films were produced by a handful of small companies just outside of New York City (Biograph, Essenay, Lubin, Pathe Brothers, Selig, Polyscope, Vitagraph, Edison and Melies).
One of the more dynamic early directors was David Wark Griffith. He worked for Biograph in New Jersey and produced literally hundreds of one-reelres in the period from 1908 to 1912. A director like Griffith might be expected to produce at least two one-reel movies a week. The names of the actors were not released, for fear they would become stars and want higher salaries.
One early Griffith film was "The Lonedale Operator," in 1911. It starred Blanche Sweet; she outsmarted the desperados. This video demonstrates some of Griffiths innovative techniques, including cross cutting (cutting from one scene to another scene, and then back and forth, to develop various parts of a story and to build suspense) and closeups. Some early movie company owners objected to closeups, arguing that paying movie viewers would want to see the ENTIRE person. Closeups, however, could bring drama.
II. The Rise of Hollywood
Griffith and others in the industry wanted to move beyond the simple formula that characterized the industry in the early 1900s. But industry owners were resistant, wanting to keep to one-reelers and limited story telling. These owners monopolized the industry, thorugh patents on key machinery and cameras and through control over distribution.
Consequently, the dissidents left the East completely and moved about as far away as they could get -- to Los Angeles. Well, to a rural area near Los Angeles -- where there the weather was good (lots of sunshine, little rain, so ideal for outside movie work) and plentiful barns (on farms) for inside work. This was Beverly Hills. In Hollywood, Griffith and others began to experiment with longer films, and Griffith produced the first successful full-length feature film.
Birth of a Nation
This was the first successful full-length feature film. It cost $100,000 to make (a lot of money in those days, particularly in a small industry such as the movie industry) but it brought in $18 million in revenues. It ran over 3 hours, was popular, controversial and established Griffith as one of the nations leading directors. Technically, it was of high quality, with close ups, cross cutting, fadeouts, dramatic lighting. It was a powerful story told with exciting techniques.
It was also a highly racist story. The movie was adapted from a book, The Clansman, by Thomas Dixon. In the 1905 novel, Dixon wrote about two familes -- the Camerons of South Carolina and the Stonemans of Pennsylvania. In the 1850s, the two families had become friends; the children of the two families had met; the men had become good friends and some of the family children had fallen in love. Even though the Civil War divides the nation and puts these families on opposite sides, they do not lose their friendship or respect for one another. These are very civilized people.
The problem, as Dixon saw it, and as Griffith would present it in his movie, was the "American Negro." Early scenes in the movie provide an historical overview for the entire era; one early scene shows the first slaves arriving in America and the subtitles note: "The bringing of the African to America planted the first seeds of disunion." "True" union is achieved by the end of the movie, when the two families are re-united thorugh marriage and through white supremacy over blacks.
The controversy over the movie comes from its idealized portrayal of slavery before the Civil War and its highly negative view of freed blacks after the war. The movie shows Northern Radicals (after Lincolns death) giving too much power to blacks. Blacks are shown as little more than savages, with black men lusting after white women and a variety of other examples of the incompetence or venality of African Americans (shoving whites off sidewalks, running rampant in legislatures).
The movie shows the South Carolina state legisltaure under black control (the subtitle notes that there are 102 blacks and just 23 whites in the legislature). The legislature and its black members are crazed. Black legislators are shown with their shoes off, guzzling booze and eating huge pieces of meant in a sloppy manner. They are also shown leering at white women.
The movie shows a state of near anarchy, with a mulatto (part black, part white), Lt. Gov. Lynch, exercising vast power. He threatens the beautiful white daughter of the Stoneman family.
Whites unite to defend themselves, their honor and their property. The Ku Klux Klan is born and is presented as an honorable and necessary institution. At first, the KKK is ineffective but one event galvanizes the whites: the death of Flora Cameron. She jumps to her death to escape Gus, a former Cameron slave who has joined the black frenzy. Rather than be ravished by Gus, Flora willingly jumps to her death. The Klan later kills Gus.
The KKK saves others from black mobs, too, and restores order.
The racism of the movie led to protests when it was shown and, in some cities, riots. Others objected to the fact that most of the "blacks" who appeared in the movie were really whites in blackface.
The significance of Birth of a Nation
With "Birth of a Nation," movies arrived in America as a middle class medium (despite the racism of the film). The movie demonstrated the power and popularity of movies; it also showed that huge profits could be made.
III. Rise of the Star System
Early films, in the East, had not named the actors for fear of creating stars (and thus raising salaries). As Hollywood grew, in the period after 1912, the industry came to rely increasingly on stars to bring people back to the movies again and again.
Directors would use revenues from a current movie to fund their next project; so each movie needed to make money. A sure way of making money is to use star-power; stars will draw people again and again.
Early stars included Charlie Chaplin. In 1913, he was making just $130 a week, but by 1914, he was getting $10,000 a week ($500,000 a year, at a time when there was no federal income tax). He also got a signing bonus of $150,000.
Other stars included Mary Pickford, Douglas Fairbanks Jr., Fatty Arbuckle and the Keystone Cops.
By the 1920s, Hollywood studios were relying on stars to carry the movies -- and even creating stars when needed. Theda Bara was such created star. Born Theodosia Goodman, she was the daughter of a Cincinnati tailor. She was transformed by one studio into "Theda Bara" -- an anagram for "Arab Death." She was purportedly the love child of a French artist and his Arabian lover.
Other stars benefited from the star hype. Rudolph Valentino was highly popular with women, although his popularity was starting to wane some around 1925. In 1926, he became ill and died of peritonitis. He had four movies still to be released and had diminishing popularity. So his movie studio resorted to major marketing of his funeral, paying women to be hysterical mourners (fainting, screaming, etc.). His girl friend suddenly appeared (she had been too busy to see him when he was on his deathbed) and fainted at his funeral. His first wife, Jean Archer, claimed to have been spirited to his deathbed by none other than the Angel of Death himself. When Valentino died, his esate was $500,000 in debt; with just his portion of the movie profits, his estate made $1.2 million from the four remaining movies.
Creating stars continues: Monkees in the 1960s, Village People in the 1970s, Milli Vanilla in the 1990s and many of the "boy bands" in the late 1990s.
Stars (whether "created" like Theda Bara or the Monkees, or people who achieve stardom due to their abilities as actors) remain a staple of contemporary movies -- and one of the surest ways of making a movie a success.
IV. Structure of the movie industry
Concentration of ownership long ahs been a characteristic of the movie industry.
1. Edison and the Trust. Edison and several business allies controlled the industry in the pre-Hollywood era. The result of their control on content: one reelers, no stars, very simple, short stories.
2. Adolph Zukor. After a short period of flux in Hollywood in the early nineteen-teens, Adolph Zukor emerged as the key controller of the movies between 1917 and 1927. Zukors ability to control the industry came from his deal-making and his sense of vertical integration. (a) He controlled production through contracts with stars, directors and producers -- with Famous Players Lasky. Under contract to him were: Douglas Fairbanks, Gloria Swanson, William S. Hart, Fatty Arbuckle, D.W. Griffith, Mack Sennett, Thomas Ince, Blanche Sweet and Cecil B. Demille. (b) He controlled distribution through Paramount and (c) his holdings included theaters [exhibition]. He had 303 theaters in the U.S. by 1921. Vertical integration: production, distribution, exhibition.
3. The coming of Sound; the Big 6.
With the coming of sound c 1927-28, control in the industry shifted to a few studios (about 6 in all): Loews, Paramount, 20th Century Fox, Warner Brothers, Columbia and Universal (A few others would emerge in the 1930s).
These companies did not control all of exhibition, but they had about 25% to 33% of it (mostly at first run theaters). They controlled distribution and production.
V. Caution, Self censorship
Not a very daring industry.
Fearful of government regulation, the industry from the 1920s on has engaged in self censorship (ranging from in-house censors to the current rating system). The industy has also cooperated with some external ratings sytems, most of all that set up by the Legion of Decency in the 1930s.
Industry has attempted to please mainstream public taste and to avoid controversy that will hurt it financially.
Least Offensive Programming (LOP)
Lowest Common Denominator (LCD)
VI. Business Practices.
The Golden Age of Motion Pictures
1928-1948. Golden Age of American Motion Pictures. Attendance was going up steadily and there were some great movies. Movies were primarily entertainment in nature (rather than serious or informative documentaries). They steered clear of controversy; they generally avoided depressing topics or too much realism. This was the dream factory.
Several components
1. Formula.
Movies began to develop into a series of formulas, each of which was successful (although each formula might move in and out of popularity).
Formulas included
Westerns. Thousands of stories about the settling of the old west. John Fords Stagecoach, 1930; Virginia City, 1940. John Wayne emerges as a major star of this genre by the 1950s.
Adventure Serials, such as Buck Rogers, Deerslayer, Flash Gordon.
Horror Films. On Valentines Day, 1931, a struggling Universal Pictures released Dracula. It turned out to be the top revenue grossing movie of the year and the start of a new popular genre of films. Universal followed with Frankenstein (1931); Paramount with Island of Lost Souls (1932) and Dr. Jekyll and Mr. Hyde. Others in this genre included Warner Brothers Dr. X, Universals The Mummy, The Old Dark House. Horror movies were relatively inexpensive and the salaries of their stars remained below that of the industry generally. Actors such as Boris Karloff drew much smaller salaries than big name box office darws like Clark Gable. So these were popular but cheap movies.
Gangster. The films in this genre were inspired by the rise of gangland figures during the 1920s and 1930s, during prohibition. Leading movies in this genre included Little Caesar (1930, with Edward G. Robinson), Public Enemy (1931, with James Cagney) and Scarface (1932, with Paul Muni).
Musicals. The coming of sound made possible the film musical. Films could feature dancing, singing - or both. Such scenes could be inserted into any number of stories. In the 1930s, Warner Bros. relied on Busby Berkeley, a Broadway veteran, to create a series of musical numbers, including Footlight parade (1933), 42nd Street (1933), Dames (1924) and the Gold Digger Series (1933, 1935 and 1937). RKO had Fred Astaire and Ginger Rogers (popular for their song and dance numbers).
2. Block Booking.
Films were sold in blocks; exhibitors had to take the entire block. Take it or leave it mentality; exhibitors had little or no bargaining power.
3. Blind selling.
Exhibitors did not know the composition of the entire block.
VII. Post World War II Movies.
Movie attendance had grown steadily after the coming of sound; but in the period after World War II, movie attendance plummeted. Between 1945 and 1948, an average of 90 million tickets were sold each week; that dropped to a low of 45 million tickets in 1960. What happpened?
1. Television
Television became a functional, at-home, equivalent to the movies. Easy to use. As Americans moved to the suburbs and began having families in the late 1940s and early 1950s, going to the movies involved more effort (getting a baby sitter, etc.). Meanwhile, television programming was improving (with the rise of professional sports on TV, some theater and even opera).
2. Movie costs soar
Inflation, rising costs plague Hollywood.
3. Vertical integration ends
The federal government broke up Hollywoods hold on exhibition in the late 1940s, when it forced the studios to sell off their theaters. The rationale: the studios were operating as a monopoly. The loss of theaters hurt greatly in an era of rising costs; theaters could be very lucrative for ancillary products (popcorn, drinks). Studios no longer had a guaranteed outlet for the exhibition of their films.
4. Innovation.
The movie industry responded, trying to woo viewers back with increasingly sophisticated technicques. These include wide screen (Cinerama) form 1952 on (using three projects and a curved screen, enhancing the illusion of depth); 3-D movies (Bwana Devil, 1952) -- a surprising hit and Aromarama (smells released from your chair, to correspond to scenes on the screen. e.g., jungle smells, incense, etc. Another version of this was Smellovision. Referred to as "the smellies."
Other innovations included the drive in, reflecting Americas love of movies and of their cars. 1946 there were just 100 in the US; 5,000 by 1956. Family night for $1 (for as many people as you could get into your car).
The Province of Quebec, in Canada, banned construction of outdoor theaters until the 1960s -- they were referred to derisively by legislators there as "passion pits."
5. Emphasis on blockbusters
In an era of increased competition from other media (such as TV), movie industry made fewer movies but went for the big hit -- the big blockbuster that was sure to pull in a lot of people and do well at the box office. Movies such as The Robe, Ben Hur were huge, expensive spectacles that did enormously well at the box office.
6. Emphasis on formulas
Using surveys to ascertain public interest, Hollywood began to create niche or segment movies.
Westerns. Major revival of westerns in the 1950s and 1960s. Golden Age of American Western Film. John Wayne ranked as the biggest box office star in Hollywood with movies such as How the West Was Won, Sons of Katie Elder, True Grit. Early in the 1950s, Gary Cooper ranked highly, too (High Noon, 1952). Other key films included John Fords U.S. cavalry epics (with John Wayne) and Fred Zinnemans High Noon.
Comedy. Light comedies from Doris Day and Rock Hudson reached the top of Hollywood money lists in the late 1950s. Films of Dean Martin and Jerry Lewis were consistent top ten box office attractions.
Action, Adventure. One of the single most important formulas for Hollywood films. This remains as the single most lucrative genre of film today. Part of this genre includes the James Bond series, the most successful (popular, profitable) series of sequels in the motion picture industry. In the early 1960s, the Bond films began to earn serious money; the 17th top grosser in 1964 was From Russia With Love; third in 1965 was Goldfinger and Thunderball was the top draw in 1966. Bond, a fictional British secret agent, is the hero of a succession of Ian Fleming novels. These make for fast paced, extravagant entertainment with elaborate special effects, location shooting around the world and an overt sexuality not permitted in the early days of Hollywood. Dr. No earned $1.3 million, From Russia with Love, $2.5 million, Gold Finger, $4million, Moonrake, $16 million, Tomorrow Never Dies ($250 million US domestic market).
Youth market. In 1967, the Graduate (starring Dustin Hoffman and directed by Mike Nichols) set off a wave of new youth-oriented films. With the music of Art Garfunkel and Paul Simon, the Graduate proved a film aimed at college sutdnets could make millions of dollars. In 1969, came Easy Rider (cost less thatn $500,000 but finished 11th in that years box office stanidngs). This motorcyle odyssey across the southern United States focused on two drop outs from society searching for meaning in life. Robert Altmans M*A*S*H (1970) was extremely popular with this segment. In the 1980s, the youth market included comedy, horror and science fiction. Friday the 13th (cost $6 million, U.S. gross, $50 million) and Animal House (cost $2.7 million, U.S. revenues about $100 million).
VIII. Hollywood Revival
1. Switch to TV production.
By 1959, Hollywood was a TV town.
Time magazine noted that a single Hollywood show for TV (NBCs Matinee Theater) hired 2400 actors a year for speaking parts, which was 50 % more than the players used by Warner and Paramount studios combined in all of their 1956 movies. The NBC show used 250 scrips a year (as many as the major studios combined for movies).
TV emerges as the biggest money maker for Hollywood. Production companies such as Desilu turned out more footage for TV than the combined output of the five major movie studios.
2. Selling old films to TV.
By 1958, an estimated 3700 feature films had been sold or leased to TV for an estimated $220 million.
3. Home Video
By the mid 1980s, the home video revolution had swept the coutnry. Sony introudced its Betamax half inch home video cassette recorder (VCR) in 1975. Originally priced at more than $1000 (double that in todays dollars), the cost of a Beta machine and their newer rivals from VHS dropped to just over $300 a machine by the mid 1980s.
An enthusiastic public snapped up the machines. By 1989, two thirds of American homes were equipped to tape off the air or to run pre recorded tapes.
At first, Hollywood loathed the VCR, figuring it would undermine revenues. The studios vastly underestimated the demand for movies-at-home and tried to sell prerecorded movies to the public for $60 and up. Fewer buyers. The significant breakthrough came in the early 1980s, when local entrepreneurs throughout the US began to buy multiple copies of pre recorded movies and to rent them to the public. The terms varied, but usually one had to join a movie club and then rent the tape for $1 or $2 a day. By the mid 1980s, stores renting video tapes seemed to be popping up on every street corner. Even grocery stores have jumped into the buisness.
Hollywood finally saw the value in the tend. In 1986, the returns from ancillary video sidelines exceeded the take at the US box office. During the mid 1980s, about 400 new pre recorded cassettes were being released each month.
If any medium has suffered from this, it has not been the movies -- rather TV.
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Alligator (1980)
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Alligator is a 1980 monster movie, directed by Lewis Teague with a screenplay by John Sayles. It stars Robert Forster, Robin Riker, and Michael V. Gazzo. It follows the attempts of a police officer named David Madison and a reptile expert named Marisa Kendall to stop a deadly giant alligator...
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https://horror.fandom.com/wiki/Alligator_(1980)
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This page needs improvement. It can be improved by: pictures, list of deaths, quote on top
Alligator is a 1980 monster movie, directed by Lewis Teague with a screenplay by John Sayles. It stars Robert Forster, Robin Riker, and Michael V. Gazzo. It follows the attempts of a police officer named David Madison and a reptile expert named Marisa Kendall to stop a deadly giant alligator that is killing humans in the sewers of Chicago.
The film received praise from critics for its intentional satirizing and, in 1991, an apparent sequel was released, titled Alligator II: The Mutation. Despite the title, this film shared no characters or actors with the original, and the plot was essentially a retread of the first film.[1]
Plot[]
The film opens with a teenaged girl purchasing a baby alligator while on vacation with her family at a tourist trap in Florida. After the family returns home to Chicago, the alligator, named Ramón by the girl, is promptly flushed down the family's toilet by her surly, animal-phobic father and ends up in the city's sewers. Twelve years go by, during which the alligator not only survives, but eventually feeds on covertly discarded pet corpses that are spiked with an experimental growth formula, causing it to grow into a 36 ft-long crocodile with an almost impenetrable hide.
The alligator begins killing off humans in the sewer, and the resulting flow of body parts draws in world-weary police officer David Madison who, after a horribly botched case in St. Louis, has gained a reputation for being lethally unlucky for his assigned partners. As David works on this new case, his boss Chief Clark brings him into contact with reptile expert Marisa Kendall, who years earlier was the girl who bought the alligator. The two of them edge into a prickly romantic relationship, and during a visit to Marisa's house, David bonds with her motormouthed mother.
David's reputation as a partner-killer is "confirmed" when the gator snags the young cop who accompanies David into the sewer searching for clues. No one believes David's story, partly due to a lack of a body, and partly because of Slade, the influential local tycoon who sponsored the illegal growth experiments and therefore does not want the truth to come out. This changes when obnoxious tabloid reporter Thomas Kemp goes snooping in the sewers and supplies graphic and indisputable photographic evidence of the beast at the cost of his own life. Ironically, Kemp had, up until that point, been one of the banes of David's existence.
An attempt by the police to flush out Ramón comes up empty, and David is put on suspension, but then the gator literally smashes his own way out of the sewers and comes to the surface, first killing another police officer, then killing a young boy who gets tossed into a swimming pool during a party. The ensuing city-wide hunt turns into a media circus, including the hiring of pompous big-game hunter Colonel Brock to track the animal. Once again, the effort fails: Brock is killed, the police trip over each other in confusion and Ramón goes on a rampage through a high-society wedding party; among his victims is Slade and the mayor. With only Marisa to help him, David finally lures the alligator into a trap back in the sewers and destroys the predator with a massive charge of explosives, barely escaping with his own life. As the film ends with David and Marisa walking away after the explosion, a drain in the sewer spits out another baby alligator.
Cast[]
Robert Forster - David Madison
Robin Riker - Marisa Kendall
Michael V. Gazzo - Chief Clark
Dean Jagger - Slade
Sydney Lassick - Luke Gutchel
Jack Carter - Mayor
Perry Lang - Officer Jim Kelly
Henry Silva - Col. Brock
Bart Braverman - Thomas Kemp
John Lisbon Wood - Mad Bomber
James Ingersoll - Arthur Helms
Robert Doyle - Bill Kendall
Patti Jerome - Mrs. Madeline Kendall
Robert Hammond - Wedding Guest
Angel Tompkins - Newswoman
Sue Lyon - ABC Newswoman
Location[]
Filming took place in and around Los Angeles. Although commentary on the Lions Gate Entertainment DVD gives the location as Chicago, the police vehicles in the film appear to have Missouri license plates. When the young Marisa returns home with her family from their vacation in Florida, they pass a sign that reads "Welcome to Missouri." Later, the voice of a newscaster identifies Marisa as "a native of our city," implying the location is a city in Missouri other than St. Louis.[2]
Critical reaction[]
While the film is both low-budget and derivative of the formula established by the 1975 film Jaws, it has regularly received praise from critics for its (intentional) satirizing and wit, lack of pretension, and the performances of the human stars. Screenwriter Sayles also penned the script for Piranha, another well-received tongue-in-cheek horror film of the era.
Vincent Canby of the New York Times praised the film, saying, "The film's suspense is frequently as genuine as its wit and its fond awareness of the clichés it's using."[3]
Film critic Roger Ebert was not a fan of the movie, suggesting that it would be best to "flush this movie down the toilet to see if it also grows into something big and fearsome."[4]
Video releases[]
On September 18, 2007, Lions Gate Entertainment released the film on DVD for the first time in the USA. The disc features a new 16x9 anamorphic widescreen transfer in the original 1.78:1 ratio and a new Dolby Digital 5.1-channel sound mix in addition to the original mono mix. The included extras are a commentary track with director Lewis Teague and star Robert Forster, a featurette titled Alligator Author in which screenwriter John Sayles discusses the differences between his original story and the final screenplay, and the original theatrical trailer. The film had previously been available on DVD in other territories, including a version released in the UK in February 2003 by Anchor Bay Entertainment (now Starz). This release features an optional DTS sound mix, includes the 1991 sequel Alligator II: The Mutation on a second disc, and includes the same Teague-Forster commentary found on the recent Lions Gate US release.
Videos[]
References[]
[]
Alligator (1980) at the Internet Movie Database
Alligator (1980) at AllMovie
Alligator (1980) at Rotten Tomatoes
Alligator (film) at Wikipedia
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https://en.wikiquote.org/wiki/The_Formula_(1980_film)
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The Formula (1980 film)
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https://en.wikiquote.org/wiki/The_Formula_(1980_film)
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The Formula is a 1980 film about a detective who uncovers a formula that was devised by the Nazis in World War II to make gasoline from synthetic products, thereby eliminating the necessity for oil—and oil companies. A major oil company finds out about it and tries to destroy the formula and anyone who knows about it.
Directed by John G. Avildsen. Written by Steve Shagan, based on his novel.
In a world starved for energy, no secret is more valuable. taglines
Lt. Barney Caine
[edit]
Let me tell you something. If I didn't have a son that still loved me, I'd blow your fuckin' brains out all over that wall back there... right here, right now. But I'm not in the murder business... and you're not worth one more minute of my time.
[to Adam Stieffel] What do you know about this nation? Don't you ever give a second thought to American citizens? You're the reason their money's worthless. You're the reason old people are eating out of garbage cans, and kids get killed in bullshit wars. You're not in the oil business; you're in the oil shortage business! You're an ivory-tower hoodlum-a common street killer. I wish to Christ there was some way I could nail ya'.
Dialogue
[edit]
Arthur Clements: [proposing that Titan Oil can raise its gasoline prices] The people will accept the 12 cents now because we can blame it on the Arabs!
Adam Steiffel: Ah, Arthur, you're missing the point: We are the Arabs.
Barney Caine: Check the car.
Sgt. Yosuta: Lieutenant Caine, I gotta talk to you. You know, we're supposed to be working this case together, so let's get some ground rules straight-up front. I have a name and I'd like you to use it-understood?
Barney Caine: You're absolutely right. I should have said, "Check the cars, Louis", or, "Would you be good enough to check the cars, Sergeant Yosuta?" but it's Sunday and I'm not with my son and it bothers me, so you'll forgive my sudden lack of charm, okay?
Sgt. Yosuta: Okay.
Barney Caine: Good-now check the fuckin' car.
Taglines
[edit]
In a world starved for energy, no secret is more valuable.
Big Oil. Big Money. Big Mystery. Everyone's out to make a killing.
From the best-selling mystery thriller that rips the truth from behind today's headlines
What happens when the oil runs out? Two men know. They both want... The Formula.
Cast
[edit]
George C. Scott - Lt. Barney Caine LAPD
Marlon Brando - Adam Steiffel, Chairman Titan Oil
Marthe Keller - Lisa Spangler
John Gielgud - Dr. Abraham Esau, Director Reich Energy
G. D. Spradlin - Arthur Clements
Beatrice Straight - Kay Neeley
Richard Lynch - General Helmut Kladen / Frank Tedesco
John van Dreelen - Hans Lehman, Prefect of Police Berlin
Ike Eisenmann - Tony
Wikipedia has an article about:
The Formula quotes at the Internet Movie Database
The Formula at Rotten Tomatoes
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https://www.robertwhitakerphotography.com/robert-whitaker-biography/the-formula-film/
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The Formula (Film)
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The Formula is a mystery film directed by John G. Avildsen released by Metro-Goldwyn-Mayer in 1980. It features a pre-eminent cast of Marlon Brando, John Gielgud, George C. Scott and Marthe Keller.
Storyline
A detective uncovers a formula that was devised by the Nazis in WWII to make gasoline from synthetic products, thereby eliminating the necessity for oil–and oil companies. A major oil company finds out about it and tries to destroy the formula and anyone who knows about it.
Robert continued to shoot photos of prominent Artists and Actors during his career.
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https://www.rogerebert.com/reviews/the-formula-1980
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The Formula movie review & film summary (1980)
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One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
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https://www.rogerebert.com/reviews/the-formula-1980
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One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
Since "The Formula" is intended as a thriller, its completely muddled plot is a disaster: There can be no joy in unraveling a plot that is a mystery even to itself.
The movie's based on Steve Shagan's best-selling novel of a few years ago, which began with the premise that the Nazis discovered a cheap formula for synthetic fuel 35 years ago, and that the giant oil corporations have been suppressing it ever since.
In the movie, the oil companies are represented by Marlon Brando, who appears in three fascinating scenes and leaves us wishing for more. The good guys are boiled down into the person of George C. Scott, as a Los Angeles detective who starts out investigating the murder of a friend and stumbles onto a trail that leads him to Europe and the possessors of the secret formula.
Of that much I'm sure. Various other questions remain unanswered. For example, In Europe Scott takes up with a young lady who seems to be on the same side he's on. She's played by Marthe Keller as the same sort of beautiful international enigma she has played before.
But what's she really up to? In interviews, Steve Shagan explains that she's from the Palestine Liberation Organization. In the movie, we learn she has guilt feelings because her Nazi father murdered Jews. Then why would she be in the PLO? It hardly matters, since her affiliation, if any, is never made clear in the movie.
There are other puzzles. As Scott tracks down the formula, everyone he talks to is killed almost immediately after he talks to them. Why? Because he's being led on a wild goose chase and each character is eliminated after serving his function? Because the killers are trying to discourage Scott-and just can't seem to kill him too? It's a mystery.
I must also admit that at the movie's end, I still did not know for sure who was doing the shooting, I assumed it was a conspiracy by Brando's oil company, but I couldn't be sure.
"The Formula" apparently is a mess because of a post-production fight between Shagan, as writer-producer, and John Avildsen, as director; they exchanged acrimonious letters in the Los Angeles Times recently, and Avildsen failed in an attempt to have his name removed from the picture. The way they tell it, Avildsen wanted the movie to make more sense as a thriller, while Shagan was more concerned with his "message."
Well. One of the problems with his message is that it is not based on fact; it's a fantasy. Even though it may be true that the multinational oil companies try to manipulate the energy market, it is apparently not true that a formula exists that could turn coal into cheap synthetic fuel. Yet the movie's publicity calls the existence of a secret Nazi formula a "proven fact."
I have here an article from the November, 1980, issue of Science magazine, noting that the "synthesis used by the Germans are more in the nature of textbook processes than Mobil secrets" and that the film, "as history, is bunkum."
If the film cannot be taken seriously as an expose, and it is hopelessly confused as a thriller, what's left? Two marvelous performances. Scott, as the detective, is a harried, tired, deeply cynical man who fills the crevices of his role with actor's details that make the cop a human being.
Brando, who modeled his makeup to resemble Occidental Oil's Armand Hammer, has a great speech at the end of the film and several other classic lines ranging from "You're missing the point-we are the Arabs," to the succinct offer "Milk Dud?"
What happens during "The Formula" is that we eventually give up trying to make any sense out of the movie and content ourselves with regarding these performances. They are subtle and lovingly crafted, and it is just too bad there's no substance surrounding them.
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https://scopophiliamovieblog.com/2019/01/19/the-formula-1980/
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The Formula (1980)
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2019-01-19T00:00:00
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By Richard Winters My Rating: 3 out of 10 4-Word Review: Nazis create synthetic fuel. While investigating the murder of his former police mentor, Lt. Barney Caine (George C. Scott) stumbles upon a an underworld of drug money and illicit funds that connect back to a petroleum company run by Adam Steiffel (Marlon Brando). He later…
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en
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Scopophilia
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https://scopophiliamovieblog.com/2019/01/19/the-formula-1980/
|
By Richard Winters
My Rating: 3 out of 10
4-Word Review: Nazis create synthetic fuel.
While investigating the murder of his former police mentor, Lt. Barney Caine (George C. Scott) stumbles upon a an underworld of drug money and illicit funds that connect back to a petroleum company run by Adam Steiffel (Marlon Brando). He later learns that it has to do with a synthetic fuel invented by the Nazis during World War II that could be created from coal instead of oil, which if unleashed would unbalance the world markets and those that know about it are now being silenced permanently.
MGM offered to make the movie before Steve Shagan had even completed the novel of which is is based figuring that the topic of synthetic fuel would grab audiences since it conformed to the issue of the energy crisis that was making headlines during that era. Unfortunately the story works better in novel form because as a movie it amounts to nothing more than scene after scene of talking heads with no visual style or cinematic quality to it and the only interesting images, which include watching a frog swim across a chlorine filled pool and alligators munching on their lunch, has nothing to do with the actual plot at all.
Scott’s character is equally dull. He’s seen at the start leaving a movie theater with his son (Ike Eisenmann), which I guess is a cheap attempt to ‘humanize’ the character, but then he’s never seen with him again. He’s also initially straddled with a police partner (Calvin Jung) and their relationship gets off to a rocky start, which I thought would offer some secondary drama, but then he disappears too leaving him only with Marthe Keller, who replaced Dominique Sanda who Scott disliked because of her French accent, who acts as a potential love interest that is both stale and unneeded.
The film’s only entertaining aspect is Brando who manages to steal every scene he’s in by playing up the comic angle. He demanded complete control over how his character dressed and in the process sported a goofy comb-over and a hearing aid, which gives the guy a quirky charm. He also mostly ad-libbed his lines and refused to learn the ones in the script, which helps enliven the otherwise staid drama with some nice offbeat touches that I wished had been played-up more and it’s a shame that he wasn’t made the star as he’s the only thing that saves it.
The plot does have some intriguing qualities to it, but Shagan who also acted as the film’s producer, gives away all the secrets too early. Instead of waiting until the very end to find out what the code name Genesis stands for we’re told the answer at the halfway mark making the second half seem pointless and petering itself out with one of the dullest, most anti-climactic finales ever filmed.
My Rating: 3 out of 10
Released: December 19, 1980
Runtime: 1 Hour 57 Minutes
Rated R
Director: John G. Avildsen
Studio: MGM
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https://en.wikipedia.org/wiki/The_Formula_(1980_film)
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The Formula (1980 film)
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2005-08-07T03:30:56+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/The_Formula_(1980_film)
|
1980 American-West German mystery film by John G. Avildsen
The FormulaDirected byJohn G. AvildsenScreenplay bySteve ShaganBased onThe Formula
1979 novel
by Steve ShaganProduced bySteve ShaganStarringCinematographyJames CrabeEdited byJohn CarterMusic byBill Conti
Production
companies
Metro-Goldwyn-Mayer
CIP Filmproduktion
Distributed byUnited Artists (North America)
Cinema International Corporation (international)
Release date
Running time
117 minutesCountriesWest Germany
United StatesLanguageEnglishBudget$13.2 million[1]Box office$8.9 million[2]
The Formula is a 1980 mystery film directed by John G. Avildsen. It was produced and written by Steve Shagan, who adapted his own 1979 novel The Formula. It stars Marlon Brando, George C. Scott, Marthe Keller, John Gielgud, G. D. Spradlin, and Beatrice Straight.
The film follows the attempts by different groups who wish to either secure or destroy a synthetic fuel formula invented by the Nazis at the end of World War II which would end reliance on the supply of oil.
In the final days of World War II, Soviet forces close in on the outskirts of Berlin. Panzer Korps General Helmut Kladen is dispatched to the Swiss frontier with secret documents to be used as a bargaining chip with the Allies to save Germany from the Soviets. He is subsequently intercepted by the U.S. Army and turned over to Army Intelligence.
In contemporary Los Angeles, Lt. Barney Caine is assigned to solve the murder of his former boss and friend Tom Neeley, which presumably occurred during a drug deal gone wrong. However, Neeley has written "Gene" on a newspaper in his own blood, and Caine finds a map of Germany with the name "Obermann" on it. Caine eventually learns that Neeley provided drugs at parties hosted by the tycoon Adam Steiffel. While interviewing Neeley's ex-wife, he catches her in several lies. Returning to interview her a second time, he finds her shot dead in her hot tub.
Steiffel reveals in his interview that Neeley was working for him as a bagman. Neeley was sent overseas by the company to deliver money to business partners. Caine decides he must be in Germany to solve Neeley's murder and convinces his Chief to allow him to go there to continue the investigation. Later, the Chief phones one of Steiffel's cronies to say that Caine has taken the bait.
Caine meets Paul Obermann at the Berlin Zoo. Obermann explains operation "Genesis" - a synthetic fuel formula that the Nazis had produced - could wreck the current oil-economy. Neeley was killed over Genesis. Obermann is then murdered outside the zoo. At his apartment, his niece Lisa shows up to be interviewed by the police. At Obermann's memorial service, Caine asks Lisa to accompany him to act as his interpreter. Lisa agrees and they follow up on a lead that Obermann gave him regarding Professor Siebold who worked on the formula.
During their interview with Siebold, he reveals that the inventor of the formula, Dr. Abraham Esau, is still alive. After they leave his apartment, Siebold is shot in the head through a window. They meet up with Esau, who writes down the formula for Caine after making him promise to make it public. Lisa and Caine make photocopies and send them to the LAPD and a Swiss energy company. Caine also hides two copies from Lisa, depositing them in the hotel's safe. Subsequently, he reveals that he has deduced that she is not Obermann's niece at all, but a spy sent to keep tabs on him. Lisa admits it, but claims she did not sleep with him because of her orders.
At the border with East Berlin, Caine confronts Tadesco who relates how he knew Neeley, and what transpired after his capture by the Americans. As Tadesco walks towards his car, Lisa kills Tadesco, then walks towards East Berlin. At the airport before flying home to Los Angeles, Caine realizes the two copies of the formula in the hotel safe were replaced with fakes by Lisa, and that the only real copies are with the LAPD and the Swiss.
After landing in Los Angeles, he heads straight to Steiffel's office. Steiffel has kidnapped Yosuta, Caine's partner, and is holding him to exchange for the copy of the formula.
After exchanging the formula for Yosuta's release, Caine demands answers from Steiffel. Steiffel then outlines the cartel's plan since the end of the war, to keep the formula secret. They had managed to keep it secret until Swiss businessman, Tauber, began searching for the members of the original Genesis team, hoping to recreate the formula. Tauber's actions made the members of the Genesis team a liability to the cartel, so Steiffel had pulled strings to get Caine sent on a trip to Germany, which would serve as a cover for the cartel's plot to eliminate the remaining members.
Before leaving, Caine reveals that he sent the formula to Tauber. After their meeting, Steiffel calls Tauber, asking him to keep the formula secret for another ten years in exchange for a 25% share of his anthracite holdings. They negotiate, and Tauber agrees to not use the formula for ten years.
Marlon Brando as Adam Steiffel
George C. Scott as Lt. Barney Caine
Marthe Keller as Lisa Spangler
John Gielgud as Dr. Abraham Esau
G. D. Spradlin as Arthur Clements
Beatrice Straight as Kay Neeley
Richard Lynch as Gen. Helmut Kladen/Frank Tedesco
John van Dreelen as Hans Lehman
Robin Clarke as Maj. Tom Neeley
Ike Eisenmann as Tony
Marshall Thompson as Geologist #1
Dieter Schidor as Assassin
Werner Kreindl as Schellenberg
Jan Niklas as Gestapo Captain
Wolfgang Preiss as Franz Tauber
David Byrd as Paul Obermann
Ferdy Mayne as Prof. Siebold
Alan North as Chief John Nolan
Calvin Jung as Sgt. Louis Yosuta
Louis Basile as Sgt. Vince Rizzo
Gerry Murphy as Herbert Glenn, Clements' Chauffeur
Craig T. Nelson as Geologist #2
Herb Voland as Geologist #3
Stephanie Edwards as Reporter
Albert Carrier as Butler
Ric Mancini as Printman
The Formula was partly filmed at the Spandau Studios in Berlin, with location shooting in St. Moritz and Hamburg. The remainder of the film was shot at the Metro-Goldwyn-Mayer studios in Culver City, California.
On review aggregator Rotten Tomatoes, the film holds a 30% rating based on 10 reviews.[3] TV Guide says- "Dull, contrived, and ploddingly directed by John G. Avildsen, this film is a never-ending series of repetitive interviews in which Barney asks questions of a recalcitrant informant. Ultimately, the trail leads back to Brando's corpulent oil magnate. Brando, who appears in only three scenes and walked off with $3 million for his performance, is the only spark of life in the entire film, albeit a highly bizarre one".[4]
Award Category Nominees Result Academy Awards Best Cinematography James Crabe Nominated Razzie Awards Worst Picture Steve Shagan Nominated Worst Director John G. Avildsen Nominated Worst Supporting Actor Marlon Brando Nominated Worst Screenplay Steve Shagan Nominated Stinkers Bad Movie Awards Worst Supporting Actor Marlon Brando Nominated Most Annoying Fake Accent: Male Nominated
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https://www.theguardian.com/uk/2004/aug/05/film.filmnews1
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Music + chase scenes = new formula for fear
|
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"Kirsty Scott",
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2004-08-05T00:00:00
|
Take a remote setting, a sinister score, a chase scene and a spattering of blood and you have the equation for the perfect horror film.
|
en
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the Guardian
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https://www.theguardian.com/uk/2004/aug/05/film.filmnews1
|
Take a remote setting, a sinister score, a chase scene and a spattering of blood and you have the equation for the perfect horror film.
In the latest attempt by the scientific community to offer algebraic explanations for the seemingly inexplicable, mathematicians have come up with a formula for the best kind of scary movie.
Using the equation (es + u + cs + t) squared + s + (tl + f) / 2 + (a + dr + fs) / n + sin x - 1, researchers have concluded that The Shining, the 1980 film starring a homicidal Jack Nicholson, is the ideal horror flick.
The team, from King's College London, headed by mathematician Anna Sigler and commissioned by Sky Movies, spent two weeks watching a selection of films in the horror canon, including The Exorcist, The Texas Chainsaw Massacre, and Silence of the Lambs.
They decided that suspense comprised four essential categories: escalating music (es) the unknown (u), chase scenes (cs) and the sense of being trapped (t).
Because suspense is considered one of the most important qualities in a frightening film, the equation is squared before shock (s) is added to the formula.
The Shining, where the suspense is built up gradually with premonitions and flashbacks, is the perfect example of the formula applied.
The research team also said that for a movie to be truly terrifying it had to be realistic.
That is why the next part of the equation sees true life (tl) and fantasy (f) added together and divided by two (tl + f) / 2 to find a medium between a plot which is too unrealistic and too close to life.
It also helps if there is a small number of characters (a) in an isolated setting (fs) with the lights off (dr), as in Alfred Hitchcock's classic thriller Psycho.
Stereotypical characters are a no-no, however, and there can be too much gore (sin x-1).
"Steven Spielberg [in Jaws] reached the optimum level, perfectly allowing the viewer to see just enough blood to be scared of the great white shark, but not so much that it repulsed us," Ms Sigler said.
Earlier this year researchers came up with the perfect formula for happiness after interviewing more than 1,000 people across Britain.
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https://en.wikipedia.org/wiki/Roger_Corman
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en
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Roger Corman
|
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2002-09-21T17:17:34+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Roger_Corman
|
American film director, producer, and actor (1926–2024)
Roger William Corman (April 5, 1926 – May 9, 2024) was an American film director, producer and actor.[2][3] Known under various monikers such as "The Pope of Pop Cinema", "The Spiritual Godfather of the New Hollywood", and "The King of Cult", he was known as a trailblazer in the world of independent film.[4]
Among the countless features directed by Corman, a great deal were low-budget films that later attracted a cult following, such as The Little Shop of Horrors (1960), The Intruder (1962), X: The Man with the X-ray Eyes (1963), and the counterculture films, The Wild Angels (1966) and The Trip (1967). House of Usher (1960) became the first of eight films directed by Corman that were adapted from the tales of Edgar Allan Poe, and which collectively came to be known as the "Poe Cycle".[5][6]
In 1964, Corman became the youngest filmmaker to have a retrospective at the Cinémathèque française,[7] as well as in the British Film Institute and the Museum of Modern Art. He was the co-founder of New World Pictures, the founder of New Concorde and was a longtime member of the Academy of Motion Picture Arts and Sciences.[8] In 2009, he was awarded an Academy Honorary Award[9] "for his rich engendering of films and filmmakers".[10]
Corman was also famous for handling the U.S. distribution of many films by noted foreign directors, including Federico Fellini (Italy), Ingmar Bergman (Sweden), François Truffaut (France) and Akira Kurosawa (Japan). He mentored and gave a start to many young film directors such as Francis Ford Coppola,[11] Ron Howard,[12] Martin Scorsese,[13] Jonathan Demme,[14] Peter Bogdanovich,[15] Joe Dante,[16] John Sayles,[17] and James Cameron,[18][19] and was highly influential in the New Hollywood filmmaking movement of the 1960s and 1970s.[20][21] He also helped to launch the careers of actors like Peter Fonda,[22] Jack Nicholson,[18] Dennis Hopper,[17] Bruce Dern,[23] Diane Ladd,[24] and William Shatner.[25]
Corman occasionally acted in films by directors who started with him, including The Godfather Part II (1974),[26] The Silence of the Lambs (1991),[27] Philadelphia (1993),[28] Apollo 13 (1995),[29] and The Manchurian Candidate (2004).[30] A documentary about Corman's life and career titled Corman's World: Exploits of a Hollywood Rebel, directed by Alex Stapleton, premiered at the Sundance and Cannes Film Festivals in 2011. The film's TV rights were picked up by A&E IndieFilms after a well-received screening at Sundance.[31]
Early life and education
[edit]
Corman was born in Detroit, Michigan, to Anne (née High) and William Corman, an engineer of Russian Jewish descent.[32][33] His younger brother, Gene, produced numerous films, sometimes in collaboration with Roger.[32] Corman was raised in his mother's Catholic faith.[34]
Corman went to Beverly Hills High School and then to Stanford University to study industrial engineering. While at Stanford, Corman realized he did not want to be an engineer. He enlisted in the V-12 Navy College Training Program with six months of study to complete. After serving in the United States Navy from 1944 to 1946, he returned to Stanford to finish his degree, receiving a Bachelor of Science degree in industrial engineering in 1947.[1] While at Stanford University, Corman was initiated in the fraternity Sigma Alpha Epsilon.
In 1948, he worked briefly at U.S. Electrical Motors on Slauson Avenue in Los Angeles, but his career in engineering lasted only four days; he began work on Monday and quit on Thursday, telling his boss "I've made a terrible mistake." Soon after he found work at 20th Century Fox as a messenger in the mail room, earning $32.50 per week.[35]
Career
[edit]
1950–1959: Early film career
[edit]
Corman worked his way up to a story reader. The one property that he liked the most and provided ideas for was filmed as The Gunfighter with Gregory Peck. When Corman received no credit at all, he left Fox and decided he would work in film by himself. Under the G.I. Bill, Corman studied English literature at the University of Oxford and lived in Paris for a time.[36]
Corman then returned to Los Angeles and tried to re-establish himself in the film industry. He took various jobs, including television stagehand at KLAC-TV and a messenger at Fox. He worked as an assistant to agent Dick Hyland, a literary agent.[37]
Corman wrote a script in his spare time and sold it to William F. Broidy at Allied Artists for US$2,000 (equivalent to $22,691 in 2023). "Dick thought it was funny and let me pay myself a commission," said Corman.[38] Originally called House in the Sea, it was retitled Highway Dragnet (1954) and starred Richard Conte and Joan Bennett. Corman also worked as associate producer on the film for nothing, just for the experience.[citation needed]
Corman used his script fee and personal contacts to raise US$12,000 (equivalent to $136,149 in 2023) to produce his first feature, a science-fiction film, Monster from the Ocean Floor (1954). It was produced by Corman's own company, Palo Alto, and released by Robert L. Lippert.[39]
The film did well enough to encourage Corman to produce another film, the racing-car thriller The Fast and the Furious (1955), directed by its star, John Ireland, and co-starring Dorothy Malone. Decades later, producer Neal H. Moritz and Universal Pictures licensed the title for the 2001 film, The Fast and the Furious, which eventually spawned a successful franchise. Moritz had difficulty choosing between proposed titles Racer X, Redline, Race Wars, and Street Wars, and was inspired by a documentary on American International Pictures that included Corman's film. Moritz was able to trade the use of some stock footage to Corman for use of the title.[40] Corman sold the movie to a new independent company, the American Releasing Company (ARC), run by James H. Nicholson and Samuel Z. Arkoff. Although Corman had a number of offers for the film from Republic and Columbia, he elected to go with ARC, because they undertook to advance money to enable him to make two more movies.[41]
Corman's second film for ARC was one he decided to direct, Five Guns West (1955), a Western, made in color for around $60,000, with Malone and John Lund.[42] The script was written by Robert Wright Campbell, who worked with Corman on several more occasions. Corman announced he would make four more projects for ARC: High Steel, Cobra, Fortress Beneath the Sea, and an untitled film from Campbell.[43] Instead, Corman did some uncredited directing on The Beast with a Million Eyes (1955), then made another Western, Apache Woman (1955), starring Lloyd Bridges, written by Lou Rusoff. Rusoff and Corman reunited on Day the World Ended (1955), a postapocalyptic science-fiction film, which was popular.[44]
Corman was to make The Devil on Horseback by Charles B. Griffith about the Brownsville Raid,[45] but it was too expensive. The Woolner Brothers, Louisiana drive-in owners, financed Corman's Swamp Women (1956), a girls-on-the-lam saga. He returned to ARC for two Westerns, The Oklahoma Woman (1956) and Gunslinger (1956) (with Ireland); Gunslinger was co-written by Griffith, who became a crucial collaborator with Corman over the next five years. He bought a script from Curtis Harrington, The Girl from Beneath the Sea.[46] Harrington made it for Corman years later as Night Tide (1961).
Beverly Garland, one of Corman's early regular stock players, recalled working with him:
Roger made us work hard and long, I remember that! He was always fascinating to me, a fascinating man – and a good businessman! He had such incredible energy, it was tremendous – he was a dynamo to be around. I always knew he was going to be a huge success because there was no stopping him. He just made up his mind that he was going to be a success and that was it.[47]
ARC changed its name to American International Pictures. Corman was established as their leading filmmaker. They financed Corman's next film as director, the science-fiction story It Conquered the World (1956). Co-written by Griffith, it was a follow-up to The Day the World Ended. It was a big hit.
He optioned a TV play, The Stake, and hoped to get Dana Andrews to star.[49] It was never made. Instead, Walter Mirisch of Allied Artists hired Corman to make The Undead (1957), inspired by The Search for Bridey Murphy. Griffith wrote the script. In June, Corman made a science-fiction film for Allied Artists, Not of this Earth (1957), written by Griffith. In August 1956, AIP financed a Corman heist movie shot in Hawaii, Naked Paradise (1957), co-written by Griffith. Corman shot it back-to-back with a movie made with his own money, She Gods of Shark Reef (1958). Corman wound up selling the movie to AIP. Corman and Griffith reunited in Attack of the Crab Monsters (1957) for Allied, which wound up being one of his most successful early films.[50]
For his own production company, Corman made a rock-and-roll "quickle", Carnival Rock (1957), released by Howco. Rock All Night (1957) was a heist film written by Griffith expanded from a TV play, "The Little Guy", with musical acts inserted.[51] He was meant to make Rock'n'Roll Girl for AIP in December 1957.[52] In April 1957, Corman announced he would try to make two films back-to-back from then on to save costs.[53]
Corman made two "teen girl noirs", Teenage Doll (1957) for the Woolner Brothers and Sorority Girl (1957), starring Susan Cabot for AIP.[54] For AIP, he made The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), shot in August 1957.[55] He was meant to follow this with Teenage Jungle by Tony Miller.[56] The success of Not of this Earth and Crab Monsters led to Allied offering Corman a four-picture deal for 1958.[57]
Corman received his first serious critical praise for Machine-Gun Kelly (1958), an AIP biopic of the famous gangster, which gave Charles Bronson his first leading role and co-starred Cabot. Campbell wrote the script. Also for AIP, he did Teenage Caveman (1958), with Robert Vaughn, originally titled Prehistoric World. He helped produce two films for Allied Artists, both from scripts by Leo Gordon: Hot Car Girl (1958), directed by Bernard Kowalski and produced by his brother Gene (the first film they made together) from a script by Gordon; and The Cry Baby Killer (1958), which gave Jack Nicholson his first starring role.[58]
He had his biggest budget yet for I Mobster (1958), a gangster story, co-produced by Edward L. Alperson and Corman's brother Gene for 20th Century Fox. In September 1958, he was reported as scouting locations in Australia to do a remake of H. Rider Haggard's She.[59] War of the Satellites (1958) was conceived and shot in record time to take advantage of the Sputnik launch; it was his first collaboration with art director Daniel Haller. Corman also produced, but did not direct, Stakeout on Dope Street (1958), directed by Irvin Kershner, Night of the Blood Beast (1958), directed by Kowalski for AIP, using leftover costumes from Teenage Caveman, and Crime and Punishment U.S. (1959), directed by Dennis Sanders with George Hamilton in his first lead role.[60]
The Filmgroup
[edit]
In January 1959, Corman announced he would be moving into distribution.[61]
In 1959, Corman founded The Filmgroup with his brother Gene, a company producing or releasing low-budget black-and-white films as double features for drive-ins and action houses.[62] In February 1959, Filmgroup announced they would release 10 films. Their first movies were High School Big Shot (1959) and T-Bird Gang (1959), produced by Stanley Bickman.[63]
For AIP, Corman and Griffith made a black comedy, A Bucket of Blood (1959). Corman announced he would follow it with a similar comedy, The Bloodshot Private Eye.[65] It does not seem to have been made. Instead, Griffith reused the same script structure and Corman employed many of the same cast in The Little Shop of Horrors (1960). This film was reputedly shot in two days and one night.[66]
For Filmgroup, Corman directed The Wasp Woman (1959), starring Cabot from a script by Gordon. His brother and he made two films back-to-back in South Dakota: Ski Troop Attack (1960), a war movie written by Griffith and directed by Corman, and Beast from Haunted Cave (1959), the first film directed by Monte Hellman.[67]
Corman went to Puerto Rico and produced another two films back-to-back: Battle of Blood Island (1960), directed by Joel Rapp, and Last Woman on Earth (1960), directed by Corman from a script by Robert Towne. Filming on these two films went so quickly and incentivized by the tax breaks on offer for filming in Puerto Rico, Corman commissioned Griffith to write a third, which was shot at the same time: Creature from the Haunted Sea (1961).[68]
Corman was going to make Part Time Mother from a script by Griffith[69] but it appears to have never been made.
1960–1969: Adaptations and studio work
[edit]
AIP wanted Corman to make two horror films for them, in black and white, at under $100,000 each on a 10-day shooting schedule. Corman, however, was tired of making films on this sort of budget and was worried the market for them was in decline. He proposed making a film in color for $200,000, shot over 15 days. Corman proposed an adaptation of "The Fall of the House of Usher" by Edgar Allan Poe and AIP agreed. The film was announced in May 1959.[70]
Richard Matheson was hired to do the adaptation and Vincent Price was brought in to star; Haller did the art direction. The resulting film, House of Usher (1960), shot in early 1960, was a critical and commercial hit.
Following this, Corman bought two scripts, Sob Sisters Don't Cry and Cop Killer.[71] In March 1960, Corman announced that Filmgroup would be part of an international production group, Compass Productions.[72] He directed a peplum in Greece, Atlas, (1961) in August.
He was going to direct a thriller from a script by Robert Towne, I Flew a Spy Plane Over Russia.[73] It was not made; neither were two comedies he was to make with Dick Miller and Jon Haze, Murder at the Convention[74] and Pan and the Satyrs.[75]
House of Usher had been so successful that AIP wanted a follow-up, and Corman, Haller, Matheson and Price reunited on The Pit and the Pendulum (1961). It was another sizable hit, and the "Poe cycle" of films was underway.[76]
Corman hired Charles Beaumont to write Masque of the Red Death and announced two films, Captain Nemo and the Floating City[77] and House of Secrets.[78]
The Intruder
[edit]
Following The Pit and the Pendulum, Corman directed one of William Shatner's earliest appearances in a lead role with The Intruder (a.k.a. The Stranger, 1962). Based on a novel by Charles Beaumont, the film was co-produced by Gene Corman and was shot in July and August 1961.[79] It took a while for the film to be released and it lost money.[80]
Corman was unhappy with his profit participation on the first two Poe films, so he made a third adaptation for different producers, The Premature Burial (1962), written by Charles Beaumont and starring Ray Milland. The film was co-financed by Pathe labs; AIP put pressure on Pathe by threatening to withdraw lab work from them and ended up buying out their interest.[81]
For producer Edward Small, Corman made a historical horror piece about Richard III, Tower of London (1962), starring Vincent Price. It was meant to be the first in a three-picture deal with Small, but Corman did not enjoy working with the producer.[82]
For Filmgroup, he also bought the rights to a Soviet science-fiction film, Nebo Zovyot (1959) and had some additional footage shot for it by his then-assistant, Francis Ford Coppola; the result was Battle Beyond the Sun (1962). He also released The Magic Voyage of Sinbad (1962), dubbed from a Soviet film.[83]
The fourth Poe was an anthology, Tales of Terror (1962), shot in late 1961. One of the installments, "The Black Cat", was a comedy, inspiring Corman to do a whole Poe story comedically next: The Raven (1963). Later, Corman used the sets for that film for The Terror (1963), made for Filmgroup but released by AIP, and starring Boris Karloff (whose scenes were all shot in two days) and Jack Nicholson. Corman did not direct all of this film; additional scenes were shot by Monte Hellman, Coppola, and Jack Hill, among others.[citation needed]
The Young Racers (1963) was produced and directed by Corman in Europe for AIP, starring and written by Campbell. Working on the film was Francis Ford Coppola, whom Corman financed to make his directorial debut, Dementia 13 (1963).[citation needed]
Back in the U.S., Corman made X: The Man with the X-ray Eyes (1963), a contemporary science-fiction film for AIP starring Ray Milland. He followed it with The Haunted Palace (1963), ostensibly part of the Poe cycle—it featured Price and was made for AIP, written by Beaumont—but was actually based on a story by H. P. Lovecraft.[citation needed]
Corman directed a war film in Yugoslavia with his brother, The Secret Invasion (1964), with Stewart Granger and Mickey Rooney, from a script by Campbell. Following this, he announced he would make The Life of Robert E. Lee as part of a four-picture deal with Filmgroup worth $3.75 million. Other movies were Fun and Profit by Joel Rapp, The Wild Surfers by John Lamb, and Planet of Storms by Jack Hill.[84] None of these films was made, nor was The Gold Bug, a Poe adaptation written by Griffith.[85]
End of the Poe cycle and filming in Europe
[edit]
Corman made two Poes in England starring Price, the much-delayed The Masque of the Red Death (1964), with Campbell rewriting Beaumont's scripts, and The Tomb of Ligeia (1965), from a script by Robert Towne. Corman made no further Poes; AIP started up a fresh Poe cycle in the late 1960s, but Corman was not part of it.[citation needed]
Corman got Towne to write a script called The Red Baron.[86] He bought the rights to another Soviet science-fiction film, Planeta Bur (1962), and had some additional footage added to it by Curtis Harrington. The result was Voyage to the Prehistoric Planet (1965). Harrington used footage from Planeta Bur in another film financed by Corman, Queen of Blood (1966).[citation needed]
He also bought the rights to a Yugoslavian film, Operation Titan (1963), and financed additional shooting by Jack Hill and Stephanie Rothman. The result was Blood Bath (1966). He also had an investment in the beach party films Beach Ball (1965) and It's a Bikini World (1967).[87]
Working for major studios
[edit]
Corman said, "For ten years as an independent I could get financing for $100–$200–$300,000 pictures. Everything had been interesting, artistically satisfying, economically satisfying. But I decided I was going nowhere and wanted to move directly into the business. So I accepted a contract with Columbia."[88]
In August 1965, Corman announced he had signed a contract with United Artists to make two films over three years. He also signed with Columbia to make a Western, The Long Ride Home, based on a script by Robert Towne.[89]
He was announced for a number of other projects at Columbia: the biopic of Robert E. Lee, an adaptation of Portrait of the Artist as a Young Man, an adaptation of Kafka's The Penal Colony, and a script by novelist Richard Yates about the Battle of Iwo Jima.[90][91] He intended to make The Deserters for UA, from a script by Wright, but that was not made either.[92]
He later reflected, "Every idea I submitted was considered too strange, too weird; every idea they had seemed too ordinary to me. Ordinary pictures don't make money."[88]
The Wild Angels
[edit]
After a year of not directing, Corman took a leave of absence under his contract with Columbia to make a film for AIP, the first biker movie, The Wild Angels. It starred Peter Fonda and Nancy Sinatra, from a script by Griffith; Peter Bogdanovich worked as Corman's assistant. The film opened the 1966 Venice Film Festival and was hugely successful at the box office, making over $6 million on a $350,000 budget and kicking off the "biker movie" cycle.[93]
He wanted to make a film about the Red Baron, but Columbia turned it down because of The Blue Max (1966). He proposed a movie about the St Valentine's Day Massacre and also an adaptation of the novel Only Lovers Left Alive.[88] Nick Ray was meant to be making Only Lovers in Britain.
Corman did begin directing Long Ride Home with Glenn Ford at Columbia. However, Corman left production a few weeks into the shoot in June 1966 and was replaced by Phil Karlson.[94] The film was retitled A Time for Killing (1967).
Corman received an offer to direct a studio film,The St. Valentine's Day Massacre (1967), for 20th Century Fox, starring Jason Robards and George Segal. He did not enjoy the restrictions of working for a major studio. He was given a $2.5 million budget and made it for $400,000 less.[95] Corman, an independent director, was most comfortable in his own style: shoestring budgets and shooting schedules measured in days, rather than weeks. Nonetheless, it is generally considered one of his best films as a director.[citation needed]
Corman was meant to follow this with Robert E. Lee for United Artists at a budget of $4.5 million.[88] It was not made. Neither was a story Corman optioned, The Spy in the Vatican.[96]
1965–1971: Return to independent films
[edit]
Corman continued to finance films for Filmgroup: Voyage to the Prehistoric Planet (1965), dubbing a Soviet movie Planeta Bur into English with some additional footage shot by Curtis Harrington, Queen of Blood (1966), using some Soviet footage but a mostly new film, directed by Harrington, Blood Bath (1966), an adapted Yugoslavian film with additional footage shot by Stephanie Rothman and Jack Hill, and Voyage to the Planet of Prehistoric Women (1967), yet another dubbed version of Planeta Bur with some additional footage shot by Corman's then-assistant Peter Bogdanovich.[citation needed]
Corman had money in Navy vs. the Night Monsters (1967). He financed two Westerns shot back to back in Utah, directed by Monte Hellman and written and co-produced by Jack Nicholson, The Shooting (1967) and Ride in the Whirlwind (1967), which were never released theatrically in the US but became cult successes several years later.[97][96] He also financed two films directed by Dan Haller, Devil's Angels (1967), a follow-up to Wild Angels written by Griffith, and a car racing film shot in Europe, The Wild Racers (1968). He announced a comedy about the population explosion, There Just Isn't Any Room, but it appears to have never been made.[98]
Corman directed The Trip for AIP, written by Jack Nicholson and starring Peter Fonda, Dennis Hopper and Bruce Dern. This began the psychedelic film craze of the late 1960s and was the American entry at Cannes that year.[99] Corman took LSD and used the experience to shape the film.[100] AIP made some changes to the film in post-production, which made Corman unhappy.[100]
In September 1967, Corman announced plans to build a new film studio.[101] However, this did not happen for a number of years.[clarification needed][citation needed]
Corman made a film for American TV, Target: Harry (1968), shot in Europe with his brother producing. He did some uncredited directing on AIP's De Sade (1969) when director Cy Endfield fell ill. He financed Bogdanovich's first feature, Targets (1968), which incorporated footage from The Terror. He also produced The Dunwich Horror (1970) for AIP, directed by Haller and co-written by Curtis Hanson, and financed Haller's Paddy.[102]
For AIP, Corman returned to the director's chair for a gangster film, Bloody Mama (1970), starring Shelley Winters and a young Robert de Niro. It was a big hit at the box office. He also directed a black comedy, Gas-s-s-s (1970), written by George Armitage; it was cut without his permission by AIP and was a financial failure.[103]
United Artists finally agreed to finance his Red Baron project, although they asked that it emphasize American characters. Accordingly, it was filmed as Von Richthofen and Brown (1971), shot in Ireland in July 1970. There were several plane crashes during filming and one person died.[104] Corman was going to make a film of Couples, a novel by John Updike for United Artists, and In from a script by Richard Schupe,[105] but decided to take a break from directing. "Directing is very hard and very painful," he said in 1971. "Producing is easy. I can do it without really thinking about it."[106]
New World Pictures
[edit]
In May 1970, Corman founded New World Pictures, which became a small independently owned production/distribution studio,[107] immediately successful with Angels Die Hard (1970), a biker film, and The Student Nurses (1971), directed by Rothman. The Big Doll House (1971), directed by Jack Hill in the Philippines, was a big hit, making a star of Pam Grier. The company made a profit of $3.2 million in its first financial year, and Corman said all eleven out of his first eleven films were successful.[108] Angels Die Hard led to a series of biker films, including Angels Hard as They Come (1971), produced by Jonathan Demme with Jack Fisk working as art director. Bury Me an Angel (1971) was the first biker movie directed by a woman, Barbara Peeters. Corman financed the directorial debuts of Curtis Hanson, Sweet Kill (1973), produced by Corman protégée Tamara Asseyev. Student Nurses led to a "cycle" of nurse pictures, including Private Duty Nurses (the first film directed by George Armitage), Night Call Nurses (1972) (the first feature directed by Jonathan Kaplan), The Young Nurses and Candy Stripe Nurses (1975). There was also The Student Teachers (1973) and Summer School Teachers (1974). Big Doll House was followed by a series of women in prison pictures, such as Women in Cages (1972), The Hot Box (1972), Black Mama, White Mama (1973), The Arena (1974) (the first film directed by Steve Carver) and Caged Heat (1974) (the first film directed by Demme). Of New World's second year, Corman said 11 of the 12 releases were successful.[109] Corman produced one more film at AIP, Boxcar Bertha (1972), the second feature directed by Martin Scorsese, starring David Carradine. He also executive produced Unholy Rollers (1972) for AIP. A proposed political satire, The Wild Political Prank, was not made.[110] He made I Escaped from Devil's Island (1973) with his brother and produced Cockfighter (1974) with Monte Hellman, which was a rare financial failure for New World. A big hit was Big Bad Mama (1974), a gangster film directed by Carver and starring Angie Dickinson. It led to a follow-up, Crazy Mama (1975), produced by his wife and directed by Demme. In 1975, Corman said New World was "the most successful independent film company in the country...if you count AIP as a major". He said they were "the best of the cheap acts".[111]
Distributing foreign films
[edit]
In the 1970s, the major Hollywood studios were moving away from distributing foreign arthouse pictures, New World moved into the market and became the U.S. distributor for Cries and Whispers (1972), directed by Ingmar Bergman. Corman bought it for $75,000 and it earned over $2 million at the U.S. box office.[109][112] and Corman's distribution side of New World brought many foreign films to mass audiences in the U.S. for the first time – reportedly some played at drive-ins and grindhouses – including the works of François Truffaut (The Story of Adele H., Small Change), Peter Weir (The Cars That Ate Paris), Federico Fellini (Amarcord), Joseph Losey (The Romantic Englishwoman), Volker Schlöndorff (The Lost Honour of Katharina Blum, The Tin Drum) and Akira Kurosawa (Dersu Uzala). New World also released Fantastic Planet (1974).
In a 10-year period, New World Pictures won more Academy Awards for Best Foreign Film than all other studios combined.[citation needed]
20th Century Fox
[edit]
Corman had a four-picture deal with 20th Century Fox,[113] making Capone (1975), Fighting Mad (1976) (directed by Demme), Moving Violation (1976) and Thunder and Lightning (1977). According to Filmink, "most of his Fox movies may as well have been made for Corman’s own company, as I’m sure he himself realised."[114]
Peak of New World
[edit]
Death Race 2000 (1975), written by Robert Thom and directed by Paul Bartel, was a big hit, earning $4 million.[115] It helped inspire a series of car chase movies: Cannonball (1976), directed by Bartel; Eat My Dust! (1976), directed by Griffith starring Ron Howard, which led to a follow-up, Grand Theft Auto (1978), Howard's directorial debut. Other films from the same period included The Great Texas Dynamite Chase (1976), Deathsport (1978), and Smokey Bites the Dust (1981).[116]
New World's trailers were cut by Joe Dante and Alan Arkush. Corman gave them the chance to direct together, with Hollywood Boulevard (1976), which used outtakes from other New World films.[117] It was successful enough for Corman to give both men jobs directing features on their own: Dante with Piranha (1978) and Arkush with Rock 'n' Roll High School (1979).[citation needed]
Piranha was written by John Sayles, who had been discovered by Corman's story editor, Frances Doel. Sayles later wrote The Lady in Red (1979) for Corman, which was directed by Lewis Teague and featured the first score by James Horner.[118]
Other popular films around this time included Tidal Wave (1975), a Japanese film to which Corman added some extra footage, and Jackson County Jail (1976). He also financed I Never Promised You a Rose Garden.[119] Less popular was Avalanche (1979), a disaster film directed by Corey Allen, which only grossed $87,000 on a budget of $6.5 million.[120]
For Universal, he made Fast Charlie... the Moonbeam Rider (1979), directed by Carver. He produced Bogdanovich's Saint Jack (1979).[121]
Corman was criticized when he insisted on the addition of footage featuring a rape for Humanoids from the Deep (1980).[122] Similarly, in Galaxy of Terror, as noted on Schlock and Awe...some, "Corman promised the investors that the film would feature a Taaffe O'Connell sex-scene and a gruesome death-scene as-well. To save time, Corman put the two together. The actress agreed to a nude scene, but NOT a rape scene. Corman isn't the kind of man who takes no for an answer, and after some contract renegotiation, O'Connell agreed to being raped to death by a giant worm-monster. Money... it does amazing things."[123]
The success of Star Wars inspired New World's most expensive film yet, Battle Beyond the Stars (1981).[124] This film required extensive special effects, prompting Corman to buy a movie studio in Main Street Venice for $1.5 million.[125] Corman made a TV film for CBS, The Georgia Peaches (1980).[126]
Battle Beyond the Stars was so successful Corman had its footage and music score reused in other films such as Galaxy of Terror (1981) and Forbidden World (1982).[127]
Corman picked up a film called The Personals (1983) that enjoyed success.[128]
Millennium Films
[edit]
Corman sold New World Pictures in January 1983 to a consortium of three lawyers for $16.9 million.[129]
Under the terms of the contract, he agreed to stay on as a consultant for two years and to provide New World with at least five films they could release. New World agreed to distribute all of Corman's films until March 1984. He set up a new production company, Millennium – the title of which was taken from the name of a 1981 retrospective of Corman's work at the National Film Theatre in London. He announced plans to make films budgeted between $2–5 million using cash from his sale of New World to finance personally. He announced an intention to make fewer commercial films, movies more like I Never Promised You a Rose Garden and Cries and Whispers.[130]
Millennium's films included Space Raiders (1983), a science fiction epic using footage and music from Battle Beyond the Stars; Love Letters (1984), a serious drama from Amy Holden Jones; Screwballs (1984), a sex comedy in the vein of Porky's; Suburbia (1984), directed by Penelope Spheeris, which he acquired, Deathstalker; and Kain of Dark Planet (which became The Warrior and the Sorceress). Deathstalker was made through Corman's old company, Palo Alto Productions; it was the first in a series of sword and scorcery films he did in Argentina.[130] (Corman would ultimately made nine co productions in Argentina with the local company Aries.[131]
New Horizons
[edit]
Corman says people struggled with the name "Millennium" – "nobody could spell it, nobody knew what it meant" – so he changed it to New Horizons by early 1984.[132]
Corman and the new owners of New World ended up suing each other in March 1985. Corman claimed that New World failed to honor their guarantee to distribute his movies at a fee of 15%. He sought $400 million in damages and the return of the company. He said they refused to distribute School Spirit (1985) and Wheels of Fire. He also claimed that New World cheated him distributing Space Raiders, Screwballs and Slumber Party Massacre. New World sued Corman in return, claiming he was seeking to return to distribution, and was discrediting New World to potential investors. They said Corman bypassed New World for some of his films, such as Columbia's Hardbodies (1984). Corman argued, "My whole point in selling was to free myself of the burden of running the company and to get guaranteed distribution. If I can't get my guaranteed distribution, I'm forced to go back to running the company."[133]
Concorde Pictures
[edit]
The case with New World settled out of court. In March 1985 Corman announced he would establish a new distribution "cooperative", Concorde Pictures, where producers could get relatively cheap distribution from Concorde in exchange for contributing to the company's overhead. Their first releases were Corman productions School Spirit, Wheels of Fire and Barbarian Queen.[134] Concorde later merged with a low-budget production company, Cinema Group, and announced plans to make 15–20 films a year.[135] The first release between Cinema Release and Concorde was Streetwalkin', a more serious drama from Joan Freeman.[136]
Early Concorde releases also include Loose Screws (1985), a sequel to Screwballs; Cocaine Wars (1986), the first in a series of movies Corman would finance in South America; Hour of the Assassin (1987), shot in Peru and the first film directed by Luis Llosa; and Munchies (1987), a spoof of Gremlins directed by Tina Hirsch.[137]
Corman also remade Not of this Earth (1988) and released Big Bad Mama II (1987), and Transylvania Twist (1989); all three were directed by Jim Wynorski. He produced another version of Masque of the Red Death (1989), directed by Larry Brand. He produced Sweet Revenge (1987), Slumber Party Massacre II (1988), directed by Deborah Brock, Andy Colby's Incredible Adventure (1988), also directed by Brock, and The Terror Within (1989), directed by Thierry Notz. Corman financed the early directorial efforts of Carl Franklin (Nowhere to Run (1989)), Vargas Llosa and Katt Shea (Stripped to Kill (1988), Stripped to Kill II (1989)). More experimental was Nightfall (1988). After Hour of the Assassin, he made a series of films in Peru, including Crime Zone (1989), also directed by Luis Llosa, and Full Fathom Five (1990), directed by Carl Franklin. Concorde had a big hit with Bloodfist (1989), starring Don "the Dragon" Wilson which cost $1 million and earned over $6 million. Concorde signed Wilson to a long-term contract and he made a number of sequels for the company, including Bloodfist II and Fighting to Win.[138]
Return to directing
[edit]
Corman returned to directing once more with Frankenstein Unbound (1990). In 1990, Concorde sued MGM for $6 million.[139] Concorde's films included Overexposed (1990), The Unborn (1991), and In the Heat of Passion (1992). They had a big hit with Carnosaur (1993), which led to several sequels. He financed Fire on the Amazon (1991, directed Luis Llosa) which had Sandra Bullock and Craig Sheffer in early roles.[citation needed]
Corman had to deal with the decline of the drive-in market and studio competition through the 1990s, but Concorde-New Horizons still made 15–24 pictures a year.[140] This included a never-released version of The Fantastic Four, that Stan Lee claimed was made solely for the producer Bernd Eichinger and his production company Constantin Films to retain the film rights. Avi Arad, one of Marvel's owners at the time, disputes this and contends that he bought out Corman & Eichinger in order to protect the image of the characters for future films. This version was supported by both Corman & Eichinger.[141]
Roger Corman Presents
[edit]
In 1995, Corman was executive producer on Roger Corman Presents, a special series of 13 movies for Showtime with budgets of around $1.5 million each. "I think the Corman name means action, humor and some titillation," says Mike Elliott, the producer of the series. "It's going to deliver the goods – and it will have a little moral statement in there as well."[142] Corman ended up doing a second season of 11 movies. The films were Bram Stoker's Burial of the Rats, Hellfire, Virtual Seduction, Suspect Device, Unknown Origin, Terminal Virus, Where Evil Lies, Vampirella, Shadow of a Scream, Subliminal Seduction, House of the Damned (a.k.a. Spectre), The Haunted Sea, Alien Avengers (a.k.a. Aliens Among Us) and its sequel, Inhumanoid, Sawbones, Not Like Us, and Last Exit to Earth. He created his own comic book franchise, Black Scorpion, which led to a sequel and later a TV series. Corman also executive-produced remakes of The Wasp Woman, Humanoids from the Deep, A Bucket of Blood (a.k.a. The Death Artist), Piranha and Not of this Earth.
Concorde set up operations in Ireland as Concorde Anois, building studios in Connemara, County Galway.[143] He received some support from the Irish government, a decision which became controversial when the content of some Corman productions such as Criminal Affairs was criticized in the press.[144][145][146][147][143]
Later Concorde-New Horizons films included Overdrive (1997). "The genres still hold", said Corman in 1997, "action adventure, the suspense thriller, science fiction and horror. The difference is that they are bigger and better now. "[148] Corman also produced the film Moving Target which was filmed in County Galway. It was his last film produced with Concorde-New Horizons.[149]
Other ventures
[edit]
Roger Corman's Cosmic Comics
[edit]
Corman operated a short-lived comic book imprint in 1995–1996 called Roger Corman's Cosmic Comics. It produced comics based on his films, written and drawn in a similar no-holds-barred style. Titles included Bram Stoker's Burial of the Rats, Caged Heat 3000, Death Race 2020, Welcome to The Little Shop of Horrors, and Rock & Roll High School — the latter featuring the Melvins (instead of the Ramones).[150] Notable creators published by Cosmic Comics included Trevor Goring, James Kochalka, Jason Lutes, Pat Mills, Shane Oakley, Jerry Prosser, and J. R. Williams. The longest-running title was Death Race 2020, which lasted eight issues[151] — but was left unfinished when the company closed down.
Syfy channel
[edit]
Corman continued to produce creature films, such as Raptor (2001, dir Jim Wynorski). Dinocroc (2004), which aired on the Syfy cable television channel[152] and was popular enough for two sequels, Supergator and Dinocroc vs. Supergator (2010), as well as a spin-off film, Dinoshark (2010). Supergator (2007) was turned down by the Syfy channel, but Corman made it anyway.[153]
Corman also continued to make action films: Escape from Afghanistan (2001) was a Russian film, Peshavar Waltz plus some additional footage; The Hunt for Eagle One (2006) and The Hunt for Eagle One: Crash Point (2006) were shot in the Philippines; Roger Corman's Operation Rogue (2014); Fist of the Dragon (2015).
In 2006, Corman said he made 60% of his films overseas. "These foreign countries are offering subsidies that are so great that not only I but many independent producers are moving overseas", he said.[154] He sold the remake rights of Death Race 2000 to Universal, who made Death Race (2008) with Jason Statham, with Corman credited as executive producer. It led to two direct-to-video prequels and one direct-to-video sequel.
In 2009, Corman produced and directed alongside director Joe Dante the web series Splatter for Netflix.[155] The protagonist of the film is portrayed by Corey Feldman,[156] and the story talks of the haunting tale of rock-and-roll legend Johnny Splatter.[157] He also started contributing trailer commentaries to Dante's web series Trailers from Hell.[158] In 2011, Corman cited James Cameron's Avatar (2009) and Christopher Nolan's Inception (2010) as examples of "great imagination and originality".[159]
By now, the SyFy channel was Corman's leading market. For them, he made Sharktopus (2010) and Piranhaconda (2012). Corman produced the 2017 film Death Race 2050, a sequel to the 1975 film Death Race 2000. It was made with Universal, Corman's first film with a major studio in more than two decades.[160]
Filmography
[edit]
Main article: Roger Corman filmography
Selected credits:
Roger Corman's Cult Classics
[edit]
In 2010, Roger Corman teamed up New Horizons Pictures with Shout! Factory to release new DVD and Blu-ray editions of Corman productions under the name Roger Corman's Cult Classics.[161][162] The releases have concentrated on 1970–1980s films he produced through New World rather than directed. These titles include Rock 'n' Roll High School, Death Race 2000, Galaxy of Terror, Forbidden World, Big Bad Mama, Big Bad Mama II, The Terror Within, Deathsport, Time Walker, The Unborn and Piranha, with additional titles continuing to be released.[163]
Favorite films
[edit]
In 2022, Corman participated in the Sight & Sound film polls of that year. It is held every ten years to select the greatest films of all time, by asking contemporary directors to select ten films of their choice.[164]
Corman's selections were:
Personal life and death
[edit]
Corman was married to Julie Halloran from 1970 until his death.[165] They had four children.[166] Corman died at his home in Santa Monica, California, on May 9, 2024, at the age of 98.[36][167]
When Corman's death was announced by his family on Corman's official Instagram account, his sons were not mentioned in the announcement: "He is survived by his wife Julie and his daughters Catherine and Mary...A devoted and selfless father, he was deeply loved by his daughters."[168]
Legal issues
[edit]
In 2009, Corman was sued by his children, who claimed they had been unfairly fired from the family production business after raising questions about the family trust.[169]
In 2016, Corman alleged in litigation he was owed $170 million against a financial planner.[170]
In 2018, Corman and his wife were sued by their sons over the sale of Corman's film library.[171][172] This case was reportedly settled in February 2020. "It's settled and over," said Corman at the time.[173]
Awards, recognition, and legacy
[edit]
In 1964, Corman was the youngest producer/director to be given a retrospective at the Cinémathèque Française, as well as retrospectives at the British Film Institute and the Museum of Modern Art. Corman won the Lifetime Achievement Award at Stockholm International Film Festival in 1990. Corman was the subject of the 1978 documentary Roger Corman: Hollywood's Wild Angel, produced and directed by Christian Blackwood. Portions of the film reappeared in 2011's Corman's World. He won the first Producer's Award ever given by the Cannes Film Festival in 1998.[36][circular reporting?]
Corman received the David O. Selznick Award from the Producers Guild of America in 2006. That same year, his film Fall of the House of Usher was among the twenty-five movies selected for the National Film Registry, a compilation of significant films being preserved by the Library of Congress. The Academy of Motion Picture Arts and Sciences awarded Corman with an Academy Honorary Award at the inaugural Governors Awards,[174] on November 14, 2009.[175]
In 2010, writer and actor Mark Gatiss interviewed Corman for his BBC documentary series A History of Horror, of which the second half of the second episode focuses on Corman.[176] In 2010, Corman was inducted into the Beverly Hills High School Hall of Fame. Corman was honored with the Filmmaker on the Edge Award at the Provincetown International Film Festival in 2012. He received the "Extraordinary Contribution to Film" award at the Austin Film Festival in 2018.[177]
Corman was a member of numerous organizations such as the Academy of Motion Picture Arts and Sciences, and the Producers Guild of America as well as New World Pictures, New Concorde, and American International Pictures. Film elements and prints for many movies directed, produced, and/or distributed by Corman are held at the Academy Film Archive as part of the New Horizons Collection.[178] The Academy Film Archive restored Corman's film The Masque of the Red Death in 2019.[179]
The Corman Film School
[edit]
A number of noted filmmakers (including directors, producers, writers, and cinematographers) have worked with Corman, usually early in their careers, including Francis Ford Coppola, Martin Scorsese, Ron Howard, Polly Platt, Peter Bogdanovich, Declan O'Brien, Armondo Linus Acosta, Paul Bartel, Jonathan Demme, Donald G. Jackson, Gale Anne Hurd, Carl Colpaert, Joe Dante, James Cameron, John Sayles, Monte Hellman, Carl Franklin,[180] George Armitage, Jonathan Kaplan, George Hickenlooper, Curtis Hanson, Jack Hill, Robert Towne, Menahem Golan, James Horner, and Timur Bekmambetov. Many have said that Corman's influence taught them some of the ins and outs of filmmaking.[181] In the extras for the DVD of The Terminator, director James Cameron asserts, "I trained at the Roger Corman Film School." The British director Nicolas Roeg served as the cinematographer on The Masque of the Red Death.[182] Cameron, Coppola, Demme, Hanson, Howard and Scorsese have all gone on to win Academy Awards. Howard was reportedly told by Corman: "If you do a good job on this film, you'll never have to work for me again."[citation needed]
Actors who obtained their career breaks working for Corman include Jack Nicholson, Peter Fonda, Bruce Dern, Charles Bronson, Todd Field[183] Michael McDonald, Dennis Hopper, Tommy Lee Jones, Talia Shire, Sandra Bullock, Robert De Niro, and David Carradine, who received one of his first starring film roles in the Corman-produced Boxcar Bertha (1972) and went on to star in Death Race 2000 (along with Sylvester Stallone). Many of Corman's protegés have paid their mentor homage by awarding him cameos in films, such as in The Godfather Part II,[184] The Silence of the Lambs,[185] Apollo 13,[181] and as recently as the Demme film Rachel Getting Married (2008).[citation needed]
Name First Corman film Year Credited as Allan Arkush Hollywood Boulevard 1976 director, producer George Armitage Gas-s-s-s 1970 writer, associate producer, cast member Paul Bartel Death Race 2000 1975 director Timur Bekmambetov The Arena 2001 Peter Bogdanovich Voyage to the Planet of Prehistoric Women 1968 director, cast member James Cameron Battle Beyond the Stars 1980 art direction, visual effects Francis Ford Coppola Battle Beyond the Sun 1962 director (scenes in American version) Joe Dante Hollywood Boulevard 1976 co-director, editor Jonathan Demme Angels Hard as They Come 1971 writer, producer Todd Field Eye of the Eagle 2: Inside the Enemy 1989 actor Carl Franklin 1989 actor, writer, director Mark Goldblatt Eat My Dust! 1976 production assistant, associate editor Curtis Hanson The Dunwich Horror 1970 co-writer Monte Hellman Beast from Haunted Cave 1959 director Jack Hill The Terror 1963 writer James Horner The Lady in Red 1979 composer Ron Howard Grand Theft Auto 1977 director, co-writer Gale Anne Hurd Humanoids from the Deep 1980 production assistant Janusz Kamiński Saturday the 14th Strikes Back 1988 gaffer, chief lighting technician, cinematographer Jonathan Kaplan Night Call Nurses 1972 director, editor Dick Miller Apache Woman 1955 actor Jack Nicholson The Little Shop of Horrors 1960 actor Phedon Papamichael Dance of the Damned 1988 cinematographer Nicolas Roeg The Masque of the Red Death 1964 John Sayles Piranha 1978 writer Martin Scorsese Boxcar Bertha 1972 director Katt Shea Stripped to Kill 1987 writer, director, cast member Robert Towne Last Woman on Earth 1960 writer, cast member Irvin Kershner Stakeout on Dope Street 1958 director, writer
Written works
[edit]
Corman, Roger; Jerome, Jim (1990). How I Made a Hundred Movies in Hollywood and Never Lost a Dime. Random House. ISBN 978-0-394-56974-1. OCLC 840687965. His autobiography, which documents his experiences in the film industry.
Documentary
[edit]
Roger Corman: The Pope of Pop Cinema (2020), directed by Bertrand Tessier, with the participation of Roger Corman, Ron Howard, Joe Dante, and Peter Bogdanovich, produced by California Prod. Best documentary at Beverly Hills Film Festival.
References
[edit]
Bibliography
[edit]
Di Franco, J. Philip, The Movie World of Roger Corman (New York: Chelsea House, 1979)
Laroni, Giulio, Il cinema secondo Corman. Intervista allo scopritore di Francis Ford Coppola, Martin Scorsese, James Cameron (Milano: Biblion Edizioni, 2016)
Nasr, Constantine (ed.), Roger Corman: Interviews (Jackson: University Press of Mississippi, 2011)
Price, Robert M., "Cormanghast: The Poe Films of Roger Corman". Parts 14 (November 1997), 3–14, 20.
Routt, William D. (1994). O'Regan, Tom; Miller, Toby (eds.). "Art, popular art". Continuum: The Australian Journal of Media & Culture. 7 (2). In 1990 Corman published an autobiography, written in collaboration with Jim Jerome, How I Made a Hundred Movies in Hollywood and Never Lost a Dime and thereby, unwittingly, joined my act.
Silver, Alain (2006). Roger Corman: Metaphysics on a Shoestring. Los Angeles: Silman-James Press.
Will, David and Willemen, Paul, Roger Corman: The Millennic Vision (Edinburgh: Edinburgh Film Festival, 1970)
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This The Formula (1980) Original insert Movie Poster is an authentic, unfolded piece that measures 14" x 36" [36 x 91 cm]. It features John G. Avildsen's gripping mystery thriller, starring George C. Scott and Marlon Brando, with art by Tom Jung. The poster has minor edge wear and small markings.
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en
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MoviesMoviesMovies Vintage Movie Posters
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https://moviesmoviesmovies.co.uk/products/the-formula-1
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This The Formula (1980) Original insert Movie Poster is an authentic, unfolded piece that measures 14" x 36" [36 x 91 cm]. It features John G. Avildsen's gripping mystery thriller, starring George C. Scott and Marlon Brando, with art by Tom Jung. The poster has minor edge wear and small markings.
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https://en.wikipedia.org/wiki/B_movie
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Low-budget commercial film genre
This article is about the film type. For other uses, see B movie (disambiguation).
Not to be confused with Bee Movie.
A B movie (American English), or B film (British English), is a type of low-budget commercial motion picture. Originally, during the Golden Age of Hollywood, this term specifically referred to films meant to be shown as the lesser-known second half of a double feature, somewhat similar to B-sides in recorded music. However, the production of such films as "second features" in the United States largely declined by the end of the 1950s. This shift was due to the rise of commercial television, which prompted film studio B movie production departments to transition into television film production divisions. These divisions continued to create content similar to B movies, albeit in the form of low-budget films and series.
Today, the term "B movie" is used in a broader sense. In post-Golden Age usage, B movies can encompass a wide spectrum of films, ranging from sensationalistic exploitation films to independent arthouse productions.
In either usage, most B movies represent a particular genre; the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films,[1] many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics.
Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious independent film. The term is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie.
From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors and actresses, such as Vincent Price and Karen Black. Some actors and actresses, such as Bela Lugosi, Eddie Constantine, Bruce Campbell, and Pam Grier, worked in B movies for most of their careers.[citation needed] The terms "B actor and actress" are sometimes used to refer to performers who find work primarily or exclusively in B pictures.
History
[edit]
In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer. That average reflected both "specials" that might cost as much as $1 million and films made quickly for around $50,000. These cheaper films (not yet called B movies) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel.[3]
Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.[4]
With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that soon became standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts.[5]
The majors' "clearance" rules favoring their affiliated theaters prevented timely access to top-quality films for independent theaters; the second feature allowed them to promote quantity instead.[5] The additional movie also gave the program "balance", the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age.[6]
Golden Age of Hollywood
[edit]
For British B movies, see Quota quickies.
1930s
[edit]
The major studios, at first resistant to the double feature, soon adapted; all established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed the majors from worrying about their Bs' quality; even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios: Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation (20th Century Fox as of 1935), Warner Bros., and RKO Radio Pictures (descendant of FBO), also belonged to companies with sizable theater chains, further securing the bottom line.[7]
Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, and Sono Art-World Wide Pictures down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to "states rights" firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring the same star (a relative status on Poverty Row).[8] Two "major-minors", Universal Studios and rising Columbia Pictures had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank film distribution exchanges.[9]
In the standard Golden Age model, the industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by Edward Jay Epstein, "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising."[10] Then it was off to the subsequent-run market where the double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days.[11]
As Azam Patel describes, "Many of the poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily."[12] Many small theaters never saw a big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the trailers, or screen previews, that presaged its arrival, "[t]he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein.[13] Aside from at the theater itself, B films might not be advertised at all.
The introduction of sound had driven costs higher: by 1930, the average U.S. feature film cost $375,000 to produce.[14] A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as "in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at the top or bottom of the marquee."[15]
On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $5,000.[11] By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie production at Warner Bros. was raised from 12 to 50% of studio output. The unit was headed by Bryan Foy, known as the "Keeper of the Bs".[16] At Fox, which also shifted half of its production line into B territory, Sol M. Wurtzel was similarly in charge of more than twenty movies a year during the late 1930s.[17]
A number of the top Poverty Row firms consolidated: Sono Art joined another company to create Monogram Pictures early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house.[18] Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns, with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless, continued to churn out dirt-cheap quickies.[19] Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production[20] (United Artists produced little, focusing on the distribution of prestigious films from independent outfits; Grand National, active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions[21]):
Studio Category Avg. duration MGM Big Five 87.9 minutes Paramount Big Five 76.4 minutes 20th Century Fox Big Five 75.3 minutes Warner Bros. Big Five 75.0 minutes RKO Big Five 74.1 minutes United Artists Little Three 87.6 minutes Columbia Little Three 66.4 minutes Universal Little Three 66.4 minutes Grand National Poverty Row 63.6 minutes Republic Poverty Row 63.1 minutes Monogram Poverty Row 60.0 minutes
Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs.[22]
The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s.[23] Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with [Tom] Mix, [Ken] Maynard, and [Buck] Jones, the Columbia features with Buck Jones and Tim McCoy, the RKO George O'Brien series, the Republic Westerns with John Wayne and the Three Mesquiteers achieved a uniquely American perfection of the well-made story."[24] At the far end of the industry, Poverty Row's Ajax put out oaters starring Harry Carey, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers".[25] One low-budget oater of the era, made totally outside the studio system, profited from an outrageous concept: a Western with a cast consisting of only little people, The Terror of Tiny Town (1938) was such a success in its independent bookings that Columbia picked it up for distribution.[26]
Series of various genres, featuring recurrent, title-worthy characters or name actors in familiar roles, were particularly popular during the first decade of sound film. Fox's many B series, for instance, included Charlie Chan mysteries, Ritz Brothers comedies, and musicals with child star Jane Withers.[27] These series films are not to be confused with the short, cliffhanger-structured serials that sometimes appeared on the same program. As with serials, however, many series were intended to attract young people—a theater that twin-billed part-time might run a "balanced" or entirely youth-oriented double feature as a matinee and then a single film for a more mature audience at night. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it.'"[28]
Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr. Kildare–Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios.[29] For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features.[30]
1940s
[edit]
By 1940, the average production cost of an American feature was $400,000, a negligible increase over ten years.[14] A number of small Hollywood companies had folded around the turn of the decade, including the ambitious Grand National, but a new firm, Producers Releasing Corporation (PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still the prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time.[31]
In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding.[32] These were crucial factors in the progressive shift by most of the Big Five over to A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts.[33]
In 1946, independent producer David O. Selznick brought his bloated-budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality.[34] The Duel release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit.[35]
Considerations beside cost made the line between A and B movies ambiguous. Films shot on B-level budgets were occasionally marketed as A pictures or emerged as sleeper hits: one of 1943's biggest films was Hitler's Children, an RKO thriller made for a fraction over $200,000. It earned more than $3 million in rentals, industry language for a distributor's share of gross box office receipts.[36] Particularly in the realm of film noir, A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1948, the double feature remained a popular exhibition mode. It was standard policy at 25% of theaters and used part-time at an additional 36%.[37]
The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary, Allied Artists, to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric.[38] In 1947 as well, PRC was subsumed by Eagle-Lion, a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief.[39]
In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures.[41] From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, and others who became renowned only later in their careers or entirely in retrospect.[42] The movie now widely described as the first classic film noir, Stranger on the Third Floor (1940), a 64-minute B, was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein.[43]
The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age.[44]
In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs a Ride.[45] Ten B noirs that year came from Poverty Row's big three: Republic, Monogram, and PRC/Eagle-Lion, and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood.[46]
Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, Westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six films between 1939 and 1941.[47] The Courageous Dr. Christian (1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid."[48]
Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram "exploitation pictures" like juvenile delinquency exposé Where Are Your Children? (1943) and the prison film Women in Bondage (1943).[49] In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC".[50] Ulmer made films of every generic stripe: his Girls in Chains was released in May 1943, six months before Women in Bondage; by the end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins, a South Seas adventure set around a brothel.[51]
Transition in the 1950s
[edit]
In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films.[52] With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $1 million by the turn of the decade—a 93% rise after adjusting for inflation.[14]
The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958.[53] RKO, weakened by years of mismanagement, exited the movie industry in 1957.[54]
Hollywood's A product was getting longer, the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4.[55] In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as B actors). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy.[56] At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish.
Ida Lupino, a leading actress, established herself as Hollywood's sole female director of the era.[57] In short, low-budget pictures made for her production company, The Filmakers, Lupino explored taboo subjects such as rape in 1950's Outrage and 1953's self-explanatory The Bigamist.[58] Her best known directorial effort, The Hitch-Hiker, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman.[59] That year, RKO released Split Second, which concludes in a nuclear test range, and is perhaps the first "atomic noir".[60]
The most famous such movie, the independently produced Kiss Me Deadly (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a "programmer capable of occupying either half of a neighbourhood theatre's double-bill, [it was] budgeted at approximately $400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $100,000 and $400,000 in 1955."[61] The film's length, 106 minutes, is A level, but its star, Ralph Meeker, had previously appeared in only one major film. Its source is pure pulp, one of Mickey Spillane's Mike Hammer novels, but Robert Aldrich's direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.[62]
The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (such as Creature from the Black Lagoon (1954)) and Sam Katzman at Columbia (including It Came from Beneath the Sea (1955))—provided little more than thrills, though their special effects could be impressive.[64]
But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel's Invasion of the Body Snatchers (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion.[65] The Amazing Colossal Man (1957), directed by Bert I. Gordon, is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea, the army's obsessive secrecy, and America's post-war growth into one fantastic whole".[66]
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions.[67] American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a flat rate, they were rented out on a percentage basis, like A films.[68]
The success of I Was a Teenage Werewolf (1957) thus brought AIP a large return, made for about $100,000, it grossed more than $2 million.[69] As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When Hot Rod Gang (1958) turned a profit, hot rod horror was given a try: Ghost of Dragstrip Hollow (1959). David Cook credits AIP with leading the way "in demographic exploitation, target marketing, and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s.[70] In terms of content, the majors were already there, with films about juvenile delinquency such as Warner Bros.' Untamed Youth (1957) and MGM's High School Confidential (1958), both starring Mamie Van Doren.[71]
In 1954, a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet. Corman soon independently produced his first movie, Monster from the Ocean Floor, on a $12,000 budget and a six-day shooting schedule.[72] Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, Apache Woman, and Day the World Ended, half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films".[73] In later years Corman, both with AIP and as head of his own companies, helped launch the careers of Francis Ford Coppola, Jonathan Demme, Robert Towne, and Robert De Niro, among many others.[74]
In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter.[75] With such films, Castle "combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor".[76]
The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700.[77] Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.[78]
Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla.[79] The British Hammer Film Productions made the successful The Curse of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine's Embassy Pictures bought the worldwide rights to Hercules, a cheaply made Italian movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent $1.5 million on advertising and publicity, a virtually unprecedented amount.[80]
The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been [launched] throughout the country with a deafening barrage of publicity".[81] Levine counted on first-weekend box office for his profits, booking the film "into as many cinemas as he could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him".[82] Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $4.7 million in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas.[80] Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's.
Also playing rounds during this time was K. Gordon Murray, known for distributing international matinee fare like the 1959 Mexican kids' movie Santa Claus.[83]
Golden age of exploitation
[edit]
1960s
[edit]
Main articles: B movies (exploitation boom) and Midnight movie
Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only $2 million—after adjusting for inflation, less than 10% more than it had been in 1950.[14] The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained, opened at neighborhood theaters in New York. A suspense film, Terror Is a Man, ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes a 'warning bell' so the sensitive can 'close their eyes.'"[84] That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color."[85] The resulting House of Usher typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $200,000 (one tenth the industry average),[86] and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes."[87]
With the loosening of industry censorship constraints, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades. The term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly "sexual hygiene". Audiences might see explicit footage of anything from a live birth to a ritual circumcision.[88] Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for "grindhouses", which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb, was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium.[89] In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films.[90] The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B.
Exploitation movies in the original sense continued to appear: 1961's Damaged Goods, a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease, comes complete with enormous, grotesque closeups of VD's physical effects.[91] At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: "nudie" films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, This Nude World was "Guaranteed the Most Educational Film Ever Produced!"[92] In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer, who released his first successful narrative nudie, the comic Immoral Mr. Teas, in 1959. Five years later, Meyer came out with his breakthrough film, Lorna, which combined sex, violence, and a dramatic storyline.[93] Faster, Pussycat! Kill! Kill! (1965), made for about $45,000, ultimately became the most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1966), starring Annette Funicello and Frankie Avalon.[94] Roger Corman's The Trip (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson, never shows a fully bared, unpainted breast, but flirts with nudity throughout.[95] The Meyer and Corman lines were drawing closer.
One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. Its $8.5 million in earnings against a production cost of $800,000 made it the most profitable movie of 1960.[96] Its mainstream distribution without the Production Code seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected director Alfred Hitchcock was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars. [Its] greatest initial impact ... was on schlock horror movies (notably those from second-tier director William Castle), each of which tried to bill itself as scarier than Psycho."[97] Castle's first film in the Psycho vein was Homicidal (1961), an early step in the development of the slasher subgenre that took off in the late 1970s.[96] Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers, the sort of gimmick Castle had mastered, and arranging for an injunction against the film in Sarasota, Florida, the sort of problem exploitation films had long run up against, except Friedman had planned it.[98] This new breed of gross-out movie typified the emerging sense of "exploitation", the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Imports of Hammer Film's increasingly explicit horror movies and Italian gialli, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.[99]
The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern rating system.[100] That year, two horror films came out that heralded directions American cinema would take in the next decade, with major consequences for the B movie. One was a high-budget Paramount production, directed by the celebrated Roman Polanski. Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades.[101] It was a critical success and the year's seventh-biggest hit.[102] The other was George A. Romero's Night of the Living Dead, produced on weekends in and around Pittsburgh for $114,000. Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the Vietnam War and domestic racial conflicts. Its greatest influence, though, derived from its clever subversion of genre clichés and the connection made between its exploitation-style imagery, low-cost, truly independent means of production, and high profitability.[103] With the Code gone and the X rating established, major studio A films like Midnight Cowboy could now show "adult" imagery, while the market for increasingly hardcore pornography exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times.[104] Soon, Corman was creating nudity-filled sexploitation pictures such as Private Duty Nurses (1971) and Women in Cages (1971).[105]
In May 1969, the most important exploitation movie of the era premiered at the Cannes Film Festival.[106] Much of Easy Rider's significance owes to the fact that it was produced for a respectable, if still modest, budget and released by a major studio. The project was first taken by one of its cocreators, Peter Fonda, to American International. Fonda had become AIP's top star in the Corman-directed The Wild Angels (1966), a biker movie, and The Trip, as in taking LSD. The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis Hopper, also a studio alumnus, free directorial rein. Eventually they arranged a financing and distribution deal with Columbia, as two more graduates of the Corman/AIP exploitation mill joined the project: Jack Nicholson and cinematographer László Kovács.[107] The film (which incorporated another favorite exploitation theme, the redneck menace, as well as a fair amount of nudity) was brought in at a cost of $501,000. It earned $19.1 million in rentals.[108] In the words of historians Seth Cagin and Philip Dray, Easy Rider became "the seminal film that provided the bridge between all the repressed tendencies represented by schlock/kitsch/hack since the dawn of Hollywood and the mainstream cinema of the seventies."[109]
1970s
[edit]
In the late 1960s and early 1970s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the 1950s. Operations such as Roger Corman's New World Pictures, Cannon Films, and New Line Cinema brought exploitation films to mainstream theaters around the country. The major studios' top product was continuing to inflate in running time—in 1970, the ten biggest earners averaged 140.1 minutes.[110] The Bs were keeping pace. In 1955, Corman had a producorial hand in five movies averaging 74.8 minutes. He played a similar part in five films originally released in 1970, two for AIP and three for his own New World: the average length was 89.8 minutes.[111] These films could turn a tidy profit. The first New World release, the biker movie Angels Die Hard, cost $117,000 to produce and took in more than $2 million at the box office.[112]
The biggest studio in the low-budget field remained a leader in exploitation's growth. In 1973, American International gave a shot to young director Brian De Palma. Reviewing Sisters, Pauline Kael observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore. ... [H]e can't get two people talking in order to make a simple expository point without its sounding like the drabbest Republic picture of 1938."[113] Many examples of the blaxploitation genre, featuring stereotype-filled stories about African Americans and revolving around drugs, violent crime, and prostitution, were the product of AIP. One of blaxploitation's biggest stars was Pam Grier, who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls (1970). Several New World pictures followed, including The Big Doll House (1971) and The Big Bird Cage (1972), both directed by Jack Hill. Hill also directed Grier's best-known performances, in two AIP blaxploitation films: Coffy (1973) and Foxy Brown (1974).[114]
Blaxploitation was the first exploitation genre in which the major studios were central. Indeed, the United Artists release Cotton Comes to Harlem (1970), directed by Ossie Davis, is seen as the first significant film of the type.[115] But the movie that truly ignited the blaxploitation phenomenon was completely independent: Sweet Sweetback's Baadasssss Song (1971) is also perhaps the most outrageous example of the form: wildly experimental, borderline pornographic, and essentially a manifesto for an African American revolution.[116] Melvin Van Peebles wrote, co-produced, directed, starred in, edited, and composed the music for the film, which was completed with a loan from Bill Cosby.[117] Its distributor was small Cinemation Industries, then best known for releasing dubbed versions of the Italian Mondo Cane "shockumentaries" and the Swedish skin flick Fanny Hill, as well as for its one in-house production, The Man from O.R.G.Y. (1970).[118] These sorts of films played in the "grindhouses" of the day—many of them not outright porno theaters, but rather venues for all manner of exploitation cinema. The days of six quickies for a nickel were gone, but a continuity of spirit was evident.[119]
In 1970, a low-budget crime drama shot in 16 mm by first-time American director Barbara Loden won the international critics' prize at the Venice Film Festival.[120] Wanda is both a seminal event in the independent film movement and a classic B picture. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir. The $115,000 production,[120] for which Loden spent six years raising money, was praised by Vincent Canby for "the absolute accuracy of its effects, the decency of its point of view and ... purity of technique".[121] Like Romero and Van Peebles, other filmmakers of the era made pictures that combined the gut-level entertainment of exploitation with biting social commentary. The first three features directed by Larry Cohen, Bone (1972), Black Caesar (1973), and Hell Up in Harlem (1973), were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism.[122] The gory horror film Deathdream (1974), directed by Bob Clark, is also an agonized protest of the war in Vietnam.[123] Canadian filmmaker David Cronenberg made serious-minded low-budget horror films whose implications are not so much ideological as psychological and existential: Shivers (1975), Rabid (1977), The Brood (1979).[124] An Easy Rider with conceptual rigor, the movie that most clearly presaged the way in which exploitation content and artistic treatment would be combined in modestly budgeted films of later years was United Artists' biker-themed Electra Glide in Blue (1973), directed by James William Guercio.[125] The New York Times reviewer thought little of it: "Under different intentions, it might have made a decent grade-C Roger Corman bike movie—though Corman has generally used more interesting directors than Guercio."[126]
In the early 1970s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a cult film audience, brought the midnight movie concept home to the cinema, now in a countercultural setting—something like a drive-in movie for the hip.[127] One of the first films adopted by the new circuit in 1971 was the three-year-old Night of the Living Dead. The midnight movie success of low-budget pictures made entirely outside the studio system, like John Waters' Pink Flamingos (1972), with its campy spin on exploitation, spurred the development of the independent film movement.[128] The Rocky Horror Picture Show (1975), an inexpensive film from 20th Century Fox that spoofed all manner of classic B picture clichés, became an unparalleled hit when it was relaunched as a late show feature the year after its initial, unprofitable release. Even as Rocky Horror generated its own subcultural phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.[129]
Asian martial arts films began appearing as imports regularly during the 1970s. These "kung fu" films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong–produced movies of Bruce Lee and marketed to the same audience targeted by AIP and New World.[130] Horror continued to attract young, independent American directors. As Roger Ebert explained in one 1974 review, "Horror and exploitation films almost always turn a profit if they're brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground."[131] The movie under consideration was The Texas Chain Saw Massacre. Made by Tobe Hooper for less than $300,000, it became one of the most influential horror films of the 1970s.[132] John Carpenter's Halloween (1978), produced on a $320,000 budget, grossed over $80 million worldwide and effectively established the slasher flick as horror's primary mode for the next decade. Just as Hooper had learned from Romero's work, Halloween, in turn, largely followed the model of Black Christmas (1974), directed by Deathdream's Bob Clark.[133]
On television, the parallels between the weekly series that became the mainstay of prime-time programming and the Hollywood series films of an earlier day had long been clear.[134] In the 1970s, original feature-length programming increasingly began to echo the B movie as well. As production of TV movies expanded with the introduction of the ABC Movie of the Week in 1969, soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory. Television films inspired by recent scandals—such as The Ordeal of Patty Hearst, which premiered a month after her release from prison in 1979—harkened all the way back to the 1920s and such movies as Human Wreckage and When Love Grows Cold, FBO pictures made swiftly in the wake of celebrity misfortunes.[135] Many 1970s TV films—such as The California Kid (1974), starring Martin Sheen—were action-oriented genre pictures of a type familiar from contemporary cinematic B production. Nightmare in Badham County (1976) headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation.[136]
The reverberations of Easy Rider could be felt in such pictures, as well as in a host of theatrical exploitation films. But its greatest influence on the fate of the B movie was less direct—by 1973, the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement. Rosemary's Baby had been a big hit, but it had little in common with the exploitation style. Warner Bros.' The Exorcist demonstrated that a heavily promoted horror film could be an absolute blockbuster: it was the biggest movie of the year and by far the highest-earning horror movie yet made. In William Paul's description, it is also "the film that really established gross-out as a mode of expression for mainstream cinema. ... [P]ast exploitation films managed to exploit their cruelties by virtue of their marginality. The Exorcist made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice."[137] Writer-director George Lucas's American Graffiti, a Universal production, did something similar. Described by Paul as "essentially an American-International teenybopper pic with a lot more spit and polish", it was 1973's third-biggest film and, likewise, by far the highest-earning teen-themed movie yet made.[138] Even more historically significant movies with B themes and A-level financial backing followed in their wake.
Decline
[edit]
1980s
[edit]
Most of the B-movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field's financial situation changed in the early 1980s. Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects.[139] Intimations of the trend were evident as early as Airport (1970) and especially in the mega-schlock of The Poseidon Adventure (1972), Earthquake (1973), and The Towering Inferno (1974). Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas. The Exorcist had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors' focus owed largely to the enormous success of three films: Steven Spielberg's creature feature Jaws (1975) and George Lucas's space opera Star Wars (1977) had each, in turn, become the highest-grossing film in motion picture history. Superman, released in December 1978, had proved that a studio could spend $55 million on a movie about a children's comic book character and turn a big profit—it was the top box-office hit of 1978.[140] Blockbuster fantasy spectacles like the original 1933 King Kong had once been exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates, they ruled.[141]
It had taken a decade and a half, from 1961 to 1976, for the production cost of the average Hollywood feature to double from $2 million to $4 million—a decline if adjusted for inflation. In just four years it more than doubled again, hitting $8.5 million in 1980 (a constant-dollar increase of about 25%). Even as the U.S. inflation rate eased, the average expense of moviemaking continued to soar.[142] With the majors now routinely saturation booking in over a thousand theaters, it was becoming increasingly difficult for smaller outfits to secure the exhibition commitments needed to turn a profit. Double features were now literally history—almost impossible to find except at revival houses. One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April 1979.[143] In the late 1970s, AIP had turned to producing relatively expensive films like the very successful Amityville Horror and the disastrous Meteor in 1979. The studio was sold off and dissolved as a moviemaking concern by the end of 1980.[144]
Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters. Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with The Slumber Party Massacre (1982), written by feminist author Rita Mae Brown. The film was produced for New World on a budget of $250,000.[145] At the beginning of 1983, Corman sold New World; New Horizons, later Concorde–New Horizons, became his primary company. In 1984, New Horizons released a critically applauded movie set amid the punk scene written and directed by Penelope Spheeris. The New York Times review concluded: "Suburbia is a good genre film."[146]
Larry Cohen continued to twist genre conventions in pictures such as Q (a.k.a. Q: The Winged Serpent; 1982), described by critic Chris Petit as "the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it".[147] In 1981, New Line put out Polyester, a John Waters movie with a small budget and an old-school exploitation gimmick: Odorama. That October The Book of the Dead, a gore-filled yet stylish horror movie made for less than $400,000, debuted in Detroit.[148] Its writer, director, and co-executive producer, Sam Raimi, was a week shy of his twenty-second birthday; star and co-executive producer Bruce Campbell was twenty-three. It was picked up for distribution by New Line, retitled The Evil Dead, and became a hit. In the words of one newspaper critic, it was a "shoestring tour de force".[149]
One of the most successful 1980s B studios was a survivor from the heyday of the exploitation era, Troma Pictures, founded in 1974. Troma's most characteristic productions, including Class of Nuke 'Em High (1986), Redneck Zombies (1986), and Surf Nazis Must Die (1987), take exploitation for an absurdist spin. Troma's best-known production is The Toxic Avenger (1984); its hideous hero, affectionately known as Toxie, was featured in three sequels, an 2023 reboot and a TV cartoon series.[150] One of the few successful B studio startups of the decade was Rome-based Empire Pictures, whose first production, Ghoulies, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store.[151] A number of Concorde–New Horizon releases went this route as well, appearing only briefly in theaters, if at all. The growth of the cable television industry also helped support the low-budget film industry, as many B movies quickly wound up as "filler" material for 24-hour cable channels or were made expressly for that purpose.[152]
1990s
[edit]
By 1990, the cost of the average U.S. film had passed $25 million.[153] Of the nine films released that year to gross more than $100 million at the U.S. box office, two would have been strictly B-movie material before the late 1970s: Teenage Mutant Ninja Turtles and Dick Tracy. Three more—the science-fiction thriller Total Recall, the action-filled detective thriller Die Hard 2, and the year's biggest hit, the slapstick kiddie comedy Home Alone—were also far closer to the traditional arena of the Bs than to classic A-list subject matter.[154] The growing popularity of home video and access to unedited movies on cable and satellite television along with real estate pressures were making survival more difficult for the sort of small or non-chain theaters that were the primary home of independently produced genre films.[155] Drive-in screens too were rapidly disappearing from the American landscape.[156]
Surviving B movie operations adapted in different ways. Releases from Troma now frequently went straight to video. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures. With the smash success of exploitation veteran Wes Craven's original Nightmare on Elm Street (1984), whose nearly $2 million cost it had directly backed, the company began moving steadily into higher-budget genre productions. In 1994, New Line was sold to the Turner Broadcasting System; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros. within the Time Warner conglomerate.[157] The following year, Showtime launched Roger Corman Presents, a series of thirteen straight-to-cable movies produced by Concorde–New Horizons. A New York Times reviewer found that the initial installment qualified as "vintage Corman ... spiked with everything from bared female breasts to a mind-blowing quote from Thomas Mann's Death in Venice".[158]
At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture. Director Abel Ferrara, who built a reputation with violent B movies such as The Driller Killer (1979) and Ms. 45 (1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: King of New York (1990) was backed by a group of mostly small production companies and the cost of Bad Lieutenant (1992), $1.8 million, was financed totally independently.[159] Larry Fessenden's micro-budget monster movies, such as No Telling (1991) and Habit (1997), reframe classic genre subjects—Frankenstein and vampirism, respectively—to explore issues of contemporary relevance.[160] The budget of David Cronenberg's Crash (1996), $10 million, was not comfortably A-grade, but it was hardly B-level either. The film's imagery was another matter: "On its scandalizing surface, David Cronenberg's Crash suggests exploitation at its most disturbingly sick", wrote critic Janet Maslin.[161] Financed, like King of New York, by a consortium of production companies, it was picked up for U.S. distribution by Fine Line Features. This result mirrored the film's scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor's arthouse division.[162] Pulp Fiction (1994), directed by Quentin Tarantino on an $8.5 million budget, became a hugely influential hit by crossing multiple lines, as James Mottram describes: "With its art house narrative structure, B-movie subject matter and Hollywood cast, the film is the axis for three distinct cinematic traditions to intersect."[163]
Transition in the 2000s and after
[edit]
By the turn of the millennium, the average production cost of an American feature had already spent three years above the $50 million mark.[153] In 2005, the top ten movies at the U.S. box office included three adaptations of children's fantasy novels, one extending and another initiating a series (Harry Potter and the Goblet of Fire and The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, respectively), a child-targeted cartoon (Madagascar), a comic book adaptation (Batman Begins), a sci-fi series installment (Star Wars: Episode III – Revenge of the Sith), a sci-fi remake (War of the Worlds), and a King Kong remake.[164] It was a slow year for Corman: he produced just one movie, which had no American theatrical release, true of most of the pictures he had been involved in over the preceding decade.[165] As big-budget Hollywood movies further usurped traditional low-rent genres, the ongoing viability of the familiar brand of B movie was in grave doubt. New York Times critic A. O. Scott warned of the impending "extinction" of "the cheesy, campy, guilty pleasures" of the B picture.[166]
On the other hand, recent industry trends suggest the reemergence of something like the traditional A-B split in major studio production, though with fewer "programmers" bridging the gap. According to a 2006 report by industry analyst Alfonso Marone, "The average budget for a Hollywood movie is currently around $60 m, rising to $100 m when the cost of marketing for domestic launch (USA only) is factored into the equation. However, we are now witnessing a polarisation of film budgets into two tiers: large productions ($120–150 m) and niche features ($5–20m). Fewer $30–70 m releases are expected."[167] Fox launched a new subsidiary in 2006, Fox Atomic, to concentrate on teen-oriented genre films. The economic model was deliberately low-rent, at least by major studio standards. According to a Variety report, "Fox Atomic is staying at or below the $10 million mark for many of its movies. It's also encouraging filmmakers to shoot digitally, a cheaper process that results in a grittier, teen-friendly look. And forget about stars. Of Atomic's nine announced films, not one has a big name".[168] The newfangled B movie division was shut down in 2009.[169]
As the Variety report suggests, recent technological advances greatly facilitate the production of truly low-budget motion pictures. Although there have always been economical means with which to shoot movies, including Super 8 and 16 mm film, as well as video cameras recording onto analog videotape, these media could not rival the image quality of 35 mm film. The development of digital cameras and post-production methods now allow even low-budget filmmakers to produce films with excellent, and not necessarily "grittier", image quality and editing effects. As Marone observes, "the equipment budget (camera, support) required for shooting digital is approximately 1/10 that for film, significantly lowering the production budget for independent features. At the same time, [since the early 2000s], the quality of digital filmmaking has improved dramatically."[167] Independent filmmakers, whether working in a genre or arthouse mode, continue to find it difficult to gain access to distribution channels, though digital end-to-end methods of distribution offer new opportunities. In a similar way, Internet sites such as YouTube have opened up entirely new avenues for the presentation of low-budget motion pictures.[170]
Likewise, from the year 2000 onward, the acceleration and implementation of computer generated imagery continued at an unprecedented rate.[171] This lent to the creation of effects that would otherwise prove too costly using traditional methods. Certain genres in particular, such as disaster or creature features, saw increasing use of CGI. Consequently, this trend spurred a boost in B-grade productions targeted to a mass audience. In this vein, film companies, such as The Asylum, or channels, such as Syfy, made a concerted effort towards the development of B-grade movies with some even making such films a key part of their business model.[172] Often, however, many of such were produced in an effort to capitalize on the success of more established features. Moreover, this new direction likewise garnered involvement from veteran B-movie filmmakers such as Roger Corman and Jim Wynorski.
Associated terms
[edit]
The terms C movie and the more common Z movie describe progressively lower grades of the B movie category. The terms drive-in movie and midnight movie, which emerged in association with specific historical phenomena, are now often used as synonyms for B movie.
C movie
[edit]
The C movie is the grade of motion picture at the low end of the B movie, or in some taxonomies, simply below it.[173] In the 1980s, with the growth of cable television, the C grade began to be applied with increasing frequency to low-quality genre films used as filler programming for that market. The "C" in the term then does double duty, referring not only to quality that is lower than "B" but also to the initial c of cable. Helping to popularize the notion of the C movie was the TV series Mystery Science Theater 3000 (1988–99), which ran on national cable channels (first Comedy Central, then the Sci Fi Channel) after its first year. Updating a concept introduced by TV hostess Vampira over three decades before, MST3K presented cheap, low-grade movies, primarily science fiction of the 1950s and 1960s, along with running voiceover commentary highlighting the films' shortcomings. Director Ed Wood has been called "the master of the 'C-movie'" in this sense, although Z movie (see below) is perhaps even more applicable to his work.[174] The rapid expansion of niche cable and satellite outlets such as Sci Fi (with its Sci Fi Pictures) and HBO's genre channels in the 1990s and 2000s has meant a market for contemporary C pictures, many of them "direct to cable" movies—small-budget genre films never released in theaters.[175]
Z movie
[edit]
Main article: Z movie
The term Z movie (or grade-Z movie) is used by some to characterize low-budget pictures with quality standards well below those of most B and even C movies. Most films referred to as Z movies are made on very small budgets by operations on the fringes of the commercial film industry. The micro-budget "quickies" of 1930s fly-by-night Poverty Row production houses may be thought of as early Z movies.[176] The films of director Ed Wood, such as Glen or Glenda (1953) and Plan 9 from Outer Space (1957), the latter frequently cited as one of the worst pictures ever made,[177] exemplify the classic grade-Z movie. Latter-day Zs are often characterized by violent, gory or sexual content and a minimum of artistic interest; they are often destined for the subscription TV equivalent of the grindhouse.[178]
Psychotronic movie
[edit]
Psychotronic movie is a term coined by film critic Michael J. Weldon—referred to by a fellow critic as "the historian of marginal movies"—to denote the sort of low-budget genre pictures that are generally disdained or ignored entirely by the critical establishment.[179] Weldon's immediate source for the term was the Chicago cult film The Psychotronic Man (1980), whose title character is a barber who develops the ability to kill using psychic energy. According to Weldon, "My original idea with that word is that it's a two-part word. 'Psycho' stands for the horror movies, and 'tronic' stands for the science fiction movies. I very quickly expanded the meaning of the word to include any kind of exploitation or B-movie."[180] The term, popularized beginning in the 1980s with publications of Weldon's such as The Psychotronic Encyclopedia of Film, The Psychotronic Video Guide, and Psychotronic Video magazine, has subsequently been adopted by other critics and fans. Use of the term tends to emphasize a focus on and affection for those B movies that lend themselves to appreciation as camp.[181]
B-television
[edit]
Main article: B-television
B-television is the term used by the German media scholar Heidemarie Schumacher in her article "From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German 'B-Television' programs" as an analogy to "B-movie" to characterize the development of German commercial television, which adopted "the aesthetics of commercials" with its "inane positiveness radiated by every participant, the inclusion of clips, soft focus, catchy music" as well as "promotion of merchandise through product placement".[182] Schumacher notes that after 1984 deregulation German public television passed its climax and became marginalized. Newly established commercial stations, operating without the burden of societal legitimacy, focused solely on profitability. To establish and maintain viewer loyalty, these stations broadcast reality shows, sensational journalism, daily soap operas, infotainment programs, talk shows, game shows and soft pornography. In his article Schumacher mentions Amusing Ourselves to Death by an American cultural critic Neil Postman, who formulated the thesis of television programming as a derivative of advertising, creating "a species of information that might properly be called disinformation—misplaced, irrelevant, fragmented or superficial information that creates the illusion of knowing something but which in fact leads one away from knowing".
Like Postman, Schumacher notes that contemporary television advertisement often chooses to reinforce brand loyalty rather than promoting product. This reverse marketing approach is used by television broadcasters to advertise the stations themselves. Schumacher lists three specific principles: grabbing the viewers' attention, establishing emotional involvement with the audience, and maintaining the viewers' interest as the cornerstones to acquiring and maintaining market share. A commercial RTL station described such a building of viewers' loyalty in positive terms: "RTL has discovered something entirely new for television. The viewer".[182]
Schumacher argues that viewer loyalty is established primarily through the representation of familiar emotional situations and the everyday problems of the viewers, which means that private stations broadcast predominantly private affairs. Further development of this approach led to creation of reality TV shows, which generate new realities by intervening directly in the actual life of its participants. Such personalisation and dramatization of television precipitated the "Fall of Public Man", in words of Richard Sennett.
The strategy of creating viewer loyalty through emotional sensations is reflected in scandalous "special news" that "favor sex and crime topics and employ highly affective commentary style, a clip aesthetic as well as a musical accompaniment borrowed from the crime film genre".[182] As an example, Schumacher mentions Real Personal, a talk show about human sexuality that was televised by NBC five times a week during 1990s. "The title itself encapsulates the message of 'B-TV': real people and their 'real' problems are the focus here",[182] contemplates Schumacher.
Mentioning the highly successful entertainment programs of David Letterman and Jay Leno, Schumacher proclaims that a talk show host, seen daily on the television screen, becomes almost a part of the family. "Spreading not only inanity, but also a sense of security", the host "provides a fixed portion of our daily routine" along with a daily soap opera, daily infotainment show or a daily game show.
"Appeals to viewer emotions and the active participation of the consumer enhance the ability of 'B-TV' to exploit the market", concludes Schumacher.
Erik Henriksen from Portland Mercury used the term "B-TV" when he reviewed Stargate Atlantis television series to describe the kind of show that is not "genuinely great", but one that "just works—albeit in a vaguely embarrassing and silly way—at entertaining the audience, at stringing along the same characters from week to week, at churning out boilerplate plots that are nonetheless peppered with just enough originality and uniqueness to make them enjoyable and fun and distracting."[183]
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Rabiger, Michael (2008). Directing: Film Techniques and Aesthetics, 4th ed. Burlington, Mass.: Focal Press. ISBN 0-240-80882-7
Rausch, Andrew J., with Michael Dequina (2008). Fifty Filmmakers: Conversations with Directors from Roger Avary to Steven Zaillian. Jefferson, N.C.: McFarland. ISBN 0-7864-3149-0
Reid, John Howard (2005a). Hollywood 'B' Movies: A Treasury of Spills, Chills & Thrills. Morrisville, N.C.: Lulu. ISBN 1-4116-5065-4
Reid, John Howard (2005b). Movie Westerns: Hollywood Films the Wild, Wild West. Morrisville, N.C.: Lulu. ISBN 1-4116-6610-0
Rockoff, Adam (2002). Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986. Jefferson, N.C., and London: McFarland. ISBN 0-7864-1227-5
Reynaud, Bérénice (2006). "Wanda's Shattered Lives" (booklet accompanying Parlour Pictures DVD release of Wanda).
Rubin, Martin (1999). Thrillers. Cambridge, UK, and New York: Cambridge University Press. ISBN 0-521-58183-4
Russell, Carolyn R. (2001). The Films of Joel and Ethan Coen. Jefferson, N.C., and London: McFarland. ISBN 0-7864-0973-8
Sapolsky, Barry S., and Fred Molitor (1996). "Content Trends in Contemporary Horror Films," in Horror Films: Current Research on Audience Preferences and Reactions, ed. James B. Weaver, pp. 33–48. Mahwah, N.J.: Lawrence Erlbaum. ISBN 0-8058-1174-5
Schaefer, Eric (1992). "Of Hygiene and Hollywood: Origins of the Exploitation Film", in Hollywood: Critical Concepts in Media and Cultural Studies—Vol. 1: Historical Dimensions: The Development of the American Film Industry (2004), ed. Thomas Schatz, pp. 161–80 (originally published in The Velvet Light Trap 30). New York and London: Routledge. ISBN 0-415-28131-8
Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Durham, N.C., and London: Duke University Press. ISBN 0-8223-2374-5
Schatz, Thomas (1993). "The New Hollywood", in Film Theory Goes to the Movies: Cultural Analysis of Contemporary Film, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins, pp. 8–36. New York and London: Routledge. ISBN 0-415-90575-3
Schatz, Thomas (1998 [1989]). The Genius of the System: Hollywood Filmmaking in the Studio Era. London: Faber and Faber. ISBN 0-571-19596-2
Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. ISBN 0-520-22130-3
Schneider, Steven Jay, and Tony Williams (2005). Horror International. Detroit: Wayne State University Press. ISBN 0-8143-3101-7
Schrader, Paul (1972). "Notes on Film Noir", in Silver and Ursini, Film Noir Reader, pp. 53–63 (originally published in Film Comment 8, no. 1).
Scott, A. O. (2005). "Where Have All the Howlers Gone?" The New York Times, "Arts & Leisure," December 18.
Segrave, Kerry (1992). Drive-In Theaters: A History from Their Inception in 1933. Jefferson, N.C., and London: McFarland. ISBN 0-89950-752-2
Shapiro, Jerome F. (2002). Atomic Bomb Cinema: The Apocalyptic Imagination on Film. New York and London: Routledge. ISBN 0-415-93659-4
Silver, Alain (1995). "Kiss Me Deadly: Evidence of a Style", rev. ver., in Silver and Ursini, Film Noir Reader, pp. 209–35.
Silver, Alain, and James Ursini, eds. (1996). Film Noir Reader. Pompton Plains, N.J.: Limelight. ISBN 0-87910-197-0
Staiger, Janet (2000). Blockbuster TV: Must-see Sitcoms in the Network Era. New York and London: New York University Press. ISBN 0-8147-9757-1
Stevenson, Jack (2003). Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist. Manchester, UK: Headpress/Critical Vision. ISBN 1-900486-23-7
Strawn, Linda May (1975 [1974]). "Samuel Z. Arkoff [interview]", in McCarthy and Flynn, Kings of the Bs, pp. 255–66.
Syder, Andrew, and Dolores Tierney (2005). "Importation/Mexploitation, or, How a Crime-Fighting, Vampire-Slaying Mexican Wrestler Almost Found Himself in an Italian Sword-and-Sandals Epic", in Schneider and Williams, Horror International, pp. 33–55.
Taves, Brian (1995 [1993]). "The B Film: Hollywood's Other Half", in Balio, Grand Design, pp. 313–50.
Thompson, Howard (1960). "'Hercules Unchained' Heads Twin Bill", The New York Times, July 14 (available online).
Tuska, Jon (1974). "The American Western Cinema: 1903–Present", in Nachbar, Focus on the Western, pp. 25–43.
Tuska, Jon (1999). The Vanishing Legion: A History of Mascot Pictures, 1927–1935. Jefferson, N.C.: McFarland. ISBN 0-7864-0749-2
Van Peebles, Melvin (2003). "The Real Deal: What It Was... Is! Sweet Sweetback's Baadasssss Song" (commentary accompanying Xenon Entertainment DVD release of Sweet Sweetback's Baadasssss Song).
Warren, Bill (2001). The Evil Dead Companion. New York: St. Martin's. ISBN 0-312-27501-3
Waterman, David (2005). Hollywood's Road to Riches. Cambridge, Mass.: Harvard University Press. ISBN 0-674-01945-8
West, Richard (1974). "Scariest Movie Ever?", Texas Monthly, March, p. 9.
Williams, Tony (1996). Hearths of Darkness: The Family in the American Horror Film. Cranbury, N.J., London, and Mississauga, Ontario: Associated University Presses. ISBN 0-8386-3564-4
Willis, Sharon (1997). High Contrast: Race and Gender in Contemporary Hollywood Film. Durham, N.C.: Duke University Press. ISBN 0-8223-2041-X
Wood, Robin (2003). Hollywood from Vietnam to Reagan—and Beyond, exp. and rev. ed. New York and Chichester, West Sussex: Columbia University Press. ISBN 0-231-12967-X
Wyatt, Justin (1998). "The Formation of the 'Major Independent': Miramax, New Line, and the New Hollywood", in Contemporary Hollywood Cinema, ed. Stephen Neale and Murray Smith, pp. 74–90. New York and London: Routledge. ISBN 0-415-17010-9
Zeitchik, Steven, and Nicole Laporte (2006). "Atomic Label Proves a Blast for Fox", Variety, November 19 (available online Archived January 21, 2010, at the Wayback Machine).
B movies at Curlie
The Biology of B-Movie Monsters analysis by Michael C. LaBarbera, University of Chicago
Dwight Cleveland collection of posters, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
Interviews of B movie professionals
[edit]
The Astounding B-Monster Archive
Badmovies.org Interviews
Rogue Cinema
Search My Trash
Miscellaneous
[edit]
|
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https://www.imdb.com/title/tt2328490/
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The Formula (2014)
|
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[
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2014-04-15T00:00:00
|
The Formula: Directed by Thomas Beecher, Joe Clarke. With Brandon Baker, Mike Schminke, Sasha Jackson, Reginald VelJohnson. "The Formula" is the story of Quinn and Graham, two engineering students who discover a mathematical formula to pick up women with ease. Quinn is a hopeless romantic who falls head over heels for a young student teacher. Graham is a chauvinistic womanizer who thinks the key to finding the woman of his dreams is by wooing as many as possible. As "The Formula" follows Quinn and Graham from one date to the next, they discover that there is no shortcut to finding true love.
|
en
|
IMDb
|
https://www.imdb.com/title/tt2328490/
|
The movie name (The Formula) sounds as a good name and the main story idea (even if it's used before by some professionals) is good but we are talking here about a low budget amateur movie with too many reasons to hate it. The actors do not know how to act I was not convinced by any of them to be even a second or third actor in any other movie. A really boring movie from the start till the end, the sequence of the whole story line is not logic and the scenario seems to be written by a beginner. Really bad sound quality and bad picture quality too. They took too long time at the beginning in side talks that do not take you to the core of the story. There is no any kind of sense of humor, comedy scenes or romance. don't waste your time on it.
|
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7966
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dbpedia
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0
| 71
|
https://phys.org/news/2010-02-hollywood-movies-mathematical-formula.html
|
en
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Hollywood movies follow a mathematical formula
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2010-02-19T07:20:01-05:00
|
(PhysOrg.com) -- Hollywood movies have found a mathematical formula that lets them match the effects of their shots to the attention spans of their audiences.
|
en
|
https://phys.b-cdn.net/favicon.ico
|
https://phys.org/news/2010-02-hollywood-movies-mathematical-formula.html
|
(PhysOrg.com) -- Hollywood movies have found a mathematical formula that lets them match the effects of their shots to the attention spans of their audiences.
Psychologist Professor James Cutting and his team from Cornell University in Ithaca, New York, analyzed 150 high-grossing Hollywood films released from 1935 to 2005 and discovered the shot lengths in the more recent movies followed the same mathematical pattern that describes the human attention span. The pattern was derived by scientists at the University of Texas in Austin in the 1990s who studied the attention spans of subjects performing hundreds of trials. The team then converted the measurements of their attention spans into wave forms using a mathematical technique known as the Fourier transform.
They found that the magnitude of the waves increased as their frequency decreased, a pattern known as pink noise, or 1/f fluctuation, which means that attention spans of the same lengths recurred at regular intervals. The same pattern has been found by Benoit Mandelbrot (the chaos theorist) in the annual flood levels of the Nile, and has been seen by others in air turbulence, and also in music.
Cutting made his discovery by measuring the length of every shot in 150 comedy, drama and action films, and then converted the measurements into waves for every movie. He found that the more recent the films were, the more likely they were to obey the 1/f fluctuation, and this did not just apply to fast action movies. Cutting said the significant thing is that shots of similar lengths recur in a regular pattern through the film.
Cutting believes obeying the 1/f law makes films “resonate with the rhythm of human attention spans,” and this makes them more gripping. Films edited in this way would then tend to be more successful and the style of shooting and editing more likely to be copied. Films of Cutting’s own favorite genre, the Film Noir, do not generally follow the 1/f law, with shot lengths tending to be more random. By contrast The Empire Strikes Back (1980) and the 2005 blockbuster movie Star Wars Episode III (which Cutting considers to be “just dreadful”) both follow 1/f rigidly.
The researchers concluded that over the next few decades film makers may take more care to follow the 1/f law to try to boost audience engagement.
© 2010 PhysOrg.com
|
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7966
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dbpedia
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1
| 4
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https://www.imdb.com/title/tt2328490/
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en
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The Formula (2014)
|
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The Formula: Directed by Thomas Beecher, Joe Clarke. With Brandon Baker, Mike Schminke, Sasha Jackson, Reginald VelJohnson. "The Formula" is the story of Quinn and Graham, two engineering students who discover a mathematical formula to pick up women with ease. Quinn is a hopeless romantic who falls head over heels for a young student teacher. Graham is a chauvinistic womanizer who thinks the key to finding the woman of his dreams is by wooing as many as possible. As "The Formula" follows Quinn and Graham from one date to the next, they discover that there is no shortcut to finding true love.
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https://www.imdb.com/title/tt2328490/
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The movie name (The Formula) sounds as a good name and the main story idea (even if it's used before by some professionals) is good but we are talking here about a low budget amateur movie with too many reasons to hate it. The actors do not know how to act I was not convinced by any of them to be even a second or third actor in any other movie. A really boring movie from the start till the end, the sequence of the whole story line is not logic and the scenario seems to be written by a beginner. Really bad sound quality and bad picture quality too. They took too long time at the beginning in side talks that do not take you to the core of the story. There is no any kind of sense of humor, comedy scenes or romance. don't waste your time on it.
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http://www.inthe00s.com/archive/inthe80s/smf/1267053103.shtml
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The Formula for 80s movies
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"films",
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[] | null |
Ever notice how most 80s films have common themes to them? Here are a few ...The 80s action movie ...♦ The bad guys wear suits and dark glasses♦ When the bad guys come on screen, you hear the deep synthisizer
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The Pop Culture Information Society...
These are the messages that have been posted on inthe00s over the past few years.
Check out the messageboard archive index for a complete list of topic areas.
This archive is periodically refreshed with the latest messages from the current messageboard.
This is a topic from the The 1980's forum on inthe00s.
Check for new replies or respond here...
Subject: Re: The Formula for 80s movies
Written By: JamieMcBain
What about......
Action films
- the angry sergeant in charge, always barking orders.
- strip club!
Comedy films
- the wacky friend!
- makeover!
- guy pins for girl, who haves a jerky boyfriend
Drama films
- break up, followed by rain storm! Especially in a John Cusack film!
- racing to airport, to convince girl, not to go!
- kissing outside, while raining!
Subject: Re: The Formula for 80s movies
Written By: MaxwellSmart
This is not strictly '80s --
When the bad guy has the good guys all tied up and ready to kill, he makes a speech:
"You see....you misunderstand me. I'm a reasonable man! But you, you and your friends, couldn't leave well enough alone..."
http://www.inthe00s.com/smile/04/fal.gif
Subject: Re: The Formula for 80s movies
Written By: JamieMcBain
Or the stereotypical gay male, like in the film, Mannequin!
Now that was over done!
Subject: Re: The Formula for 80s movies
Written By: robby76
The big ole switcherooo... Big Business, Vice Versa, Big, Like Father Like Son.
Subject: Re: The Formula for 80s movies
Written By: JamieMcBain
The interrogation scene, between two cops and a criminal.
;D
Subject: Re: The Formula for 80s movies
Written By: MaxwellSmart
Don't forget the happy hooker! I don't mean Xaviera Hollander here, I mean the way prostitutes were portrayed as good time girls with hearts of gold and bad taste in clothes. Examples, Risky Business, Trading Places, Desperately Seeking Susan, St. Elmo's Fire.
Great example of broken stereotype: Susan Seidelman's "Smithereens" (1982)
The hooker who hangs out with Paul in his van, who I believe was played by the late Katherine Riley, was a frumpish, dull girl with no sparkle and a flat affect.
"Whatsa matta, you here all by yourself? Ain't you got a girlfriend or a boyfriend or nothin'? You want my san'wich? It's cool, I've an egg," she slurs as she starts peeling a hardboiled egg from a paper bag. What the hell kind of movie hooker eats hard boiled eggs?
:D
Subject: Re: The Formula for 80s movies
Written By: Dude111
I approve of this thread :)
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https://en.wikipedia.org/wiki/The_Formula_(1980_film)
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The Formula (1980 film)
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2005-08-07T03:30:56+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/The_Formula_(1980_film)
|
1980 American-West German mystery film by John G. Avildsen
The FormulaDirected byJohn G. AvildsenScreenplay bySteve ShaganBased onThe Formula
1979 novel
by Steve ShaganProduced bySteve ShaganStarringCinematographyJames CrabeEdited byJohn CarterMusic byBill Conti
Production
companies
Metro-Goldwyn-Mayer
CIP Filmproduktion
Distributed byUnited Artists (North America)
Cinema International Corporation (international)
Release date
Running time
117 minutesCountriesWest Germany
United StatesLanguageEnglishBudget$13.2 million[1]Box office$8.9 million[2]
The Formula is a 1980 mystery film directed by John G. Avildsen. It was produced and written by Steve Shagan, who adapted his own 1979 novel The Formula. It stars Marlon Brando, George C. Scott, Marthe Keller, John Gielgud, G. D. Spradlin, and Beatrice Straight.
The film follows the attempts by different groups who wish to either secure or destroy a synthetic fuel formula invented by the Nazis at the end of World War II which would end reliance on the supply of oil.
In the final days of World War II, Soviet forces close in on the outskirts of Berlin. Panzer Korps General Helmut Kladen is dispatched to the Swiss frontier with secret documents to be used as a bargaining chip with the Allies to save Germany from the Soviets. He is subsequently intercepted by the U.S. Army and turned over to Army Intelligence.
In contemporary Los Angeles, Lt. Barney Caine is assigned to solve the murder of his former boss and friend Tom Neeley, which presumably occurred during a drug deal gone wrong. However, Neeley has written "Gene" on a newspaper in his own blood, and Caine finds a map of Germany with the name "Obermann" on it. Caine eventually learns that Neeley provided drugs at parties hosted by the tycoon Adam Steiffel. While interviewing Neeley's ex-wife, he catches her in several lies. Returning to interview her a second time, he finds her shot dead in her hot tub.
Steiffel reveals in his interview that Neeley was working for him as a bagman. Neeley was sent overseas by the company to deliver money to business partners. Caine decides he must be in Germany to solve Neeley's murder and convinces his Chief to allow him to go there to continue the investigation. Later, the Chief phones one of Steiffel's cronies to say that Caine has taken the bait.
Caine meets Paul Obermann at the Berlin Zoo. Obermann explains operation "Genesis" - a synthetic fuel formula that the Nazis had produced - could wreck the current oil-economy. Neeley was killed over Genesis. Obermann is then murdered outside the zoo. At his apartment, his niece Lisa shows up to be interviewed by the police. At Obermann's memorial service, Caine asks Lisa to accompany him to act as his interpreter. Lisa agrees and they follow up on a lead that Obermann gave him regarding Professor Siebold who worked on the formula.
During their interview with Siebold, he reveals that the inventor of the formula, Dr. Abraham Esau, is still alive. After they leave his apartment, Siebold is shot in the head through a window. They meet up with Esau, who writes down the formula for Caine after making him promise to make it public. Lisa and Caine make photocopies and send them to the LAPD and a Swiss energy company. Caine also hides two copies from Lisa, depositing them in the hotel's safe. Subsequently, he reveals that he has deduced that she is not Obermann's niece at all, but a spy sent to keep tabs on him. Lisa admits it, but claims she did not sleep with him because of her orders.
At the border with East Berlin, Caine confronts Tadesco who relates how he knew Neeley, and what transpired after his capture by the Americans. As Tadesco walks towards his car, Lisa kills Tadesco, then walks towards East Berlin. At the airport before flying home to Los Angeles, Caine realizes the two copies of the formula in the hotel safe were replaced with fakes by Lisa, and that the only real copies are with the LAPD and the Swiss.
After landing in Los Angeles, he heads straight to Steiffel's office. Steiffel has kidnapped Yosuta, Caine's partner, and is holding him to exchange for the copy of the formula.
After exchanging the formula for Yosuta's release, Caine demands answers from Steiffel. Steiffel then outlines the cartel's plan since the end of the war, to keep the formula secret. They had managed to keep it secret until Swiss businessman, Tauber, began searching for the members of the original Genesis team, hoping to recreate the formula. Tauber's actions made the members of the Genesis team a liability to the cartel, so Steiffel had pulled strings to get Caine sent on a trip to Germany, which would serve as a cover for the cartel's plot to eliminate the remaining members.
Before leaving, Caine reveals that he sent the formula to Tauber. After their meeting, Steiffel calls Tauber, asking him to keep the formula secret for another ten years in exchange for a 25% share of his anthracite holdings. They negotiate, and Tauber agrees to not use the formula for ten years.
Marlon Brando as Adam Steiffel
George C. Scott as Lt. Barney Caine
Marthe Keller as Lisa Spangler
John Gielgud as Dr. Abraham Esau
G. D. Spradlin as Arthur Clements
Beatrice Straight as Kay Neeley
Richard Lynch as Gen. Helmut Kladen/Frank Tedesco
John van Dreelen as Hans Lehman
Robin Clarke as Maj. Tom Neeley
Ike Eisenmann as Tony
Marshall Thompson as Geologist #1
Dieter Schidor as Assassin
Werner Kreindl as Schellenberg
Jan Niklas as Gestapo Captain
Wolfgang Preiss as Franz Tauber
David Byrd as Paul Obermann
Ferdy Mayne as Prof. Siebold
Alan North as Chief John Nolan
Calvin Jung as Sgt. Louis Yosuta
Louis Basile as Sgt. Vince Rizzo
Gerry Murphy as Herbert Glenn, Clements' Chauffeur
Craig T. Nelson as Geologist #2
Herb Voland as Geologist #3
Stephanie Edwards as Reporter
Albert Carrier as Butler
Ric Mancini as Printman
The Formula was partly filmed at the Spandau Studios in Berlin, with location shooting in St. Moritz and Hamburg. The remainder of the film was shot at the Metro-Goldwyn-Mayer studios in Culver City, California.
On review aggregator Rotten Tomatoes, the film holds a 30% rating based on 10 reviews.[3] TV Guide says- "Dull, contrived, and ploddingly directed by John G. Avildsen, this film is a never-ending series of repetitive interviews in which Barney asks questions of a recalcitrant informant. Ultimately, the trail leads back to Brando's corpulent oil magnate. Brando, who appears in only three scenes and walked off with $3 million for his performance, is the only spark of life in the entire film, albeit a highly bizarre one".[4]
Award Category Nominees Result Academy Awards Best Cinematography James Crabe Nominated Razzie Awards Worst Picture Steve Shagan Nominated Worst Director John G. Avildsen Nominated Worst Supporting Actor Marlon Brando Nominated Worst Screenplay Steve Shagan Nominated Stinkers Bad Movie Awards Worst Supporting Actor Marlon Brando Nominated Most Annoying Fake Accent: Male Nominated
|
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https://letterboxd.com/film/the-formula/
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The Formula (1980)
|
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While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel, who clearly has his own agenda regarding the formula.
|
en
|
https://letterboxd.com/film/the-formula/
|
1980 In Review - December
While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
A really interesting film involving the discovery of a synthetic fuel that obviously big oil companies would want to suppress. Unfortunately I think this wastes that idea on a long and meandering murder mystery that ends up a…
I'm checking in on THE FORMULA as I try to embrace the cinema of both George C. Scott and John G Avildsen. Avildsen doesn't give us the gritty Frank Capra "Feel good about humanity or self" messaging that I feel we get from him at times. However, this works as an engaging procedural. A function of 1970s cop films, to be certain. And on paper, it probably had some marketing and awards appeal--although I don't think it really succeeded in either regard. Brando gives an interesting supporting performance while George C Scott leads the audience through an international mystery that cuts through local police noise AND international story threads whose tentacles stretch into modern oil-price fixing AND back into the…
SPRING CLEANING - FILM #52
George C. Scott is an LA detective tasked with unravelling the murder of an old friend. He stumbles onto a conspiracy involving a synthetic fuel formula that dates back to Nazi Germany.
The entire film is made of up scenes where Scott interviews a witness/suspect, leaves, and then that witness/suspect is assassinated. This happens at least 4 times. It becomes pretty tedious because the mystery is far from mysterious. Just waiting for it to end. The ending, by the way, does feature some good dialogue that hits the movie's theme nicely.
Brando is in his lazy, don't-give-a-fuck period with a very distracting set of false teeth that look fake and fuck up his already garbled…
This doesn’t look good, but it’s part of this Marlon Brando box set, so I’m gonna watch it.
⏰ Two hours later…
I didn’t expect Nazis, elephants, and alligators.
Honestly, I don’t think the plot is interesting enough to warrant the talents of George C. Scott and Marlon Brando. The idea of big oil suppressing alternative forms of fuel is compelling in real life, or as a documentary, but it’s not very cinematic. Maybe that’s why they needed to add Nazis, elephants, and alligators.
That said, our two stars do make it worth watching. George C. Scott walking around talking to people can never be boring! Plus, it was a great time for mainstream movies in general. It’s that 1970s…
Lt. Caine (George C. Scott) begins to investigate the murder of his friend and this leads him to Germany where there seems to have been a special formula for synthetic fuel that the Nazis were working on.
As the new decade kicked off you'd think that THE FORMULA would be a certain hit. After all, both Scott and Brando had won Oscars in the previous decade and director John G. Avildsen also picked up an Oscar. So three Oscar-winners and a story involving a cover-up with the Nazi party and yet, somehow, this film turned out to be a major dud, which is really too bad.
There are all sorts of problems with this film but I think the biggest…
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THE FORMULA Original Daybill Movie Poster George C. Scott Marlon Brando
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2007-12-31T16:58:29+00:00
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Original Movie posters, Buy and Sell movie posters, Australian Daybills and Lobby Cards, Vintage movie memorabilia, Travel posters, collectibles, Brisbane, Melbourne, Sydney, Queensland
|
en
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Moviemem Original Movie Posters
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https://moviemem.com/products/movie-posters-general/the-formula-original-daybill-movie-poster-george-c/
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The Formula (1980)
Directed by John G. Avildsen.
With George C. Scott, Marlon Brando, Marthe Keller, John Gielgud
A detective uncovers a formula that was devised by the Nazis in WW II to make gasoline from synthetic products, thereby eliminating the necessity for oil--and oil companies. A major oil company finds out about it and tries to destroy the formula and anyone who knows about it.
Reviews of this product:
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https://www.moriareviews.com/sciencefiction/formula-1980.htm
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https://www.rottentomatoes.com/m/formula
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Rotten Tomatoes
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1980-12-19T00:00:00
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While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/formula
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7966
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dbpedia
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2
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https://www.rogerebert.com/reviews/the-formula-1980
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The Formula movie review & film summary (1980)
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One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
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https://www.rogerebert.com/
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https://www.rogerebert.com/reviews/the-formula-1980
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One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
Since "The Formula" is intended as a thriller, its completely muddled plot is a disaster: There can be no joy in unraveling a plot that is a mystery even to itself.
The movie's based on Steve Shagan's best-selling novel of a few years ago, which began with the premise that the Nazis discovered a cheap formula for synthetic fuel 35 years ago, and that the giant oil corporations have been suppressing it ever since.
In the movie, the oil companies are represented by Marlon Brando, who appears in three fascinating scenes and leaves us wishing for more. The good guys are boiled down into the person of George C. Scott, as a Los Angeles detective who starts out investigating the murder of a friend and stumbles onto a trail that leads him to Europe and the possessors of the secret formula.
Of that much I'm sure. Various other questions remain unanswered. For example, In Europe Scott takes up with a young lady who seems to be on the same side he's on. She's played by Marthe Keller as the same sort of beautiful international enigma she has played before.
But what's she really up to? In interviews, Steve Shagan explains that she's from the Palestine Liberation Organization. In the movie, we learn she has guilt feelings because her Nazi father murdered Jews. Then why would she be in the PLO? It hardly matters, since her affiliation, if any, is never made clear in the movie.
There are other puzzles. As Scott tracks down the formula, everyone he talks to is killed almost immediately after he talks to them. Why? Because he's being led on a wild goose chase and each character is eliminated after serving his function? Because the killers are trying to discourage Scott-and just can't seem to kill him too? It's a mystery.
I must also admit that at the movie's end, I still did not know for sure who was doing the shooting, I assumed it was a conspiracy by Brando's oil company, but I couldn't be sure.
"The Formula" apparently is a mess because of a post-production fight between Shagan, as writer-producer, and John Avildsen, as director; they exchanged acrimonious letters in the Los Angeles Times recently, and Avildsen failed in an attempt to have his name removed from the picture. The way they tell it, Avildsen wanted the movie to make more sense as a thriller, while Shagan was more concerned with his "message."
Well. One of the problems with his message is that it is not based on fact; it's a fantasy. Even though it may be true that the multinational oil companies try to manipulate the energy market, it is apparently not true that a formula exists that could turn coal into cheap synthetic fuel. Yet the movie's publicity calls the existence of a secret Nazi formula a "proven fact."
I have here an article from the November, 1980, issue of Science magazine, noting that the "synthesis used by the Germans are more in the nature of textbook processes than Mobil secrets" and that the film, "as history, is bunkum."
If the film cannot be taken seriously as an expose, and it is hopelessly confused as a thriller, what's left? Two marvelous performances. Scott, as the detective, is a harried, tired, deeply cynical man who fills the crevices of his role with actor's details that make the cop a human being.
Brando, who modeled his makeup to resemble Occidental Oil's Armand Hammer, has a great speech at the end of the film and several other classic lines ranging from "You're missing the point-we are the Arabs," to the succinct offer "Milk Dud?"
What happens during "The Formula" is that we eventually give up trying to make any sense out of the movie and content ourselves with regarding these performances. They are subtle and lovingly crafted, and it is just too bad there's no substance surrounding them.
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https://shotonwhat.com/the-formula-1980
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The Formula (1980)
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2024-08-11T15:54:26-07:00
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The Formula (1980) tech specs : shot on Panavision Cameras - Directed by John G. Avildsen with Cinematography by James Crabe - The Motion Picture & Television Technical Database
|
en
|
/favicon.ico?v=7
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https://shotonwhat.com/the-formula-1980
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https://www.rottentomatoes.com/m/the_formula
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Rotten Tomatoes
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Quinn and Graham discover a mathematical formula to pick up women.
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/the_formula
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https://www.imdb.com/title/tt0080754/
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Die Formel (1980)
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[] |
1980-12-19T00:00:00
|
Die Formel: Directed by John G. Avildsen. With George C. Scott, Marlon Brando, Marthe Keller, John Gielgud. The synthetic fuel production formula, invented by the Nazis at the end of World War II, is sought after by some who aim to sell it, and by others who wish to destroy it.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0080754/
|
Exciting story about a cop involved into an international intrigue referred to high-finance, it begins from the end WWII to the present. This thriller concerns about a veteran Inspector (George C Scott), Lt. Caine LAPD, he has to investigate two murders , it leads an insidious scheme to get a formula about a secret for synthetic fuel called Genesis and he will not stop at nothing . Caine is drawn into a criminal whirlpool. He becomes unwittingly involved to Nazi plots, along with a beautiful model (Marthe Keller). Hard-noised Caine is only helped by an agent, his oriental sidekick against a mysterious organization ruled by a mean billionaire (Marlon Brando). Meanwhile suspicious start to be killed one by one. Later on, Caine gets the formula that is hidden into a safety box and is aware which the nasties know whether or no it is safe to go to pick it up.
This intriguing movie packs action, suspense ,thrills,a love story, treason, and is quite entertaining. This intense thriller holds your interest throughout, however it contains some flaws and confusion. Certainly is worth watch seeing for George C Scott's brilliant, credible performance as obstinate cop. Good secondary cast as John Gielgud , G.D. Spradlin,Marshall Thomson,Wolfgang Preiss,Richard Lynch , among others. Interesting movie but with some holes and gaps and ridiculous scenes .
The film contains adequate and atmospheric cinematography by James Crabe. Suspesnseful and long-standing score by Bill Conti, director's usual . The picture is regularly directed by John G Avildsen. He is a nice director who has mixed more karate Kid and Rocky films with such feel-good message films as ¨Power of one, or ¨ Lean on me¨. Rating : passable and acceptable, 5,5.
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https://www.rogerebert.com/reviews/the-formula-1980
|
en
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The Formula movie review & film summary (1980)
|
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"Roger Ebert"
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One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
|
en
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/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
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https://www.rogerebert.com/
|
https://www.rogerebert.com/reviews/the-formula-1980
|
One of the ironies of "The Formula" is that if it had only been made from an old Hollywood formula-any formula-we might have been able to understand it better. As it stands, it's so thoroughly baffling that the audience finds itself asking, not only who-did-it, but what they did, and who they were. The movie is no help.
Since "The Formula" is intended as a thriller, its completely muddled plot is a disaster: There can be no joy in unraveling a plot that is a mystery even to itself.
The movie's based on Steve Shagan's best-selling novel of a few years ago, which began with the premise that the Nazis discovered a cheap formula for synthetic fuel 35 years ago, and that the giant oil corporations have been suppressing it ever since.
In the movie, the oil companies are represented by Marlon Brando, who appears in three fascinating scenes and leaves us wishing for more. The good guys are boiled down into the person of George C. Scott, as a Los Angeles detective who starts out investigating the murder of a friend and stumbles onto a trail that leads him to Europe and the possessors of the secret formula.
Of that much I'm sure. Various other questions remain unanswered. For example, In Europe Scott takes up with a young lady who seems to be on the same side he's on. She's played by Marthe Keller as the same sort of beautiful international enigma she has played before.
But what's she really up to? In interviews, Steve Shagan explains that she's from the Palestine Liberation Organization. In the movie, we learn she has guilt feelings because her Nazi father murdered Jews. Then why would she be in the PLO? It hardly matters, since her affiliation, if any, is never made clear in the movie.
There are other puzzles. As Scott tracks down the formula, everyone he talks to is killed almost immediately after he talks to them. Why? Because he's being led on a wild goose chase and each character is eliminated after serving his function? Because the killers are trying to discourage Scott-and just can't seem to kill him too? It's a mystery.
I must also admit that at the movie's end, I still did not know for sure who was doing the shooting, I assumed it was a conspiracy by Brando's oil company, but I couldn't be sure.
"The Formula" apparently is a mess because of a post-production fight between Shagan, as writer-producer, and John Avildsen, as director; they exchanged acrimonious letters in the Los Angeles Times recently, and Avildsen failed in an attempt to have his name removed from the picture. The way they tell it, Avildsen wanted the movie to make more sense as a thriller, while Shagan was more concerned with his "message."
Well. One of the problems with his message is that it is not based on fact; it's a fantasy. Even though it may be true that the multinational oil companies try to manipulate the energy market, it is apparently not true that a formula exists that could turn coal into cheap synthetic fuel. Yet the movie's publicity calls the existence of a secret Nazi formula a "proven fact."
I have here an article from the November, 1980, issue of Science magazine, noting that the "synthesis used by the Germans are more in the nature of textbook processes than Mobil secrets" and that the film, "as history, is bunkum."
If the film cannot be taken seriously as an expose, and it is hopelessly confused as a thriller, what's left? Two marvelous performances. Scott, as the detective, is a harried, tired, deeply cynical man who fills the crevices of his role with actor's details that make the cop a human being.
Brando, who modeled his makeup to resemble Occidental Oil's Armand Hammer, has a great speech at the end of the film and several other classic lines ranging from "You're missing the point-we are the Arabs," to the succinct offer "Milk Dud?"
What happens during "The Formula" is that we eventually give up trying to make any sense out of the movie and content ourselves with regarding these performances. They are subtle and lovingly crafted, and it is just too bad there's no substance surrounding them.
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https://www.tcm.com/tcmdb/title/1775/the-formula
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Not Available
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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https://www.liveauctioneers.com/price-result/the-formula-1980-hollywood-movie-scriptfinal-draft-marlon-brando/
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en
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The Formula 1980 Hollywood Movie Script?final draft Marlon Brando
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The Formula 1980 Hollywood Movie Scriptæfinal draft Marlon Brando.
|
en
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/apple-touch-icon.png
|
LiveAuctioneers
|
https://www.liveauctioneers.com/price-result/the-formula-1980-hollywood-movie-scriptfinal-draft-marlon-brando/
|
Framed poster from the Hollywood classic film, "The Godfather" (1972), featuring Marlon Brando with tag line "I'm gonna make him an offer he can't refuse". Measures approx 37 inches H x 25 inches W.
Framed poster from the Hollywood classic film, "The Godfather" (1972), featuring Marlon Brando with tag line "I'm gonna make him an offer he can't refuse". Measures approx 37 inches H x 25 inches W.
Artist: Cecil Beaton (English, 1904 - 1980). Title: "Marlon Brando". Medium: Original photogravure. Date: Composed 1947. Printed 1979. Dimensions: Overall size: 15 5/8 x 11 3/4 in. (397 x 298
Artist: Cecil Beaton (English, 1904 - 1980). Title: "Marlon Brando". Medium: Original photogravure. Date: Composed 1947. Printed 1979. Dimensions: Overall size: 15 5/8 x 11 3/4 in. (3
Godfather 25th Anniversary Edition Movie Poster- Signed by Marlon Brando and Cast. Signed by Francis Ford Coppola, Marlon Brando, Al Pacino, James Caan & Robert DuvallHigh gloss stock paper in woo
Marlon Brando Signed Original "Désirée" Movie Poster. Presented in a Custom Exhibition Quality Frame. Désirée is a 1954 American historical romance film directed by Henry Koster and produc
Apocalypse Now Hand Signed Poster x10 Brando, Ford This is a 27x 40 "Apocalypse Now" movie poster hand signed by Marlon Brando, Martin Sheen, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fis
Apocalypse Now Hand Signed Poster x10 Brando, Ford This is a 27x 40 "Apocalypse Now" movie poster hand signed by Marlon Brando, Martin Sheen, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fis
Apocalypse Now Hand Signed Poster x10 Brando, Ford This is a 27x 40 "Apocalypse Now" movie poster hand signed by Marlon Brando, Martin Sheen, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fis
Marlon Brando, "(On The Waterfront)", movie poster French release, 1954 Poster on paper under Plexiglas Directed by Elia Kazan Sight: 91.25" H x 22.75" W
This scene captures Marlon Brando from The Godfather movie. Signed in silver by the actor near bottom of photo. 10 X 8 inches.
Signed by Marlon Brando, Francis Ford Coppola, Diane Keaton, Talia Shire, Al Pacino, James Caan and Robert DuvallHigh gloss stock paper in wood framing with UV protective acrylic glassAll collectibles
Signed by Marlon Brando, Francis Ford Coppola, Diane Keaton, Talia Shire, Al Pacino, James Caan & Robert Duvall High gloss stock paper in wood framing with UV protective acrylic glass All collecti
Signatures of Al Pacino, Marlon Brando, James Caan and Francis Coppola with COA. 28 5/8" X 41 1/4" Note: Donley Auctions does not warranty any third party COA's or authenticity.
|
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7966
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dbpedia
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0
| 27
|
https://www.amazon.com/The-Formula-DVD/product-reviews/B00064X6NS%3FreviewerType%3Dall_reviews
|
en
|
Amazon.com
|
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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7966
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dbpedia
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3
| 7
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https://racer.com/2024/07/05/brad-pitts-formula-1-film-title-revealed-as-f1/
|
en
|
Brad Pitt’s Formula 1 film title revealed as ‘F1’
|
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[] |
[
"formula 1",
"brad pitt",
"f1 movie"
] | null |
[
"Chris Medland",
"Aaron Bearden",
"Mark Glendenning",
"SRO America",
"Holly Cain",
"NASCAR Wire Service"
] |
2024-07-05T00:00:00
|
The Formula 1 film currently in production starring Brad Pitt has officially revealed its title: simply, "F1." The Joseph Kosinski-directed film is still shooting -- including at this weekend’s British Grand Prix -- and being produced by Jerry Bruckheimer, Chad Oman, Dede Gardner, Jeremy Kleine...
|
en
|
RACER
|
https://racer.com/2024/07/05/brad-pitts-formula-1-film-title-revealed-as-f1/
|
The Formula 1 film currently in production starring Brad Pitt has officially revealed its title: simply, “F1.”
The Joseph Kosinski-directed film is still shooting — including at this weekend’s British Grand Prix — and being produced by Jerry Bruckheimer, Chad Oman, Dede Gardner, Jeremy Kleiner and Lewis Hamilton. With a release date in June 2025 recently confirmed the film’s name has also been announced, with the “F1” title also incorporating the sport’s official logo on the movie poster.
The first official teaser for the film will air during this weekend’s coverage of the British Grand Prix, going out at 9:33am ET on Sunday in the build-up to the race start.
Filming has been taking place at multiple races throughout 2023 — the season in which the film will be set — including at Silverstone, Hungaroring, Spa-Francorchamps, Zandvoort, Monza, Las Vegas and Abu Dhabi, while this year races at Suzuka and Mexico City will be added to those locations.
Originally all filming was due to take place at races in 2023, but the Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) strike last year has meant further scenes needed capturing in 2024, including live on-track runs from Pitt at Silverstone this weekend.
From Apple Original Films, “F1” will see Pitt starring as a veteran driver who returns to the sport to help a fictional team — APXGP — alongside a teammate played by Damson Idris.
The film will be distributed in theaters around the world and in IMAX by Warner Bros. Pictures internationally on June 25, 2025, and in North America on June 27, 2025.
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7966
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0
| 66
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https://archive.org/details/sieze-the-formula
|
en
|
Sieze The Formula (1980) Trailer : Free Download, Borrow, and Streaming : Internet Archive
|
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Trailer for the 1980 martial arts action film Sieze The Formula aka Mie jue qi qi, directed by Bruce Le.
|
en
|
Internet Archive
|
https://archive.org/details/sieze-the-formula
|
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Save Page Now
Capture a web page as it appears now for use as a trusted citation in the future.
Please enter a valid web address
|
|||||
7966
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dbpedia
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0
| 7
|
https://letterboxd.com/film/the-formula/
|
en
|
The Formula (1980)
|
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While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel, who clearly has his own agenda regarding the formula.
|
en
|
https://letterboxd.com/film/the-formula/
|
1980 In Review - December
While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
A really interesting film involving the discovery of a synthetic fuel that obviously big oil companies would want to suppress. Unfortunately I think this wastes that idea on a long and meandering murder mystery that ends up a…
I'm checking in on THE FORMULA as I try to embrace the cinema of both George C. Scott and John G Avildsen. Avildsen doesn't give us the gritty Frank Capra "Feel good about humanity or self" messaging that I feel we get from him at times. However, this works as an engaging procedural. A function of 1970s cop films, to be certain. And on paper, it probably had some marketing and awards appeal--although I don't think it really succeeded in either regard. Brando gives an interesting supporting performance while George C Scott leads the audience through an international mystery that cuts through local police noise AND international story threads whose tentacles stretch into modern oil-price fixing AND back into the…
SPRING CLEANING - FILM #52
George C. Scott is an LA detective tasked with unravelling the murder of an old friend. He stumbles onto a conspiracy involving a synthetic fuel formula that dates back to Nazi Germany.
The entire film is made of up scenes where Scott interviews a witness/suspect, leaves, and then that witness/suspect is assassinated. This happens at least 4 times. It becomes pretty tedious because the mystery is far from mysterious. Just waiting for it to end. The ending, by the way, does feature some good dialogue that hits the movie's theme nicely.
Brando is in his lazy, don't-give-a-fuck period with a very distracting set of false teeth that look fake and fuck up his already garbled…
This doesn’t look good, but it’s part of this Marlon Brando box set, so I’m gonna watch it.
⏰ Two hours later…
I didn’t expect Nazis, elephants, and alligators.
Honestly, I don’t think the plot is interesting enough to warrant the talents of George C. Scott and Marlon Brando. The idea of big oil suppressing alternative forms of fuel is compelling in real life, or as a documentary, but it’s not very cinematic. Maybe that’s why they needed to add Nazis, elephants, and alligators.
That said, our two stars do make it worth watching. George C. Scott walking around talking to people can never be boring! Plus, it was a great time for mainstream movies in general. It’s that 1970s…
Lt. Caine (George C. Scott) begins to investigate the murder of his friend and this leads him to Germany where there seems to have been a special formula for synthetic fuel that the Nazis were working on.
As the new decade kicked off you'd think that THE FORMULA would be a certain hit. After all, both Scott and Brando had won Oscars in the previous decade and director John G. Avildsen also picked up an Oscar. So three Oscar-winners and a story involving a cover-up with the Nazi party and yet, somehow, this film turned out to be a major dud, which is really too bad.
There are all sorts of problems with this film but I think the biggest…
|
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7966
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https://www.news-journalonline.com/story/news/2024/07/16/brad-pitt-movie-racing-florida-daytona-beach-bardem/74407045007/
|
en
|
Brad Pitt, Javier Bardem in 'F1': Everything to know about racing movie filmed in Florida
|
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[
"Daytona Beach News-Journal Online",
"Jennifer Sangalang",
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2024-07-16T00:00:00
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Brad Pitt as a Formula 1 driver? He plays Sonny Hayes in a racing movie that actually filmed at Daytona Speedway in Florida. \
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en
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Florida Today
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https://www.news-journalonline.com/story/news/2024/07/16/brad-pitt-movie-racing-florida-daytona-beach-bardem/74407045007/
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When does 'F1,' the Apple Original film with Brad Pitt produced by Jerry Bruckheimer, open in theaters? June 27, 2025.
Oscar winners Brad Pitt and Javier Bardem, stars of "F1," filmed in Volusia County, Florida, and at the Rolex 24 at Daytona International Speedway.
"F1" is directed by Joseph Kosinski (“Top Gun: Maverick”) and includes seven-time F1 world champion Lewis Hamilton as a producer.
Film and longtime TV producer Jerry Bruckheimer served as the Grand Marshal for the 62nd running of the Rolex 24 in Daytona Beach.
Wave the checkered flags for "F1!" The Brad Pitt racing movie is already a winner for Florida, given scenes were filmed here.
Previously referred to as "Apex," the action film "F1" stars the Academy Award-winning Hollywood superstar Brad Pitt as Sonny Hayes, an ex-Formula 1 driver who returns to the sport to mentor a rookie teammate. British actor Damson Idris plays Pitt's rookie teammate on their fictional team APXGP, and Academy Award-winning actor Javier Bardem plays the leader of APXGP. Other co-stars include Kerry Condon, Tobias Menzies, Sarah Niles, Kim Bodnia and Samson Kayo.
The Apple Original film about the world of Formula One racing, directed by Joseph Kosinski (“Top Gun: Maverick”), was produced by Jerry Bruckheimer and seven-time F1 world champion Lewis Hamilton, who has a cameo in the film. "F1," which gives viewers a peek of Daytona International Speedway, opens in theaters June 27, 2025.
Here's what we know about the Formula One-based project starring Brad Pitt and Florida's role in the racing movie.
Where was filming for 'F1,' Formula One racing movie starring Brad Pitt?
As of July 16, 2024, just over a week after the trailer for "F1" was released, the Formula One film shot various scenes at multiple F1 race weekends (F1 competes worldwide), including:
F1 practice ahead of the U.S. Grand Prix in Austin, Texas, in October 2022
Las Vegas Grand Prix in November 2023
62nd edition of the Rolex 24 endurance race at Daytona International Speedway in Daytona Beach in January 2024
British Grand Prix, in which "F1" star Brad Pitt attended with his real-life girlfriend Ines de Ramon. According to USA TODAY, the couple were spotted July 5, 2024, walking in the paddock during the F1 event at Silverstone Circuit in Northampton, England.
Filming began at Silverstone, Central England, in 2023 and will continue through the season, finishing at Abu Dhabi in December 2024. Production on "F1" took place during actual Grand Prix weekends as professional racers hit the track, Apple TV+ shared in a press release.
Did Brad Pitt shoot scenes for 'F1' movie at Daytona International Speedway in Florida?
In January 2024, Brad Pitt, the two-time Sexiest Man Alive for People magazine, caused quite a stir when he arrived with film crews to work at Daytona International Speedway during the run-up to the venue's famed Rolex 24 endurance race. Pitt filmed scenes around the track, in Daytona Beach and New Smyrna Beach, alongside actor Javier Bardem ("No Country for Old Men," "Skyfall").
Interestingly, film and TV producer Jerry Bruckheimer was named the Grand Marshal for the Rolex 24.
Bruckheimer, also filmed parts of the movie “Days of Thunder,” starring Tom Cruise and then-wife Academy Award winner Nicole Kidman ("The Hours," "A Family Affair"), at the World Center of Racing.
“Daytona International Speedway is an iconic venue and it’s going to be an honor to give the command for the Rolex 24 at Daytona,” Bruckheimer said via a press release. “I’ve been here for the biggest NASCAR race and now I can’t wait to experience one of the most prestigious sports car races in the world.”
How accurate is 'F1,' the Formula One racing movie starring Brad Pitt?
"F1" stars Brad Pitt as a retired Formula One racer itching for his comeback. He suits up as a racecar driver, and real-life Mercedes driver Lewis Hamilton serves as an executive producer on the film.
As of July 16, 2024, "F1" was still in production ahead of its 2025 release date. The film, previously called "Apex," has been in the works since at least 2022 when Pitt was spotted in Austin, Texas, at an F1 practice event. The Hollywood superstar took fan photos while there, according to the Austin American-Statesman.
While it's too soon to tell how accurate "F1" will be to the actual world of Formula One, Daytona International Speedway officials complimented Bruckheimer in a Daytona Beach News-Journal story in January 2024: “Jerry Bruckheimer has produced some of the most entertaining and action-packed movies and shows of the past several decades,” Daytona International Speedway President Frank Kelleher said. “Whether he featured fast cars, high-flying jets, or frantic foot races, his work reflects the energy we’ll see in the Rolex 24 at Daytona, making him the perfect grand marshal for this year’s race.”
For example, "F1" was filmed during the "Roar Before the Rolex 24" endurance race event there with the No. 120 Wright Motorsports Porsche 911 GT3, an entry in the GTD Class, serving as the center of the shooting as the movie car. Drivers Adam Adelson, Elliott Skeer, Jan Heylen and Fred Makowiecki piloted the car.
"When we were contacted by the movie team about the possibility of filming here, we were very thrilled that our property, Daytona International Speedway, the World Center of Racing and IMSA could be part of that," IMSA President John Doonan said. "It's a testament to the folks making the film that they want it to be 100% authentic. They ran until 2 in the morning" during filming in January 2024.
Said Doonan: "The branding, it's all authentic and I think that's really great. To have the first segment of the movie here at Daytona, here in Volusia County and around the area, it can only be good, to be honest. We've all seen racing movies. We can all name our favorite racing movies. But for me, it's about making sure the movie is authentic. And although I didn't approve the paint scheme, it looks pretty slick."
Above are photos of the Rolex 24 at Daytona International Speedway in January 2024, courtesy of the Daytona Beach News-Journal.
What was the name of Florida restaurant destroyed by fire after Brad Pitt, Javier Bardem filmed scenes for 'F1'?
In addition to the Daytona International Speedway in Daytona Beach, the "F1" movie crew also was spotted filming scenes at the landmark Pappas Drive-In & Family Restaurant in New Smyrna Beach, as well as Christina’s Coin Laundry next door.
From the first look at the "F1" trailer, there’s plenty of racing action, but no obvious signs yet of the scenes filmed at the popular New Smyrna Beach restaurant, which was gutted by an overnight fire in March 2024, the Daytona Beach News-Journal reported.
Watch the trailer for 'F1' racing movie starring Brad Pitt
The trailer for the Apple Original film "F1," based on the world of Formula One, was released July 7, 2024. F1 (the actual racing organization) released the trailer on its social platforms, with the Instagram Reel getting more than 1.1 million likes.
“We need to build a car for combat,” Brad Pitt’s character gravely states in a scene featured in the "F1" preview clip. Asked about safety, he responds, “Who said anything about safe?”
When does 'F1' racing movie with Brad Pitt come out?
"F1" will open abroad on June 25, 2025, then in U.S. theaters on June 27, 2025.
Contributing: Scott Horner, Indianapolis Star; Edward Segarra, USA TODAY
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dbpedia
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https://www.allmovie.com/movie/the-formula-am17737
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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ASA 🎥📽🎬 The Formula (1980) a film directed by John G. Avildsen with George C. Scott, Marthe Keller, Marlon Brando, John Gielgud, Beatrice Straight
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2021-11-14T00:00:00
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The Formula (1980)
Synopsis
A formula for synthetic fuel had been developed by the Nazis during WW II. In the intervening 35 years since the war's end, the formula has disappeared and several people connected with it have died under mysterious circumstances. Also during this period, oil magnate Adam Steiffel (Marlon Brando) had commiserated with one of the decedents. Police officer Barney Caine (George C. Scott), a friend of the dead man, hopes to solve the mystery, and in so doing gets mixed up in a wide-ranging conspiracy to manipulate worldwide fuel prices.
Awards
1980: Oscar: Nominated for Best Cinematography
1980: Razzie Awards: 4 Nominations, incl. Worst Picture, Director and Screenplay
|
ru
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/favicon.ico
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OK.RU
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https://ok.ru/video/3006489299654
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The Formula (1980) Synopsis A formula for synthetic fuel had been developed by the Nazis during WW II. In the intervening 35 years since the war's end, the formula has disappeared and several people connected with it have died under mysterious circumstances. Also during this period, oil magnate Adam Steiffel (Marlon Brando) had commiserated with one of the decedents. Police officer Barney Caine (George C. Scott), a friend of the dead man, hopes to solve the mystery, and in so doing gets mixed up in a wide-ranging conspiracy to manipulate worldwide fuel prices. Awards 1980: Oscar: Nominated for Best Cinematography 1980: Razzie Awards: 4 Nominations, incl. Worst Picture, Director and Screenplay
|
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7966
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dbpedia
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0
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https://www.moviefone.com/movie/the-formula/1012532/credits/
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en
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The Formula (1980) Cast and Crew
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Meet the talented cast and crew behind 'The Formula' on Moviefone. Explore detailed bios, filmographies, and the creative team's insights. Dive into the heart of this movie through its stars and filmmakers.
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https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico
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Moviefone
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https://www.moviefone.com/movie/the-formula/1012532/credits/
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‘Alien: Romulus’ plays the hits, both for better and for worse. It’s entertaining and well-done,...
The creepy, truly weird ‘Cuckoo’ dets under your skin. The unsettling ‘Cuckoo’ keeps you off-balance...
A breezy caper comedy, ‘The Instigators’ is just entertaining enough. ‘The Instigators’ won’t...
‘Bad Monkey’ mixes crime with colorful characters. The new show from ‘Ted Lasso’ co-creator...
‘Cobra Kai’ kicks off its final season with a fun first part. With an ambitious, three-part...
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7966
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dbpedia
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1
| 2
|
https://www.rottentomatoes.com/m/formula
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en
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Rotten Tomatoes
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1980-12-19T00:00:00
|
While investigating the death of a friend and fellow cop, Los Angeles police officer Barney Caine (George C. Scott) stumbles across evidence that Nazis created a synthetic alternative to gasoline during World War II. This revelation has the potential to end the established global oil industry, making the formula a very valuable and dangerous piece of information. Eventually, Caine must contend with oil tycoon Adam Steiffel (Marlon Brando), who clearly has his own agenda regarding the formula.
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/formula
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Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
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|
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7966
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dbpedia
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2
| 9
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https://moviesanywhere.com/movie/the-formula-1980
|
en
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The Formula | Full Movie | Movies Anywhere
|
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[
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1980-08-18T00:00:00
|
Purchase The Formula on digital and stream instantly or download offline. What happens when the oil runs out? Two men know. They both want... The Formula. Academy Award winners Marlon Brando, George C. Scott and Sir John Gielgud star in this thriller about a police detective who inadvertently unravels an ongoing plot by global oil companies to keep a Nazi formula for synthetic fuel secret. Los Angeles. Police detective Barney Caine (Scott--Patton) investigates the murder of his longtime friend, Tom Neely (Robin Clarke), who had been trying to live the good life by dealing drugs to a well-heeled clientele. But as Caine's investigation leads to a string of murders, he realizes that the stakes are much higher than the death of his friend. And when he discovers that Neely had been the officer in charge of transporting a Nazi formula for synthetic fuel, Caine knows he stands alone against a global network of oil companies that will do anything to keep the secret of The Formula.
|
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https://moviesanywhere.com/movie/the-formula-1980
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plays like a tedious checklist of murders without a score card.
June 21, 2017
Only Marlon Brando in a small role as a daffy oil tycoon gives the film some spark.
May 2, 2021
its completely muddled plot is a disaster: There can be no joy in unraveling a plot that is a mystery even to itself.
August 16, 2017
The murder scene is littered with so many red herrings it might as well be a delicatessen.
June 21, 2017
The Formula is an intriguing thriller that raises many questions about business ethics and the moral bankruptcy of the very rich.
June 17, 2017
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https://en.wikipedia.org/wiki/The_Shape_of_Water
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The Shape of Water
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2016-03-18T04:27:34+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/The_Shape_of_Water
|
2017 film by Guillermo del Toro
This article is about the 2017 American film. For the unrelated Italian novel, see The Shape of Water (novel).
The Shape of WaterDirected byGuillermo del ToroScreenplay by
Guillermo del Toro
Vanessa Taylor
Story byGuillermo del ToroProduced by
Guillermo del Toro
J. Miles Dale
StarringCinematographyDan LaustsenEdited bySidney WolinskyMusic byAlexandre Desplat
Production
companies
Fox Searchlight Pictures
TSG Entertainment
Double Dare You Productions
Distributed byFox Searchlight Pictures
Release dates
Running time
123 minutes[1]Countries
United States
Mexico[2]
Languages
American Sign Language
English
Russian
Budget$19.5–20 million[3][4]Box office$196 million[5]
The Shape of Water is a 2017 romantic fantasy film directed and co-produced by Guillermo del Toro and written by del Toro and Vanessa Taylor. It stars Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, and Octavia Spencer. Set in 1962 Baltimore, Maryland, the film follows a mute cleaner at a high-security government laboratory who falls in love with a captured humanoid amphibian creature and decides to help him escape from death at the hands of an evil colonel. Filming took place on location in Ontario, Canada, from August to November 2016.
The Shape Of Water was screened as part of the main competition in the 74th Venice International Film Festival, where it premiered on August 31, 2017, and was awarded the Golden Lion. It was also screened at the 2017 Toronto International Film Festival. It began a limited release in two theaters in New York City on December 1, 2017, before expanding wide on December 22, 2017, and grossed $195 million worldwide.
The Shape of Water was widely acclaimed by critics, who lauded its acting, screenplay, direction, visuals, production design, cinematography, and musical score. The American Film Institute selected it as one of the top ten films of 2017. The film was nominated for a leading thirteen awards at the 90th Academy Awards, winning four, including Best Picture and Best Director for del Toro, and received numerous other accolades. It was the second fantasy film to win Best Picture, after The Lord of the Rings: The Return of the King (2003). A novelization by del Toro and Daniel Kraus was published on March 6, 2018.
Plot
[edit]
Elisa Esposito, who was found abandoned by the side of a river as an infant with scars on her neck, is mute and communicates through sign language. In 1962, during the Cold War, Elisa works as a cleaner at a secret government laboratory in Baltimore, Maryland, and lives a routine life in an apartment above a movie theater. Her only friends are her closeted gay next-door neighbor Giles, a struggling middle-aged advertising illustrator, and a fellow cleaner at the laboratory, Zelda.
Colonel Richard Strickland has captured a mysterious creature from a South American river and taken it to the Baltimore facility for study. Curious, Elisa discovers it is a humanoid amphibian. She begins visiting him in secret, and they form a bond.
Seeking to exploit the Amphibian Man's respiration for a US advantage in the Space Race, General Frank Hoyt is eventually persuaded by Strickland to vivisect it to examine its biology. Dr. Robert Hoffstetler, a scientist who is secretly a Russian spy named Dimitri Mosenkov, pleads unsuccessfully to Strickland to keep him alive for further study, while simultaneously ordered by his Soviet handlers to kill the creature to prevent this.
When Elisa overhears the Americans' plans for the Amphibian Man, she attempts to persuade Giles to help her liberate him. He refuses at first, as he does not want to break the law to save what he regards as an animal. After failing to get his job back, Giles' propositioning is rejected by a local dessert pie francise restaurant manager, who he discovers is a racist and homophobe. Subsequently, he has a change of heart.
Hoffstetler stumbles upon Elisa's plot in progress and chooses to assist her. Though initially reluctant, Zelda also becomes involved in the escape. Elisa plans to release the Amphibian Man into a nearby canal when heavy rain will allow access to the ocean. In the meantime, she keeps him in her bathtub. Strickland interrogates Elisa and Zelda, among others, but learns nothing.
The Amphibian Man encounters one of Giles's cats, who reacts. Giles discovers the Amphibian Man devouring the cat. When Giles tries to stop him, he gets startled, slashes Giles's arm and rushes out of the apartment. He gets as far as the cinema downstairs before Elisa finds him and returns him to her apartment.
The creature touches Giles on his balding head and wounded arm. The next morning, Giles discovers hair has begun growing back on his previously bald head, while the wounds on his arm have healed. Elisa continues to develop her romantic relationship with the Amphibian Man, culminating in sexual intercourse.
General Hoyt unexpectedly arrives at the laboratory and tells Strickland he has 36 hours to recover the Amphibian Man, or his career will be over. Meanwhile, Hoffstetler is told by his handlers that he will be extracted from the US in two days. Although the likely release date approaches, the Amphibian Man's health begins to deteriorate.
Hoffstetler goes to meet his two handlers, and Strickland follows him. At the rendezvous, Hoffstetler is shot by one of them and Strickland intervenes, shooting the handlers. Realizing that Hoffstetler is a spy, Strickland tortures the dying man into revealing the Amphibian Man's whereabouts. He is surprised to learn that Elisa and Zelda are involved.
Strickland threatens Zelda in her home unsuccessfully, until Zelda's husband Brewster reveals that Elisa has the Amphibian Man. Zelda immediately telephones Elisa, warning her to release the creature. Strickland finds Elisa's apartment empty and ransacks it until he finds evidence of the creature in the bathtub and a calendar note revealing where she plans to release the Amphibian Man.
At the canal, Elisa and Giles are bidding farewell to the creature when Strickland arrives, knocks Giles down, and shoots both the Amphibian Man and Elisa. The Amphibian Man heals himself and slashes Strickland's throat, killing him. As the police arrive on the scene with Zelda, the Amphibian Man takes Elisa and jumps into the canal, swimming around her lifeless body. He applies his healing powers/ability to the scars on Elisa's neck, which open to reveal gills like his.
Elisa jolts back to life and they embrace and kiss. In a closing voice-over narration, Giles conveys his belief that Elisa lived happily ever after with the Amphibian Man.
Cast
[edit]
Sally Hawkins as Elisa Esposito
Michael Shannon as Richard Strickland
Richard Jenkins as Giles
Doug Jones as "The Amphibian Man"
Michael Stuhlbarg as Robert Hoffstetler / Dimitri Mosenkov
Octavia Spencer as Zelda Delilah Fuller
Nick Searcy as General of the Air Force Frank Hoyt
David Hewlett as Fleming
Nigel Bennett as Mihalkov
Stewart Arnott as Bernard
Lauren Lee Smith as Elaine Strickland
Martin Roach as Brewster Fuller
John Kapelos as Mr. Arzoumanian
Morgan Kelly as Pie Guy
Wendy Lyon as Sally
Production
[edit]
Development
[edit]
It was co-produced between the United States and Mexico. The film was directed by Guillermo del Toro from a screenplay he co-wrote with Vanessa Taylor.[1] Del Toro formed the idea for The Shape of Water over breakfast in December 2011 with Daniel Kraus, his future collaborator on the novel Trollhunters.[6] It was primarily inspired by del Toro's childhood memories of seeing Creature from the Black Lagoon (1954) and wanting to see the Gill-man and Kay Lawrence (played by Julie Adams) succeed in their romance.[7]
When del Toro was in talks with Universal to direct a remake of Creature from the Black Lagoon, he tried pitching a version focused more on the creature's perspective, where the Creature ended up together with the female lead, but the studio executives rejected the concept.[8] Additionally, the film also shows similarities to the 2015 short film The Space Between Us.[9]
In placing the film in the 1960s, del Toro said "the movie is a movie about our problems today and about demonizing the other and about fearing or hating the other, and how that is a much more destructive position than learning to love and understand [...] if I say once upon a time in 1962, it becomes a fairy tale for troubled times. People can lower their guard a little bit more and listen to the story and listen to the characters and talk about the issues, rather than the circumstances of the issues."[10]
Casting
[edit]
A fan of her performances in Fingersmith (2005) and Happy-Go-Lucky (2008), del Toro wrote the script with Sally Hawkins in mind for the female lead and pitched the idea to her while he was intoxicated at the 2014 Golden Globes.[11] Hawkins prepared for the role by watching films of silent comedians Charlie Chaplin, Buster Keaton, Harold Lloyd, and Stan Laurel from Laurel and Hardy, the last of whom Del Toro told her to watch because he thought Laurel could "do a state of grace without conveying it verbally".[12]
Doug Jones was chosen to portray the Amphibian Man in The Shape of Water, having collaborated with del Toro on Mimic (1997), Hellboy (2004), Pan's Labyrinth (2006), Hellboy II: The Golden Army (2008), and Crimson Peak (2015). In an interview with NPR, Jones said his initial reaction to learning the creature would also be a romantic lead was "utter terror" but trusted the director to expand the character's development. As Jones wanted to portray a creature distinct from others in monster films, he practiced a variety of movements in a dance studio. After del Toro told him to make the character "animalistic, but royal and regal", Jones decided to also portray the character as a Matador.[13] The voice of the Amphibian Man was created by supervising sound editor Nathan Robitaille, who combined his own vocalizations, various animal sounds, and recordings of del Toro breathing.[14]
The part of Giles was originally written with Ian McKellen in mind, and del Toro was inspired to do so by his performance in Gods and Monsters as the real-life closeted gay filmmaker James Whale, the director of Frankenstein (1931), The Invisible Man (1933), and Bride of Frankenstein (1935), who found himself unemployable in his later years. When McKellen proved unavailable, del Toro sent an e-mail to Richard Jenkins, who accepted the part.[15]
Michael Shannon was cast as Richard Strickland, the villain of the film. Shannon and del Toro had early conversations about the notion that Strickland would have been the hero of the film if it had been made in the 1950s, something that fascinated the actor.[16] Octavia Spencer, who played the role of Elisa's co-worker, friend, and interpreter Zelda, found it funny that the people del Toro used to speak for the mute main character were people who represent very disenfranchised groups.[17]
Filming and visuals
[edit]
Principal photography began on August 15, 2016, in Toronto and Hamilton, Ontario,[18][19][20] and wrapped on November 6, 2016.[21] The interior of the Orpheum (the movie theater seen in the film), is that of the Elgin and Winter Garden Theatres in Toronto, while the exterior of the building is the façade of the Victorian Massey Hall, a performing arts theatre not far from the other one. Elisa and Giles's old flats, which in the film are just above the Orpheum, were actually a set built at Cinespace Studios, West Toronto.[22]
Del Toro was torn between making the film in color or in black and white, and was at one point leaning toward the latter. Fox Searchlight Pictures offered del Toro either a $20 million budget to make the film in color or a $17 million budget to shoot it in black and white. Del Toro admitted he was in "a battle I was expecting to lose. I was of two minds. On one hand I thought black and white would look luscious, but on the other hand I thought it would look postmodern, like I was being reflective rather than immersed." As a result, he chose to shoot it in color.[23][24] In an interview with IndieWire about the film, del Toro said the project was a "healing movie for me", as it allowed him to explore and "speak about trust, otherness, sex, love, where we're going. These are not concerns that I had when I was nine or seven."[25]
Music
[edit]
Three years before The Shape of Water was released, del Toro met with composer Alexandre Desplat to talk about the film's premise. In January 2017, Desplat was shown a rough cut of the finished film, and finding it similar to a musical, he agreed to compose a score. As a result, Desplat tried to capture the sound of water extensively to have audiences experience a "warm feeling" that is also caused by love. In an interview, he said the melody from the opening scene was "actually made of waves. I did not do that on purpose, but by being completely immersed in this love and these water elements, I wrote a melody that plays arpeggios like waves."[26]
Writing the film score took six weeks; it was purposely composed to create the sense of immersion and to give the "sense that you, yourself, are floating". The two melodies, one titled "Elisa's Theme", are heard at the beginning of the film and later merge into a single piece of music by the end of it. To emphasize this effect and its final result, Desplat changed the sounds of the accompanying flutes, accordions, and whistles to "something blurred". On composing the score overall, he said that it was "a matter of sculpting the music and making it take the shape of the storyline." As a result, Desplat opted out of giving Shannon's character a melody.[26]
The music for The Shape of Water was released on December 1, 2017, by Decca Records. At the 90th Academy Awards, it received the Academy Award for Best Original Score.[27] Desplat noted that "when the movie's that beautiful—and I actually think this movie is a masterpiece—it makes your life much easier. You just have to put your hands on it and it takes you anywhere you want."[26]
Release
[edit]
The Shape of Water premiered on August 31, 2017, at the 74th Venice International Film Festival, where it was awarded the Golden Lion for best film.[28][29] It also screened at Telluride Film Festival,[30] the 2017 Toronto International Film Festival,[31] and BFI London Film Festival, among others.[32] The film was released in two theaters in New York City on December 1, 2017, and then expanded to several other cities the following week. It had its official wide release in the United States on December 22, 2017.[33]
On March 13, 2018, the film was released on Blu-ray, DVD, and digital download.[34] Special features on the Ultra HD Blu-ray includes a making-of documentary, two featurettes, a MasterClass Q & A with Guillermo del Toro, an interview with artist James Jean, and three theatrical trailers.[35]
Thematic analysis
[edit]
Construction of the Other
[edit]
Guillermo del Toro’s The Shape of Water (2017) is constructed to challenge society’s perception of the Other in both a literal and metaphorical sense. The monster of this film is a humanoid amphibian creature stolen from the Amazon by American scientists. While much of pop culture has dismissed this film as a monster-human romance,[36] the imagery and symbolism of this film go far beyond fantasy. Through del Toro’s characterization and intentional humanization of the creature, the creature becomes a metaphor to discuss the “beauty of the Other”[36] (i.e., those marginalized in society).
The sociopolitical context of the film becomes essential to understanding character dynamics; namely the interactions between those with power and those without. In the background of the Cold War and Civil Rights Movement, Black people, people of color, people with disabilities, and LGBTQ+ people continually occupied a lower social class in the United States.[37] Therefore, those belonging to marginalized groups are likely to connect and empathize with the creature as they see their own experiences reflected through the creature’s interactions with the people of authority around him.[38]
As a mute woman and someone who is not visibly Other,[38] Elisa’s acceptance of the creature is interpreted as a testament to the human capacity for compassion and empathy. Her attempt to free the creature from government control, with help from Giles (a gay man) and Zelda (a Black woman), is evidence of solidarity among marginalized communities. Similar to Tod Browning’s Freaks, it is no surprise in this film that those who are also othered by society band together against the oppressive external powers. This may influence “viewers to consider how they too can resist oppression”[37] in the face of institutional monstrous brutality.[39]
Humanization of the Monster
[edit]
For Alberta Adji, “monstrous entities help the audience perceive foreigners as something that is intimate, common, and invaluable.”[40] The film contrasts the two societal approaches to foreigners (e.g., immigrants, refugees, etc.) through the perspectives of Elisa and Dr. Hoffstetler. In science, the creature is a specimen, until the moment the scientist realizes that he is capable of understanding human speech.[41] This scene implies that acceptance relies simply on a person’s ability to communicate in the dominant language around them.[42] However, for Elisa, humanity moves beyond communication as she and the creature are “both without words, they're speechless, and [yet they are] loved.”[43]
The fairytale nature of the story is exploited as a means to humanize the creature; the viewer can look beyond his physically monstrous appearance and focus solely on his actions and behavior which we believe are synonymous with humanity. Stylistic choices, such as the romantic dream sequence between the creature and Elisa, exist as a parallel to Beauty and the Beast;[36] viewers remain in a state of heightened awareness and suspense as they wonder whether the creature will transform into a human. Unlike traditional monster-human romances, this creature “does not die, is not killed, and does not have to become human to be acceptable to others and to live happily ever after.”[42] This sentiment may offer hope to marginalized communities as it emphasizes that they do not need to assimilate in order to be accepted. Therefore, the acceptance of the creature symbolizes a “message of reflection, acceptance, and embracing otherness.”[42]
The film is structured so that we determine humanity through people’s treatment of the creature. If he is a symbol of the Other, Elisa views humanity as compassion and acceptance, regardless of visible differences. For Strickland, that which is different is a threat to his way of living.[40] Furthermore, this film delivers shades of gray through Zelda and Giles; they eventually grow to accept the monster, which can be parallel to an openness to learn and understand others to find that they are much more like us than we previously believed.
Emergence of a Moral Monster
[edit]
By occupying a place in society as something Other, the creature becomes a “metaphorical device for investigating issues involving power, agency, and the boundaries that define and delineate what is human and non-human.”[40] Therefore, del Toro’s humanization of the monstrous is necessary to contrast Strickland’s emergence as the moral monster.[39] For example, in the scene where the creature is tortured by Strickland with the use of an electric cattle prod, viewers are disgusted by the gruesome act of violence perpetrated by the government official while also feeling sympathy for the creature. These sentiments are not only exacerbated by Strickland’s explicit indifference but are also influenced by the human-like behavior of the creature.[44] Immediately, the senselessness of violence demonstrated calls into question Strickland’s humanity and morality.
Viewers are left with a visceral sense of fear and discomfort with the animalistic nature and brutality of Strickland’s actions.[39] This recurring violence becomes a tool to emphasize his monstrosity and solidifies his place as a moral rather than a biological monster.[39] Moreover, Strickland’s monstrosity is a product of the dominant culture; his status in society (as a cisgender, heterosexual White man) “prevents him from examining his flaws,”[40] thus allowing him to inflict violence without reproach. This violence and oppression in the film are synonymous with aggression and marginalization of populations in real life.
Critique of the Film
[edit]
Though the film is lauded for its representation of a strong woman with a disability, its main criticism surrounds the romantic relationship between Elisa and the monster. While one can understand del Toro’s intention to find beauty in the Other,[36] viewers find it unfortunate that the messaging could also be seen as the person with a disability is so different from the rest of society that they are unable to gain respect, love, and admiration from anybody but a ‘monster’.[44] Activists with disabilities such as Dominick Evans believe that “[the film] says to [them] that without being cured, [they're] not going to be loved or worthwhile to another human being.”[45] This is furthered by the end scene of the film, as Elisa and the creature appear to leave our world behind. Critics emphasize that despite the romance of the fairytale, this film can be interpreted as “if [people with disabilities] don't fit into society, it's better that [they] leave.”[45] For many, the film is a beautiful take on a love story in which marginalized people find power, strength, and love, while for others, the film leaves them questioning their own place and humanity in the eyes of society.
Reception
[edit]
Box office
[edit]
The Shape of Water grossed $63.9 million in the United States and Canada, and $131.4 million in other countries, for a total of $195.2 million.[5]
After grossing $4.6 million over a three-week limited release, the film began its wide release on December 22, 2017, alongside the openings of Downsizing, Pitch Perfect 3 and Father Figures, and the wide expansion of Darkest Hour, and grossed $3 million from 726 theaters over the weekend, and $4.4 million over the four-day Christmas frame.[46] The following weekend, the film made $3.5 million.[47] The weekend of January 27, 2018, following the announcement of the film's 13 Oscar nominations, the film was added to over 1,000 theaters (for a total of 1,854) and made $5.9 million (an increase of 171% over the previous week's $2.2 million), finishing 8th.[48] The weekend of March 9–11, following its four Oscar wins, the film made an additional $2.4 million. It marked a 64% increase from the previous week's $1.5 million and was similar to the $2.5 million made by the previous year's Best Picture winner, Moonlight.[49]
Critical response
[edit]
On review aggregator Rotten Tomatoes, the film has an approval rating of 92% based on 465 reviews, with an average rating of 8.3/10. The website's critical consensus reads, "The Shape of Water finds Guillermo del Toro at his visually distinctive best—and matched by an emotionally absorbing story brought to life by a stellar Sally Hawkins performance."[50] On Metacritic, the film has a weighted average score of 87 out of 100, based on 53 critics, indicating "universal acclaim".[51] Audiences polled by CinemaScore gave it positive reviews; audience members under the age of 40 gave the film an average grade of either "A+" or "A", while those over 40 gave it an "A" to "A−", on an A+ to F scale;[52] PostTrak reported that filmgoers gave the film an overall positive score of 80%.[53]
Ben Croll of IndieWire gave the film an 'A' rating and called it "one of del Toro's most stunningly successful works... also a powerful vision of a creative master feeling totally, joyously free."[54] Writing for Rolling Stone, Peter Travers gave the film three and a half out of four stars, praising Hawkins's performance, the cinematography and del Toro's direction, and saying: "Even as the film plunges into torment and tragedy, the core relationship between these two unlikely lovers holds us in thrall. Del Toro is a world-class film artist. There's no sense trying to analyze how he does it."[55] For the Minnesota Daily, Haley Bennett reacted positively, writing, "The Shape of Water has tenderness uncommon to del Toro films. ... While The Shape of Water isn't groundbreaking, it is elegant and mesmerizing."[10]
Rex Reed of the New York Observer gave the film one out of four stars, calling it "a loopy, lunkheaded load of drivel" and that "the whole movie is off the wall". Reed's review was criticized for referring to Hawkins's mute character as "mentally handicapped" and for falsely crediting actor Benicio del Toro (spelled Benecio) as the film's director. Reed also stated Benicio was Spanish, whereas he is Puerto Rican; Guillermo del Toro hails from Mexico.[56]
Accolades
[edit]
The Shape of Water received 13 nominations at the 90th Academy Awards, the most of any film in the 2018 race. It won in four categories: Best Production Design, Best Original Score, Best Director, and Best Picture. It was the second fantasy film to win Best Picture, after The Lord of the Rings: The Return of the King (2003).[57][58][59] The Shape of Water was acclaimed by critics, who lauded its acting, screenplay, direction, visuals, production design, and musical score. The American Film Institute selected it as one of the top 10 films of the year.[60] At the 75th Golden Globe Awards, the film earned seven nominations, winning for Best Director and Best Original Score.[61] It received twelve nominations at the 71st British Academy Film Awards, winning three awards including Best Director, and fourteen at the 23rd Critics' Choice Awards, winning four awards.[62]
The film also sparked some debate about whether it should have been eligible for a Canadian Screen Awards nomination, as it was filmed in Canada with a predominantly Canadian crew and many Canadian actors in supporting roles. Under Academy of Canadian Cinema and Television rules, to qualify for CSA nominations under the rules for international coproductions, at least 15 percent of a film's funding must come from a Canadian film studio. Even the film's Canadian co-producer, J. Miles Dale, stated that he supports the rules and does not believe the film should have been eligible.[63] The Shape of Water also appeared on many critics' year-end top-ten lists, of which 25 critics chose it as their favorite film of that year.[64] A novelization by del Toro and Kraus was published on March 6, 2018.[65]
Plagiarism accusations
[edit]
In February 2018, the estate of Paul Zindel initiated a lawsuit in United States District Court for the Central District of California against director Guillermo del Toro and associate producer Daniel Kraus, alleging that The Shape of Water "brazenly copies the story, elements, characters, and themes" of Zindel's 1969 work Let Me Hear You Whisper, which depicts a cleaning lady bonding with a dolphin and attempting to rescue it from a secret research laboratory's nefarious uses.[66] The complaint spends more than a dozen pages detailing alleged "overwhelming similarities" between the works.[67] Del Toro denied the claim of the Zindel estate, saying that "I have never read nor seen the play. I'd never heard of this play before making The Shape of Water, and none of my collaborators ever mentioned the play." Distributor Fox Searchlight also denied the claim and said that it would "vigorously defend" itself in court.[68]
In July 2018, Judge Percy Anderson dismissed the suit and stated that del Toro and Fox Searchlight were entitled to recover their legal costs.[69] On April 5, 2021, the following statement by plaintiff was released: "David Zindel, the son of Paul Zindel, author of Let Me Hear You Whisper, acknowledges, based on confidential information obtained during the litigation process, that his claims of plagiarism are unfounded. He acknowledges Guillermo del Toro as the true creator of The Shape of Water. Any similarity between the two works is coincidental."[70]
There have also been accusations that The Shape of Water plagiarised Amphibian Man, a 1962 Soviet film based on a 1928 novel of the same name by Alexander Belyaev.[71][72] Indie Cinema Magazine noted that both have a similar plot, the use of the name "Amphibian Man" in both films, the Soviet connection in both stories, and the 1962 setting.[71] Amphibian Man was one of the highest-grossing Soviet films of all time, with up to 100 million box office admissions in the Soviet Union.[73]
The film also received accusations of plagiarism by Jean-Pierre Jeunet, the French director of the romantic comedy Amélie and the cult classic Delicatessen,[74] who claimed that del Toro plagiarized some of the scenes within his works Amelie, Delicatessen, and The City of Lost Children.[75] Other observers vehemently disagree with Jeunet's assertion.[76] Jeunet pointed out some of the similarities in the saturation of the colours, overall art direction and the use of anthropomorphic objects, as well as the music, which is reminiscent of Yann Tiersen's soundtrack on the former. Responding to Jeunet's accusations of plagiarism, del Toro cited the influences of Terry Gilliam's works as the inspiration for The Shape of Water.[75] Both composer Alexandre Desplat and del Toro have cited French composer Georges Delerue,[77] whose work predates Tiersen's by decades, as the inspiration for the musical score. Desplat has also emphasized the importance of water as essential to both the score and to the themes of the film itself.[78]
While covering the plagiarism accusations from Jeunet and Zindel, comparisons were also drawn between The Shape of Water and the 2015 short film "The Space Between Us", the latter of which was created as a student project at the Netherlands Film Academy.[79][80] Outlets reported that both films held a similar premise, that of a janitorial worker falling in love with an amphibious man held captive at a research facility, as well as other similarities such as the time period as well as "scenes in which the woman feeds the creature and dances to records in front of it; and rescue missions, both involving laundry carts, devised after plans to kill and dissect the creatures come to light."[81][82] After screening a copy of The Shape of Water, the Netherlands Film Academy and students issued a statement acknowledging the films as uniquely different and that "They have separate timelines of development and are not in any conceivable way interlinked or related."[83]
References
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Brad Pitt, Javier Bardem in 'F1': Everything to know about racing movie filmed in Florida
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[
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[
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"Jennifer Sangalang",
"Jim Abbott",
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] |
2024-07-16T00:00:00
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Brad Pitt as a Formula 1 driver? He plays Sonny Hayes in a racing movie that actually filmed at Daytona Speedway in Florida. \
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When does 'F1,' the Apple Original film with Brad Pitt produced by Jerry Bruckheimer, open in theaters? June 27, 2025.
Oscar winners Brad Pitt and Javier Bardem, stars of "F1," filmed in Volusia County, Florida, and at the Rolex 24 at Daytona International Speedway.
"F1" is directed by Joseph Kosinski (“Top Gun: Maverick”) and includes seven-time F1 world champion Lewis Hamilton as a producer.
Film and longtime TV producer Jerry Bruckheimer served as the Grand Marshal for the 62nd running of the Rolex 24 in Daytona Beach.
Wave the checkered flags for "F1!" The Brad Pitt racing movie is already a winner for Florida, given scenes were filmed here.
Previously referred to as "Apex," the action film "F1" stars the Academy Award-winning Hollywood superstar Brad Pitt as Sonny Hayes, an ex-Formula 1 driver who returns to the sport to mentor a rookie teammate. British actor Damson Idris plays Pitt's rookie teammate on their fictional team APXGP, and Academy Award-winning actor Javier Bardem plays the leader of APXGP. Other co-stars include Kerry Condon, Tobias Menzies, Sarah Niles, Kim Bodnia and Samson Kayo.
The Apple Original film about the world of Formula One racing, directed by Joseph Kosinski (“Top Gun: Maverick”), was produced by Jerry Bruckheimer and seven-time F1 world champion Lewis Hamilton, who has a cameo in the film. "F1," which gives viewers a peek of Daytona International Speedway, opens in theaters June 27, 2025.
Here's what we know about the Formula One-based project starring Brad Pitt and Florida's role in the racing movie.
Where was filming for 'F1,' Formula One racing movie starring Brad Pitt?
As of July 16, 2024, just over a week after the trailer for "F1" was released, the Formula One film shot various scenes at multiple F1 race weekends (F1 competes worldwide), including:
F1 practice ahead of the U.S. Grand Prix in Austin, Texas, in October 2022
Las Vegas Grand Prix in November 2023
62nd edition of the Rolex 24 endurance race at Daytona International Speedway in Daytona Beach in January 2024
British Grand Prix, in which "F1" star Brad Pitt attended with his real-life girlfriend Ines de Ramon. According to USA TODAY, the couple were spotted July 5, 2024, walking in the paddock during the F1 event at Silverstone Circuit in Northampton, England.
Filming began at Silverstone, Central England, in 2023 and will continue through the season, finishing at Abu Dhabi in December 2024. Production on "F1" took place during actual Grand Prix weekends as professional racers hit the track, Apple TV+ shared in a press release.
Did Brad Pitt shoot scenes for 'F1' movie at Daytona International Speedway in Florida?
In January 2024, Brad Pitt, the two-time Sexiest Man Alive for People magazine, caused quite a stir when he arrived with film crews to work at Daytona International Speedway during the run-up to the venue's famed Rolex 24 endurance race. Pitt filmed scenes around the track, in Daytona Beach and New Smyrna Beach, alongside actor Javier Bardem ("No Country for Old Men," "Skyfall").
Interestingly, film and TV producer Jerry Bruckheimer was named the Grand Marshal for the Rolex 24.
Bruckheimer, also filmed parts of the movie “Days of Thunder,” starring Tom Cruise and then-wife Academy Award winner Nicole Kidman ("The Hours," "A Family Affair"), at the World Center of Racing.
“Daytona International Speedway is an iconic venue and it’s going to be an honor to give the command for the Rolex 24 at Daytona,” Bruckheimer said via a press release. “I’ve been here for the biggest NASCAR race and now I can’t wait to experience one of the most prestigious sports car races in the world.”
How accurate is 'F1,' the Formula One racing movie starring Brad Pitt?
"F1" stars Brad Pitt as a retired Formula One racer itching for his comeback. He suits up as a racecar driver, and real-life Mercedes driver Lewis Hamilton serves as an executive producer on the film.
As of July 16, 2024, "F1" was still in production ahead of its 2025 release date. The film, previously called "Apex," has been in the works since at least 2022 when Pitt was spotted in Austin, Texas, at an F1 practice event. The Hollywood superstar took fan photos while there, according to the Austin American-Statesman.
While it's too soon to tell how accurate "F1" will be to the actual world of Formula One, Daytona International Speedway officials complimented Bruckheimer in a Daytona Beach News-Journal story in January 2024: “Jerry Bruckheimer has produced some of the most entertaining and action-packed movies and shows of the past several decades,” Daytona International Speedway President Frank Kelleher said. “Whether he featured fast cars, high-flying jets, or frantic foot races, his work reflects the energy we’ll see in the Rolex 24 at Daytona, making him the perfect grand marshal for this year’s race.”
For example, "F1" was filmed during the "Roar Before the Rolex 24" endurance race event there with the No. 120 Wright Motorsports Porsche 911 GT3, an entry in the GTD Class, serving as the center of the shooting as the movie car. Drivers Adam Adelson, Elliott Skeer, Jan Heylen and Fred Makowiecki piloted the car.
"When we were contacted by the movie team about the possibility of filming here, we were very thrilled that our property, Daytona International Speedway, the World Center of Racing and IMSA could be part of that," IMSA President John Doonan said. "It's a testament to the folks making the film that they want it to be 100% authentic. They ran until 2 in the morning" during filming in January 2024.
Said Doonan: "The branding, it's all authentic and I think that's really great. To have the first segment of the movie here at Daytona, here in Volusia County and around the area, it can only be good, to be honest. We've all seen racing movies. We can all name our favorite racing movies. But for me, it's about making sure the movie is authentic. And although I didn't approve the paint scheme, it looks pretty slick."
Above are photos of the Rolex 24 at Daytona International Speedway in January 2024, courtesy of the Daytona Beach News-Journal.
What was the name of Florida restaurant destroyed by fire after Brad Pitt, Javier Bardem filmed scenes for 'F1'?
In addition to the Daytona International Speedway in Daytona Beach, the "F1" movie crew also was spotted filming scenes at the landmark Pappas Drive-In & Family Restaurant in New Smyrna Beach, as well as Christina’s Coin Laundry next door.
From the first look at the "F1" trailer, there’s plenty of racing action, but no obvious signs yet of the scenes filmed at the popular New Smyrna Beach restaurant, which was gutted by an overnight fire in March 2024, the Daytona Beach News-Journal reported.
Watch the trailer for 'F1' racing movie starring Brad Pitt
The trailer for the Apple Original film "F1," based on the world of Formula One, was released July 7, 2024. F1 (the actual racing organization) released the trailer on its social platforms, with the Instagram Reel getting more than 1.1 million likes.
“We need to build a car for combat,” Brad Pitt’s character gravely states in a scene featured in the "F1" preview clip. Asked about safety, he responds, “Who said anything about safe?”
When does 'F1' racing movie with Brad Pitt come out?
"F1" will open abroad on June 25, 2025, then in U.S. theaters on June 27, 2025.
Contributing: Scott Horner, Indianapolis Star; Edward Segarra, USA TODAY
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7966
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dbpedia
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https://www.news-journalonline.com/story/news/2024/07/16/brad-pitt-movie-racing-florida-daytona-beach-bardem/74407045007/
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en
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Brad Pitt, Javier Bardem in 'F1': Everything to know about racing movie filmed in Florida
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2024-07-16T00:00:00
|
Brad Pitt as a Formula 1 driver? He plays Sonny Hayes in a racing movie that actually filmed at Daytona Speedway in Florida. \
|
en
|
Florida Today
|
https://www.news-journalonline.com/story/news/2024/07/16/brad-pitt-movie-racing-florida-daytona-beach-bardem/74407045007/
|
When does 'F1,' the Apple Original film with Brad Pitt produced by Jerry Bruckheimer, open in theaters? June 27, 2025.
Oscar winners Brad Pitt and Javier Bardem, stars of "F1," filmed in Volusia County, Florida, and at the Rolex 24 at Daytona International Speedway.
"F1" is directed by Joseph Kosinski (“Top Gun: Maverick”) and includes seven-time F1 world champion Lewis Hamilton as a producer.
Film and longtime TV producer Jerry Bruckheimer served as the Grand Marshal for the 62nd running of the Rolex 24 in Daytona Beach.
Wave the checkered flags for "F1!" The Brad Pitt racing movie is already a winner for Florida, given scenes were filmed here.
Previously referred to as "Apex," the action film "F1" stars the Academy Award-winning Hollywood superstar Brad Pitt as Sonny Hayes, an ex-Formula 1 driver who returns to the sport to mentor a rookie teammate. British actor Damson Idris plays Pitt's rookie teammate on their fictional team APXGP, and Academy Award-winning actor Javier Bardem plays the leader of APXGP. Other co-stars include Kerry Condon, Tobias Menzies, Sarah Niles, Kim Bodnia and Samson Kayo.
The Apple Original film about the world of Formula One racing, directed by Joseph Kosinski (“Top Gun: Maverick”), was produced by Jerry Bruckheimer and seven-time F1 world champion Lewis Hamilton, who has a cameo in the film. "F1," which gives viewers a peek of Daytona International Speedway, opens in theaters June 27, 2025.
Here's what we know about the Formula One-based project starring Brad Pitt and Florida's role in the racing movie.
Where was filming for 'F1,' Formula One racing movie starring Brad Pitt?
As of July 16, 2024, just over a week after the trailer for "F1" was released, the Formula One film shot various scenes at multiple F1 race weekends (F1 competes worldwide), including:
F1 practice ahead of the U.S. Grand Prix in Austin, Texas, in October 2022
Las Vegas Grand Prix in November 2023
62nd edition of the Rolex 24 endurance race at Daytona International Speedway in Daytona Beach in January 2024
British Grand Prix, in which "F1" star Brad Pitt attended with his real-life girlfriend Ines de Ramon. According to USA TODAY, the couple were spotted July 5, 2024, walking in the paddock during the F1 event at Silverstone Circuit in Northampton, England.
Filming began at Silverstone, Central England, in 2023 and will continue through the season, finishing at Abu Dhabi in December 2024. Production on "F1" took place during actual Grand Prix weekends as professional racers hit the track, Apple TV+ shared in a press release.
Did Brad Pitt shoot scenes for 'F1' movie at Daytona International Speedway in Florida?
In January 2024, Brad Pitt, the two-time Sexiest Man Alive for People magazine, caused quite a stir when he arrived with film crews to work at Daytona International Speedway during the run-up to the venue's famed Rolex 24 endurance race. Pitt filmed scenes around the track, in Daytona Beach and New Smyrna Beach, alongside actor Javier Bardem ("No Country for Old Men," "Skyfall").
Interestingly, film and TV producer Jerry Bruckheimer was named the Grand Marshal for the Rolex 24.
Bruckheimer, also filmed parts of the movie “Days of Thunder,” starring Tom Cruise and then-wife Academy Award winner Nicole Kidman ("The Hours," "A Family Affair"), at the World Center of Racing.
“Daytona International Speedway is an iconic venue and it’s going to be an honor to give the command for the Rolex 24 at Daytona,” Bruckheimer said via a press release. “I’ve been here for the biggest NASCAR race and now I can’t wait to experience one of the most prestigious sports car races in the world.”
How accurate is 'F1,' the Formula One racing movie starring Brad Pitt?
"F1" stars Brad Pitt as a retired Formula One racer itching for his comeback. He suits up as a racecar driver, and real-life Mercedes driver Lewis Hamilton serves as an executive producer on the film.
As of July 16, 2024, "F1" was still in production ahead of its 2025 release date. The film, previously called "Apex," has been in the works since at least 2022 when Pitt was spotted in Austin, Texas, at an F1 practice event. The Hollywood superstar took fan photos while there, according to the Austin American-Statesman.
While it's too soon to tell how accurate "F1" will be to the actual world of Formula One, Daytona International Speedway officials complimented Bruckheimer in a Daytona Beach News-Journal story in January 2024: “Jerry Bruckheimer has produced some of the most entertaining and action-packed movies and shows of the past several decades,” Daytona International Speedway President Frank Kelleher said. “Whether he featured fast cars, high-flying jets, or frantic foot races, his work reflects the energy we’ll see in the Rolex 24 at Daytona, making him the perfect grand marshal for this year’s race.”
For example, "F1" was filmed during the "Roar Before the Rolex 24" endurance race event there with the No. 120 Wright Motorsports Porsche 911 GT3, an entry in the GTD Class, serving as the center of the shooting as the movie car. Drivers Adam Adelson, Elliott Skeer, Jan Heylen and Fred Makowiecki piloted the car.
"When we were contacted by the movie team about the possibility of filming here, we were very thrilled that our property, Daytona International Speedway, the World Center of Racing and IMSA could be part of that," IMSA President John Doonan said. "It's a testament to the folks making the film that they want it to be 100% authentic. They ran until 2 in the morning" during filming in January 2024.
Said Doonan: "The branding, it's all authentic and I think that's really great. To have the first segment of the movie here at Daytona, here in Volusia County and around the area, it can only be good, to be honest. We've all seen racing movies. We can all name our favorite racing movies. But for me, it's about making sure the movie is authentic. And although I didn't approve the paint scheme, it looks pretty slick."
Above are photos of the Rolex 24 at Daytona International Speedway in January 2024, courtesy of the Daytona Beach News-Journal.
What was the name of Florida restaurant destroyed by fire after Brad Pitt, Javier Bardem filmed scenes for 'F1'?
In addition to the Daytona International Speedway in Daytona Beach, the "F1" movie crew also was spotted filming scenes at the landmark Pappas Drive-In & Family Restaurant in New Smyrna Beach, as well as Christina’s Coin Laundry next door.
From the first look at the "F1" trailer, there’s plenty of racing action, but no obvious signs yet of the scenes filmed at the popular New Smyrna Beach restaurant, which was gutted by an overnight fire in March 2024, the Daytona Beach News-Journal reported.
Watch the trailer for 'F1' racing movie starring Brad Pitt
The trailer for the Apple Original film "F1," based on the world of Formula One, was released July 7, 2024. F1 (the actual racing organization) released the trailer on its social platforms, with the Instagram Reel getting more than 1.1 million likes.
“We need to build a car for combat,” Brad Pitt’s character gravely states in a scene featured in the "F1" preview clip. Asked about safety, he responds, “Who said anything about safe?”
When does 'F1' racing movie with Brad Pitt come out?
"F1" will open abroad on June 25, 2025, then in U.S. theaters on June 27, 2025.
Contributing: Scott Horner, Indianapolis Star; Edward Segarra, USA TODAY
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7966
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https://www.imdb.com/title/tt0080754/
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Die Formel (1980)
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[] |
[
"Reviews",
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1980-12-19T00:00:00
|
Die Formel: Directed by John G. Avildsen. With George C. Scott, Marlon Brando, Marthe Keller, John Gielgud. The synthetic fuel production formula, invented by the Nazis at the end of World War II, is sought after by some who aim to sell it, and by others who wish to destroy it.
|
en
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IMDb
|
https://www.imdb.com/title/tt0080754/
|
Exciting story about a cop involved into an international intrigue referred to high-finance, it begins from the end WWII to the present. This thriller concerns about a veteran Inspector (George C Scott), Lt. Caine LAPD, he has to investigate two murders , it leads an insidious scheme to get a formula about a secret for synthetic fuel called Genesis and he will not stop at nothing . Caine is drawn into a criminal whirlpool. He becomes unwittingly involved to Nazi plots, along with a beautiful model (Marthe Keller). Hard-noised Caine is only helped by an agent, his oriental sidekick against a mysterious organization ruled by a mean billionaire (Marlon Brando). Meanwhile suspicious start to be killed one by one. Later on, Caine gets the formula that is hidden into a safety box and is aware which the nasties know whether or no it is safe to go to pick it up.
This intriguing movie packs action, suspense ,thrills,a love story, treason, and is quite entertaining. This intense thriller holds your interest throughout, however it contains some flaws and confusion. Certainly is worth watch seeing for George C Scott's brilliant, credible performance as obstinate cop. Good secondary cast as John Gielgud , G.D. Spradlin,Marshall Thomson,Wolfgang Preiss,Richard Lynch , among others. Interesting movie but with some holes and gaps and ridiculous scenes .
The film contains adequate and atmospheric cinematography by James Crabe. Suspesnseful and long-standing score by Bill Conti, director's usual . The picture is regularly directed by John G Avildsen. He is a nice director who has mixed more karate Kid and Rocky films with such feel-good message films as ¨Power of one, or ¨ Lean on me¨. Rating : passable and acceptable, 5,5.
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7966
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http://www.cultfilmfreaks.com/2022/08/formula.html
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cult film freak: MARLON BRANDO AND GEORGE C. SCOTT IN 'THE FORMULA'
|
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[
""
] | null |
[
"James M. Tate"
] | null |
Title: THE FORMULA Year: 1980 Rating: ** Most cult films start out generally unknown and unsuccessful till gaining a dedicated following but...
|
http://www.cultfilmfreaks.com/favicon.ico
|
http://www.cultfilmfreaks.com/2022/08/formula.html
|
Title: THE FORMULA Year: 1980 Rating: **
Most cult films start out generally unknown and unsuccessful till gaining a dedicated following but John G. Avildsen's THE FORMULA has a different kind of lasting legacy in the mere potential of casting two eccentric Oscar-winners who turned-down their statues: George C. Scott from PATTON and Marlon Brando from THE GODFATHER...
Unfortunately both temperamental, infamously difficult icons aren't in the picture together for very long... Brando's big oil tycoon character is anticipated throughout the first act after Scott's detective partner's murder leads him into a rudimentary neo noir cat-and-mouse involving last names and tons of enigmatic exposition...
Marlon Brando in THE FORMULA with George C. Scott
When the screen legends do sporadically meet up, it's nothing special... Brando, like when turning into Don Corleone for THE GODFATHER, made adjustments to look older and more fragile but here his flop-over baldness and in particular a set of fake protruding teeth makes his signature mumble almost incoherent — yet a bulk of the story has Scott investigating alone throughout Germany, seeking the titular post-WW2 invention of turning coal into a clean synthetic oil that could bust the oil business...
Meeting with various scientists who wind up dead after Scott leaves the room and, while the CHINATOWN template of knowing as little as our investigating protagonist, and with pretty Martha Heller thrown in as a partial love interest, THE FORMULA remains too murky for a mystery while lacking palpable tension for a suspenseful thriller.
Apocalypse Now/Godfather franchise actors Marlon Brando i& G.D. Spradlin THE FORMULA
Marthe Keller in THE FORMULA
George C. Scott in THE FORMULA
George C. Scott and Calvin Jung in THE FORMULA
Marthe Keller in THE FORMULA with George C. Scott
John G. Avildsen's THE FORMULA with George C. Scott
Alligator zoo from THE FORMULA with George C. Scott
Marthe Keller in THE FORMULA with George C. Scott
Marthe Keller in THE FORMULA
Marthe Keller in THE FORMULA with George C. Scott
Marthe Keller in THE FORMULA with George C. Scott
Marthe Keller in THE FORMULA with George C. Scott
Nazi Scientist Plot/McGuffin Richard Lynch in THE FORMULA
George C. Scott in THE FORMULA with Ike Eisenmann
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA and George C. Scott
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA
Marlon Brando in THE FORMULA with George C. Scott
|
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1
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https://www.cleanpng.com/png-jun-hyoseong-secret-k-pop-south-korea-korean-idol-5363846/
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en
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Professional Woman in Stylish Suit
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[
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"Professional",
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"Model",
"Style."
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[] | null |
Professional Woman in Stylish Suit png is about is about Woman-in-suit,Blazer,Professional,Business,Attire,Model,Style. Professional Woman in Stylish Suit supports. You can download of Professional Woman in Stylish Suit now.
|
en
|
cleanpng.com
| null | ||||||
8112
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| 57
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https://www.soompi.com/article/1600346wpp/jun-hyosung-signs-with-new-agency
|
en
|
Jun Hyosung Signs With New Agency
|
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[
""
] | null |
[
"somin"
] |
2023-07-12T23:15:52-07:00
|
Actress Jun Hyosung has found a new agency to call home! On July 13, Alien Company announced the news that they signed an exclusive contract with Jun Hyosung, sharing, "We've become a family with Jun Hyosung who has various charms. We are very happy to be with Jun Hyosung who has infinite potential. We plan
|
en
|
https://0.soompi.io/soompi/assets/img/favicon.ico
|
https://www.soompi.com
|
Actress Jun Hyosung has found a new agency to call home!
On July 13, Alien Company announced the news that they signed an exclusive contract with Jun Hyosung, sharing, “We’ve become a family with Jun Hyosung who has various charms. We are very happy to be with Jun Hyosung who has infinite potential. We plan to support [Jun Hyosung] actively so that she can reach viewers through a wider range of activities, so please look forward to the great synergy that we will create together in the future.”
Jun Hyosung debuted as a member of the girl group SECRET and has been working actively in various fields including music, radio, and television programs. Jun Hyosung also appeared in various dramas including “Memorist,” “Introverted Boss,” and “Wanted,” and recently, the actress received great love for her role Oh Min Hye in Netflix’s “Celebrity.”
Congratulations, and wishing all the best on Jun Hyosung’s new start!
Check out Jun Hyosung in “Memorist”:
Watch Now
Source (1)
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https://chart.kpopmap.com/kpopmap-people/jun-hyoseong/
|
en
|
Trends through chart
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[
""
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[] | null |
전효성
|
en
|
CHART - Check various K-Trends through chart
|
https://chart.kpopmap.com/kpopmap-people/jun-hyoseong/
| ||||||
8112
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0
| 79
|
https://kpopbmi.wordpress.com/girl-groups/214-2/
|
en
|
Secret (시크릿)
|
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""
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[] |
2015-05-14T19:46:36+00:00
|
Bio Average Age: 25 Average Height: 161cm or 5'3" Average Weight: 45kg or 99lbs Average BMI: 17.2 Secret is also known for their transitions to cute and the girl-next-door image through songs like "Shy Boy" and "Starlight Moonlight" from the sexy and powerful image through "Magic", "Madonna" and "Poison" while still retaining retro as the…
|
en
|
https://s1.wp.com/i/favicon.ico
|
kpopbmi
|
https://kpopbmi.wordpress.com/girl-groups/214-2/
|
Bio
Average Age: 25
Average Height: 161cm or 5’3″
Average Weight: 45kg or 99lbs
Average BMI: 17.2
Secret is also known for their transitions to cute and the girl-next-door image through songs like “Shy Boy” and “Starlight Moonlight” from the sexy and powerful image through “Magic”, “Madonna” and “Poison” while still retaining retro as the main theme for their sound. Although a commercial success with “Magic” and “Madonna” peaking at number two and number one respectively on the Gaon Charts, Secret failed to win a first place award on any televised South Korean weekly music shows such as M! Countdown, Music Bank and Inkigayo until “Shy Boy”. Seoulbeats wrote, “Secret embarked on an aegyo phase in their following release of “Shy Boy” although with much voiced displeasure from the members. Despite the radical change in their personalities, their style remained consistent in staying with and expanding upon their retro identity. The song became a major success as Secret traded in their sex appeal for a heavy dose of aegyo, resulting in much hardware for their chart-topping song.” Secret kept its cute imagery with their following single “Starlight Moonlight” until the release of “Love is Move” and “Poison”. During their promotions with “Poison”, Jun Hyoseong commented “Secret has always been known as a cute group that appeals to the general public. This time, however, we′ve escaped that and showed off our unique charms. Our visuals have also changed for the sexy.”Jun added, “We′re actually closer to Shy Boy in real life.”
Personal Favorite Song: YooHoo
/// SECRET ||| SECRET \\\
Hyosung (효성)
Birth Date: 13 October 1989 (age 25)
Birth Name: Jeon Hyo-Sung (전효성)
Height: 160cm or 5’2″
Weight: 45kg or 99lbs
BMI: 17.6
Jun Hyoseong was born in Cheongju, Chungcheongbuk-do, South Korea on October 13, 1989. Hyoseong’s name is derived from the word 유성 which is Korean for meteor, due to her father and maternal grandmother seeing a shooting star on the day of her birth. Hyoseong’s family struggled financially, and she and her family earned extra money by delivering newspapers every morning since she was in 3rd grade. Ever since she was young, she was known amongst her friends for her singing and dancing skills. However, she never had thoughts about actually becoming a singer until she was in 6th grade. She admitted
/// SECRET ||| SECRET \\\
Hana (하나)
Birth Date: 2 February 1990 (age 25)
Birth Name: Jung Hana (정하나)
Height: 161cm or 5’3″
Weight: 45kg or 99lbs
BMI: 17.4
Jung Hana was born in Uijeongbu, Gyeonggi, South Korea on February 2, 1990. Her mother worked as a singer in the 1980s and her father worked as a bodyguard. In September 2009, TS Entertainment announced that they will be debuting a four member girl group in October 2009. Hana debuted with the stage name of Zinger, along with Han Sunhwa, Song Jieun and Jun Hyoseong, as the group, Secret. Prior to their debut, the group was on a documentary show called “Secret Story” which chronicled their debut process. They released their debut single “I Want You Back” in October 2009. In April 2010, Secret released their first mini album entitled Secret Time which spawned them the hit single “Magic” and served as their breakthrough song in South Korea. In August 2010, they released their second mini album entitled “Madonna” and the title track continued their success as it topped the Gaon Single Charts.
/// SECRET ||| SECRET \\\
Ji-eun (지은)
Birth Date: 5 May 1990 (age 25)
Birth Name: Song Jieun (송지은)
Height: 160cm or 5’2″
Weight: 45kg or 99lbs
BMI: 17.6
Song was born on May 5, 1990, in South Korea. She is an only child. Having interest in music when she was young, she auditioned for JYP Entertainment at an early age. While in JYP Entertainment, she sang OSTs of Korean dramas in 2007 and 2008. Under JYP Entertainment, she was set off to debut as a four member girl group with Sistar’s Hyorin, BESTie’s Uji and EXID’s Hani but plans did not go well. Jieun then left JYP Entertainment and joined TS Entertainment, where she finally debuted as a part of a girl group, Secret.
/// SECRET ||| SECRET \\\
Sun-Hwa (선화)
Birth Date: 6 October 1990 (age 24)
Birth Name: Han Sunhwa (한선화)
Height: 165cm or 5’5″
Weight: 45kg or 99lbs
BMI: 16.5
Han Sunhwa was born on October 6, 1990, in Busan, South Korea. Sunhwa’s mother gave birth to her at the young age of 20. As the eldest child, she took care of her younger siblings by cooking them food and tutoring them when both of their parents had to work. During the East Asian Financial Crisis in 1998, Sunhwa’s family struggled and recalled that her dream of being an entertainer was getting dim.
Ever since she was young, she had an interest in art and had always dreamed of becoming an artist. She took after-school art programs in elementary school and managed to win several awards from various art competitions. However, after seeing one of Boa’s performances on TV, she realized her dream was singing and dancing.
/// SECRET ||| SECRET \\\
Credits:
http://forum.jphip.com/index.php?topic=24423.0
http://en.wikipedia.org/wiki/Secret_%28South_Korean_band%29
http://en.wikipedia.org/wiki/Jun_Hyoseong
http://en.wikipedia.org/wiki/Jung_Hana
http://en.wikipedia.org/wiki/Song_Jieun
http://en.wikipedia.org/wiki/Han_Sunhwa
#ji-eun
|
||||
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0
| 5
|
https://mydramalist.com/people/5889-jun-hyo-sung
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en
|
Jeon Hyo Sung
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Jeon Hyo Sung (전효성); South Korean; Jeon Hyo Sung is a South Korean singer and actress under IOK company since April 2021She debuted in the South Korean girl
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en
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/assets/img/apple-touch-icon-iphone.png
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https://mydramalist.com/people/5889-jun-hyo-sung
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2024 Jun Hyun Moo's Plan
Korean TV Show, 2024, 18 eps
(Ep. 7) (Guest)
18
(Ep. 7)
Guest
0.0
2021 I Am Solo
Korean TV Show, 2021, 180 eps
(Ep. 1-13) (Main Host)
180
(Ep. 1-13)
Main Host
7.9
2020 Now Things
Korean TV Show, 2020, 1 eps
(Main Host)
1
Main Host
0.0
2020 Love Card
Korean TV Show, 2020, 6 eps
(Main Host)
6
Main Host
6.5
2019 Accidentally Encountered Season 1
Korean TV Show, 2019, 20 eps
(Main Host)
20
Main Host
0.0
2019 Today's Fortune
Korean TV Show, 2019, 19 eps
[Panellist] (Regular Member)
19
[Panellist]
Regular Member
8.0
2019 Beauty Room
Korean TV Show, 2019, 10 eps
(Main Host)
10
Main Host
7.4
2018 Video Star Season 2
Korean TV Show, 2018, 179 eps
(Ep. 163) | [Special MC] (Ep. 164) (Guest)
179
(Ep. 163) | [Special MC] (Ep. 164)
Guest
7.6
2017 History Repletion: Oh! Cool Guys
Korean TV Show, 2017, 15 eps
(Ep. 7) (Guest)
15
(Ep. 7)
Guest
8.1
2017 Lipstick Prince Season 2
Korean TV Show, 2017, 10 eps
(Ep. 7) (Guest)
10
(Ep. 7)
Guest
7.8
2016 Tomorrow's King Of First Pitch
Korean TV Show, 2016, 1 eps
[Pitcher] (Regular Member)
1
[Pitcher]
Regular Member
0.0
2016 Video Star Season 1
Korean TV Show, 2016, 90 eps
(Ep. 15-90) (Main Host)
90
(Ep. 15-90)
Main Host
7.7
2016 Girls Who Eat Well
Korean TV Show, 2016, 2 eps
(Regular Member)
2
Regular Member
7.9
2016 Duet Song Festival Season 1
Korean TV Show, 2016, 47 eps
[Performer] (Pilot 1, Ep. 5) (Guest)
47
[Performer] (Pilot 1, Ep. 5)
Guest
8.3
2016 Saturday Night Live Korea Season 7
Korean TV Show, 2016, 18 eps
(Regular Member)
18
Regular Member
8.0
2016 Real Men: Female Soldier Special - Season 4
Korean TV Show, 2016, 8 eps
(Ep. 146-153) (Main Host)
8
(Ep. 146-153)
Main Host
8.0
2015 Knowing Bros
Korean TV Show, 2015, 460 eps
(Ep. 22) (Guest)
460
(Ep. 22)
Guest
8.7
2015 2015 Idol Star Athletics Championships Chuseok Special
Korean TV Show, 2015, 2 eps
(Regular Member)
2
Regular Member
7.9
2015 Chuseok Special Duet Song Festival 8+
Korean TV Show, 2015, 1 eps
(Regular Member)
1
Regular Member
8.0
2015 Law of the Jungle: Hidden Kingdom Special
Korean TV Show, 2015, 7 eps
{Hidden Kingdom} (1st Half) (Guest)
7
{Hidden Kingdom} (1st Half)
Guest
8.2
2015 King of Mask Singer
Korean TV Show, 2015, 485 eps
[Panelist] (Ep. 23-24, 41-42, 207-208, Special 2016) | [Contestant] (Ep. 201-202) (Guest)
485
[Panelist] (Ep. 23-24, 41-42, 207-208, Special 2016) | [Contestant] (Ep. 201-202)
Guest
8.1
2015 Same Bed, Different Dreams Season 1
Korean TV Show, 2015, 62 eps
(Ep. 53) (Guest)
62
(Ep. 53)
Guest
8.2
2015 Saturday Night Live Korea Season 6
Korean TV Show, 2015, 32 eps
[Host] (Ep. 17) (Guest)
32
[Host] (Ep. 17)
Guest
8.0
2015 Real Men Season 2
Korean TV Show, 2015, 90 eps
[Special appearance] (Ep. 166) (Guest)
90
[Special appearance] (Ep. 166)
Guest
8.3
2015 Wednesday Gourmet
Korean TV Show, 2015, 223 eps
(Ep. 197) (Guest)
223
(Ep. 197)
Guest
8.3
2015 4 Things Show Season 2
Korean TV Show, 2015, 23 eps
(Ep. 19) (Guest)
23
(Ep. 19)
Guest
7.5
2014 Hidden Singer Season 3
Korean TV Show, 2014, 16 eps
[Panelist] (Ep. 8) (Guest)
16
[Panelist] (Ep. 8)
Guest
7.9
2014 Off To School
Korean TV Show, 2014, 68 eps
(Ep. 44-46) (Guest)
68
(Ep. 44-46)
Guest
8.3
2014 Saturday Night Live Korea Season 5
Korean TV Show, 2014, 35 eps
[Host] (Ep. 21) (Guest)
35
[Host] (Ep. 21)
Guest
0.0
2014 2014 Idol Star Athletics Championships
Korean TV Show, 2014, 2 eps
(Regular Member)
2
Regular Member
7.7
2013 Hidden Singer Season 2
Korean TV Show, 2013, 16 eps
[Panelist] (Ep. 14-15) (Guest)
16
[Panelist] (Ep. 14-15)
Guest
8.0
2013 After School Club
Korean TV Show, 2013, 675 eps
(Ep. 6) (Guest)
675
(Ep. 6)
Guest
8.0
2012 Hidden Singer Season 1
Korean TV Show, 2012, 17 eps
[Panelist] (Ep. 14) (Guest)
17
[Panelist] (Ep. 14)
Guest
7.7
2012 Ask in a Box
Korean TV Show, 2012, 58 eps
(Guest)
58
Guest
8.2
2012 Idol Crown Prince
Korean TV Show, 2012, 1 eps
[Crown Prince candidate's wife] (Guest)
1
[Crown Prince candidate's wife]
Guest
8.3
2011 Lee Soo Geun and Kim Byung Man's High Society
Korean TV Show, 2011, 79 eps
(Ep. 48-50) (Guest)
79
(Ep. 48-50)
Guest
7.8
2011 Weekly Idol
Korean TV Show, 2011, 700 eps
(Ep. 19, 62-63, 95, 100-101, 130, 148) (Guest)
700
(Ep. 19, 62-63, 95, 100-101, 130, 148)
Guest
8.2
2011 2011 Idol Star Athletics - Swimming Championships
Korean TV Show, 2011, 2 eps
(Regular Member)
2
Regular Member
7.7
2010 2010 Idol Star Athletics Championships
Korean TV Show, 2010, 2 eps
(Regular Member)
2
Regular Member
7.9
2010 Beatles Code Season 1
Korean TV Show, 2010, 71 eps
(Ep. 5) (Guest)
71
(Ep. 5)
Guest
7.9
2010 Heroes
Korean TV Show, 2010, 40 eps
(Ep. 34) (Guest)
40
(Ep. 34)
Guest
8.2
2010 Running Man
Korean TV Show, 2010, 740 eps
[Caller] (Ep. 302) | [Guest] (Ep. 483-484, 502) (Guest)
740
[Caller] (Ep. 302) | [Guest] (Ep. 483-484, 502)
Guest
9.2
2010 Idol League
Korean TV Show, 2010, 8 eps
(Guest)
8
Guest
8.3
2009 Idol Show Season 5
Korean TV Show, 2009, 16 eps
(Ep. 2) (Guest)
16
(Ep. 2)
Guest
7.8
2009 Let's Go! Dream Team Season 2
Korean TV Show, 2009, 336 eps
(Ep. 18-19) (Guest)
336
(Ep. 18-19)
Guest
8.0
2009 Strong Heart
Korean TV Show, 2009, 166 eps
(Ep. 84-85) (Guest)
166
(Ep. 84-85)
Guest
7.8
2007 Happy Together Season 3
Korean TV Show, 2007, 557 eps
(Ep. 454) (Guest)
557
(Ep. 454)
Guest
7.7
2007 Radio Star
Korean TV Show, 2007, 900 eps
(Ep. 433, 673) (Guest)
900
(Ep. 433, 673)
Guest
7.7
2007 Star King
Korean TV Show, 2007, 461 eps
(Guest)
461
Guest
8.0
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https://www.famousfix.com/topic/jeon-hyosung
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en
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Seong Photos, News and Videos, Trivia and Quotes
|
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18 August 2024... FamousFix profile for Jun Hyo-Seong including biography information, wikipedia facts, photos, galleries, news, youtube videos, quotes, posters, magazine covers, trailers, links, filmography, discography and trivia.
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https://static.famousfix.com/img/ff/favicon.ico
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FamousFix.com
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https://www.famousfix.com/topic/jeon-hyosung
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Jun Hyo-Seong Actress - Date of Birth: 13 October 1989 Cheongju, South Korea - is an actress, known for Cheo Yong (2014), My Dear Cat (2014) and Introverted Boss (2017).
Trivia (2)
edit
Member of the Kpop group, Secret.
edit
Has flat feet.
edit
Jun Hyo-seong (Hangul: 전효성; Hanja: 全 烋星; born October 13, 1989 Cheongju, South Korea) often simply known as Hyoseong or Hyosung, is a South Korean singer and actress.
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https://english.hani.co.kr/arti/english_edition/e_business/777340
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en
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Chaebol moving away from feudal system of appointment the prince after king’s death
|
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Two recent successions of power while chairmen still alive represent a break from established practice
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ko
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https://img.hani.co.kr/section-image/12/news/hani/images/hani.ico
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Hankyoreh
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https://english.hani.co.kr/arti/english_edition/e_business/777340.html
|
South Korea’s chaebol are changing the way they make official their plans for handing power down.
While the conglomerates have traditionally decided their succession of power after the chairman‘s death, the Hyosung Group and Dong-A Socio Holdings recently both moved to implement it while their chairmen are still alive.
On Dec. 29, Hyosung Group chairman Cho Seok-rae stepped down and eldest son and president Cho Hyun-joon was promoted in his place. This was followed by the Jan. 2 resignation of Kang Shin-ho as Dong-A Socio chairman Kang Shin-ho and the promotion of fourth son and vice chairman Kang Jung-sok to replace him. In both cases, power was being passed down from the founding family’s second to its third generation.
The methods used by Hyosung and Dong-A Socio are seen as a major change for the South Korean chaebol system - representing a break with the practice of only making the succession official once the chairman has passed away. Of the major chaebol, only fourth-ranked LG has an established tradition of handing down the management reins while the chairman is still alive.
Many in the business world see the change as the result of lessons learned from the strife between siblings in the Lotte Group over management authority last year.
“In Lotte‘s case, [founder and] general chairman Shin Kyuk-ho is now past 90, which makes it difficult for him to engage in normal management activities,” said a senior executive at one of the top 20 chaebol. “Many people say the way the succession kept getting put off is what brought about the management rights conflict between chairman Shin Dong-bin and his brother, vice chairman Shin Dong-joo, which has plunged the entire group into crisis.”
Another lesson came from Samsung, which has faced a double crisis with the threat of a management authority feud after the sudden vacuum left by chairman Lee Kun-hee’s illness and the business risk of struggles with its smartphone efforts.
Cho Seok-rae and Kang Shin-ho are fathers of three and four sons, respectively - and share a history of intense conflicts with them. Since 2013, Cho has all but disowned his second son, former Hyosung Heavy Industries vice president Cho Hyun-moon, amid a rift over differences in management philosophy and style. Kang has had frequent frictions with second son and Dong-A Socio vice chairman Kang Moon-seok since 2004 after replacing him as successor with fourth son Kang Jung-sok.
In Cho Seok-rae’s case, factors of old age and declining health - he is currently 82 - played a part, along with the burden of a criminal trial. Cho has been undergoing cancer treatment for over six years since being diagnosed in 2010. Last year, he was convicted in a first trial on tax evasion charges and sentenced to three years in prison and a fine of 136.5 billion won (US$113.1 million).
“The combination of the treatment and trial has made it virtually impossible for Chairman Cho to report to work normally, so the issue of handing off power began surfacing early last year,” explained a Hyosung source.
Kang Shin-ho is currently 90, making him the second oldest chaebol chairman after Lotte’s Shin Kyuk-ho, who is 95. Many within the group saw the succession coming after a generational change in the appointments of affiliate presidents late last year.
For now, the focus of business world attention is on which group is most likely to make the next succession decision. Chung Mong-koo, chairperson of second-ranked Hyundai Motor, was born in 1938 and will be turning 80 next year. While appearing as a witness last month at a National Assembly hearing on the Choi Sun-sil government interference scandal, he appeared at times to not fully understand questions from lawmakers. His only son, Chung Eui-sun, became president of Kia Motors in 2005 at the age of 47 and has been vice chairman of Hyundai Motor since 2009.
“Chung Mong-koo played a key role in helping Hyundai Motor become the world‘s fifth-ranked automobile company, but recently he hasn’t been the same physically or mentally,” said a former Hyundai Motor Group executive. “A lot of people think that may be part of the reason Hyundai Motor seems to be focused on maintaining the status quo amid its crisis situation rather than boldly attempting new changes.”
Solidarity for Economic Reform director Kim Sang-jo said the succession issue “isn’t just a family problem for the chaebol anymore now that they have grown to become global businesses.”
“They need to get away from the ’feudal dynasty‘ approach where the prince is only crowned after the king’s death, and implement a ‘CEO succession program’ that includes a management capability testing process to assess management vision and leadership before a successor takes over as CEO,” Kim advised.
“Otherwise, there‘s no way to ensure the third generation’s success or the company’s development. Those are the times we’re living in now.”
By Kwack Jung-soo, business correspondent
Please direct questions or comments to [english@hani.co.kr]
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https://www.pinkvilla.com/entertainment/secrets-jun-hyosung-in-talks-for-first-film-lead-role-in-bound-to-be-a-devil-based-on-real-life-busan-case-report-1334537
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SECRET’s Jun Hyosung in talks for first film lead role in Bound to be a Devil, based on real-life Busan case; Report
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[] |
[] |
[
"Jun Hyosung"
] | null |
[
"Moupriya Banerjee"
] |
2024-08-01T17:41:50+05:30
|
SECRET’s Jun Hyosung has reportedly been offred a lead role in the upcoming film Bound to be a Devil, based on a true crime story. Read on to know more.
|
en
|
/assets/icons/favicon.ico
|
PINKVILLA
|
https://www.pinkvilla.com/entertainment/secrets-jun-hyosung-in-talks-for-first-film-lead-role-in-bound-to-be-a-devil-based-on-real-life-busan-case-report-1334537
|
Trigger Warning: This article contains mention of assault.
Jun Hyosung is reportedly gearing up to take on her first film lead role in her 15-year-long career since debuting with the girl group SECRET. As per recent reports, the actress has been offered to headline the upcoming true crime-based film Bound to be a Devil (literal title). The story will revolve around a real-life notorious case that took place in Busan, South Korea.
On August 1, Korean media outlet OSEN reported that Jun Hyosung has been offered to play the lead role in the upcoming true crime-based film Bound to be a Devil. In response to the report, the actress’ current agency Alien Company said, “It is true that she has received a casting offer and is currently positively reviewing it”.
If the actress confirms her appearance, this will mark her first lead role in a film since her debut in the entertainment industry with girl group SECRET. In Bound to be a Devil, she has been approached to play a victim’s character, which is different than any of her previous roles in Celebrity, Memorist, and more works.
The upcoming film Bound to be a Devil is based on a notorious crime that earned the moniker Busan roundhouse kick case. Occurred on May 22, 2022, and the case shook the nation after it came to light.
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This shocking true crime incident unfolded at the victim’s (referred to as B) apartment in Busanjin District. A man in his 30s, identified as Lee followed and attacked victim B. At the entrance of her apartment, he knocked her down with a roundhouse kick and kept stocking until she lost consciousness. It was reported that there was no prior relationship between the assailant and B.
The crime grabbed the public attention when the CCTV footage was released, where the man was seen dragging the woman’s senseless body to a blind spot. Lee was later sentenced to 20 years in prison.
Attention is on how Bound to be a Devil will unfold this jolting true crime narrative. Notably, the actual victim will also reportedly take part in the making process, raising anticipation for the film.
Meanwhile, the work is being helmed by director Lim Young Jae, known for Yellow Dog, I Can Only See, Black Hand, and more.
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Disclaimer: If you need support or know someone who is struggling with violence, assault or abuse, please reach out to your nearest support, NGO or speak to someone about it. There are several helplines available for the same.
|
||||
8112
|
dbpedia
|
1
| 54
|
https://colorcodedlyrics.com/2014/05/11/jun-hyo-sung-jeonhyoseong-good-night-kiss/
|
en
|
Jun Hyo Sung (전효성) - Good-night Kiss Lyrics » Color Coded Lyrics
|
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[
""
] | null |
[
"AlphaBunny"
] |
2014-05-11T00:00:00
|
Jun Hyo Sung (전효성) - Good-night Kiss Lyrics Romanization, Korean, Translation. Color coded Lyrics
|
en
|
Color Coded Lyrics
|
https://colorcodedlyrics.com/2014/05/11/jun-hyo-sung-jeonhyoseong-good-night-kiss/
|
Good-night Kiss neon neomu dalkomhae
jaljayo uri aegi
jamdeun moseubi neomu dalkomhae
deullinayo uri yaegi
(Oh My)
Candy-cheoreom Sweet-han ni ibsul
K.I.S.S.I.N.G.
(My My)
igeon neoreul wihan Lullaby
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss neon neomu dalkomhae
jaljayo uri aegi
jamdeun moseubi neomu dalkomhae
deullinayo uri yaegi
Baby Kiss On My
Kiss On My Kiss On My Lips
nae mam Boom Boom That Zoom Zoom
Lets Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
niga jami deulgi jeone
(Kiss Me Baby)
ko jaldo janeun neo
sumsorimajeodo
gakkai deudgo sipeo
It’s Getting Getting So
Hot In Here Hot In Here
(Oh My)
Candy-cheoreom Sweet-han ni ibsul
K.I.S.S.I.N.G.
(My My)
igeon neoreul wihan Lullaby
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss neon neomu dalkomhae
jaljayo uri aegi
jamdeun moseubi neomu dalkomhae
deullinayo uri yaegi
Baby Kiss On My
Kiss On My Kiss On My Lips
nae mam Boom Boom That Zoom Zoom
Lets Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
niga jami deulgi jeone
(Kiss Me Baby)
budeureon seonyulcheoreom noraehaneun
urimanui jajangga
dulmanui eoneoro malhaejulge
geudae ibsul wie
Hold Me Tight
Good-night Kiss neon neomu dalkomhae
jaljayo uri aegi
jamdeun moseubi neomu dalkomhae
deullinayo uri yaegi
Baby Kiss On My
Kiss On My Kiss On My Lips
nae mam Boom Boom That Zoom Zoom
Lets Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
niga jami deulgi jeone
(Kiss Me Baby)
Good-night Kiss 넌 너무 달콤해
잘자요 우리 애기
잠든 모습이 너무 달콤해
들리나요 우리 얘기
(Oh My)
Candy처럼 Sweet한 니 입술
K.I.S.S.I.N.G.
(My My)
이건 너를 위한 Lullaby
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss 넌 너무 달콤해
잘자요 우리 애기
잠든 모습이 너무 달콤해
들리나요 우리 얘기
Baby Kiss On My
Kiss On My Kiss On My Lips
내 맘 Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
니가 잠이 들기 전에
(Kiss Me Baby)
코 잘도 자는 너
숨소리마저도
가까이 듣고 싶어
It’s Getting Getting So
Hot In Here Hot In Here
(Oh My)
Candy처럼 Sweet한 니 입술
K.I.S.S.I.N.G.
(My My)
이건 너를 위한 Lullaby
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss 넌 너무 달콤해
잘자요 우리 애기
잠든 모습이 너무 달콤해
들리나요 우리 얘기
Baby Kiss On My
Kiss On My Kiss On My Lips
내 맘 Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
니가 잠이 들기 전에
(Kiss Me Baby)
부드런 선율처럼 노래하는
우리만의 자장가
둘만의 언어로 말해줄게
그대 입술 위에
Hold Me Tight
Good-night Kiss 넌 너무 달콤해
잘자요 우리 애기
잠든 모습이 너무 달콤해
들리나요 우리 얘기
Baby Kiss On My
Kiss On My Kiss On My Lips
내 맘 Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
니가 잠이 들기 전에
(Kiss Me Baby)
Good-night Kiss, you’re so sweet
Goodnight my baby
Your sleeping face is so sweet
Can you hear our story?
(Oh My)
Your lips are sweet like candy
K.I.S.S.I.N.G.
(My My)
This is a lullaby for you
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss, you’re so sweet
Goodnight my baby
Your sleeping face is so sweet
Can you hear our story?
Baby Kiss On My
Kiss On My Kiss On My Lips
My heart goes Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
Before you fall asleep
(Kiss Me Baby)
You’re sleeping so well
I want to listen
To you breathing closer
It’s Getting Getting So
Hot In Here Hot In Here
(Oh My)
Your lips are sweet like candy
K.I.S.S.I.N.G.
(My My)
This is a lullaby for you
K.I.S.S.I.N.G.
(Kiss Me Baby)
Good-night Kiss, you’re so sweet
Goodnight my baby
Your sleeping face is so sweet
Can you hear our story?
Baby Kiss On My
Kiss On My Kiss On My Lips
My heart goes Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
Before you fall asleep
(Kiss Me Baby)
Our lullaby is like
a soft tune singing
I’ll tell you with our own language
On top of your lips
Hold Me Tight
Good-night Kiss, you’re so sweet
Goodnight my baby
Your sleeping face is so sweet
Can you hear our story?
Baby Kiss On My
Kiss On My Kiss On My Lips
My heart goes Boom Boom That Zoom Zoom
Let’s Dance Dance Like This
Baby Kiss On My
Kiss On My Kiss On My Lips
Before you fall asleep
(Kiss Me Baby)
|
|||||
8112
|
dbpedia
|
2
| 56
|
https://48-46-group-fanmade.fandom.com/wiki/Jeon_Hyosung
|
en
|
Jeon Hyosung
|
https://static.wikia.nocookie.net/48-46-group-fanmade/images/8/8e/JeonHyosung.jpg/revision/latest?cb=20190205043558
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[] |
[] |
[
""
] | null |
[
"Contributors to 48 & 46 Group Fanmade Wiki"
] | null |
Jeon Hyosung was a member of AKB48's Team A. As a 3rd grader, she and her family started delivering newspapers to get extra money In 6th grade, she decided she wanted to become a singer In middle school, she was the leader of her school’s dance team Ideal type: “Kang Dong Won is my ideal type. I...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
48 & 46 Group Fanmade Wiki
|
https://48-46-group-fanmade.fandom.com/wiki/Jeon_Hyosung
|
Jeon Hyosung Name Romaji Jeon Hyosung Birth Info Birthdate October 13, 1989 Current Age 34 Years Old Sizes Height 160cm Idol Career Info Former Group AKB48 Former Team Team A Debuted October, 2005 / 1st Generation Graduated December, 2006
Jeon Hyosung was a member of AKB48's Team A.
Trivia[]
As a 3rd grader, she and her family started delivering newspapers to get extra money
In 6th grade, she decided she wanted to become a singer
In middle school, she was the leader of her school’s dance team
Ideal type: “Kang Dong Won is my ideal type. I only look at personality and not at faces, and my ideal type is a man who can love me.”
Team History[]
Team A → Graduation
Joined AKB48 as a Team A member on October 30, 2005
Graduated from Team A on December, 2006
Singles Participation[]
AKB48 A-Sides[]
Sakura no Hanabiratachi
AKB48 B-Sides[]
|
||
8112
|
dbpedia
|
1
| 0
|
https://kpopping.com/profiles/idol/Hyoseong
|
en
|
Hyoseong (Secret) profile, age & facts (2024 updated)
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"Hyoseong",
"TiamoOurSecretWord"
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2022-09-06T00:00:00+09:00
|
Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress currently under her own agency, JHS Entertainment. She is a former member o...
|
en
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/apple-touch-icon.png
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https://kpopping.com/profiles/idol/Hyoseong
|
Introduction
Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress currently under her own agency, JHS Entertainment. She is a former member of the girl group Secret. She made her solo debut on May 12, 2014 with her first single album "Top Secret".
Jul 13, 2023-present
Apr 13, 2021-Jul 1, 2023
Nov 1, 2019-Apr 12, 2021
Oct 29, 2018-Nov 1, 2019
Oct 10, 2009-Dec 31, 2018
Jan 1, 2006-Dec 31, 2008
Debut:
Oct 13, 2009
Current state:
active
Active years:
2007-present
Zodiac-sign:
Language(s):
Korean
Training period:
2007-2009
Education:
Inha University
kpopping rank:
527th
0 wins
611 pics
90 videos
5 albums
29.6K views
33 adds
Oppa no!
If you find our kpop platform useful please consider subscribing to kpopping or disabling your adblocker
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Singer-actress Jun Hyo-seong celebrates Independence Movement Day with hanbok
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[
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[
"동선화"
] |
2021-03-01T17:20:00+09:00
|
President Moon Jae-in renewed his call for Korea and Japan to move together toward future-oriented bilateral relations, Monday, while also urging Tokyo to contemplate its imperiali...
|
https://www.koreatimes.co.kr/www/images/koreatimes.ico?202004
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koreatimes
|
https://www.koreatimes.co.kr/www/art/2024/08/732_304803.html
|
Singer-actress Jun Hyo-seong promotes Korea's Independence Movement Day wearing a hanbok on a Times Square billboard in New York City. Courtesy of JHS Entertainment
By Dong Sun-hwa
Singer-actress Jun Hyo-seong has appeared on a billboard in New York City's Times Square, wearing a hanbok, the Korean traditional dress, to commemorate the 102nd anniversary of the March 1 Korean Independence Movement Day.
The event was part of a project run by fashion brand Lakai Korea to promote hanbok through various media ― the company frequently showcases products that highlight the country's traditional beauty and history.
Jun said, "It is my honor to take part in such a meaningful project." Courtesy of JHS Entertainment
"It is my honor to take part in such a meaningful project," Jun said on Instagram Monday. "I am also truly thankful to those who sacrificed themselves for our country's independence movement against Japan. I will not forget them."
Jun and Lakai's collaboration comes amid the ongoing cultural feud between Korea and China over the origin of hanbok. Recently, some Chinese internet users raised the ire of Koreans by claiming that hanbok is part of Chinese culture, originating from hanfu, the traditional clothes that Han Chinese people wore during the Ming Dynasty (1368-1644).
Jun debuted as a member of K-pop girl group Secret in 2009 with the song "I Want You Back." The group dropped a series of hits such as "Madonna" (2010) and "Shy Boy" (2011). Jun started acting in 2013 and put out her first solo album "Good-night Kiss" in 2014.
Also to celebrate the Independence Movement Day, actress Song Hye-kyo joined forces with professor Seo Kyung-duk. The two donated 10,000 Korean and English guidebooks to the Korean Culture Center in Los Angeles to provide information about historic sites linked to the movement. Song and Seo have contributed guidebooks, among other items, to 26 historic places around the world over the past 10 years.
"Due to the COVID-19 pandemic, our historic sites are not in very good condition," said Seo, a professor at Sungshin Women's University. "Hence, we should be more concerned about them and I hope these guidebooks can help more people learn about the history behind Korea's independence movement."
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Make Your Day
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전효성 | JUN HYOSEONG | 1ST MINI ALBUM [ FANTASIA ] | (A VER.) POSTER ONLY
|
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JEON HYO-SEONG POSTER
|
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Music Plaza
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https://www.musicplaza.com/en-ca/products/junhy
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https://seosarii.wordpress.com/k-pop-profiles/girl-groups/secret/
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Secret Profile
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2013-07-23T03:30:16+00:00
|
Label: TS Entertainment Debut Song: I Want You Back Debut Date: October 13, 2009 Fan Club Name: Secret Time Stage Name: Hyosung Birth Name: Jun Hyo Sung Date of Birth: October 13, 1989 Position: Leader, Lead Vocalist, Main Dancer Height: 160 cm Weight: 47 kg Blood Type: B Hometown: Chungcheongbuk-do, South Korea Stage Name: Hana…
|
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https://s1.wp.com/i/favicon.ico
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https://seosarii.wordpress.com/k-pop-profiles/girl-groups/secret/
|
Label: TS Entertainment
Debut Song: I Want You Back
Debut Date: October 13, 2009
Fan Club Name: Secret Time
Stage Name: Hyosung
Birth Name: Jun Hyo Sung
Date of Birth: October 13, 1989
Position: Leader, Lead Vocalist, Main Dancer
Height: 160 cm
Weight: 47 kg
Blood Type: B
Hometown: Chungcheongbuk-do, South Korea
Stage Name: Hana
Birth Name: Jung Ha Na
Date of Birth: February 02, 1990
Position: Main Rapper, Vocalist, Lead Dancer
Height: 161 cm
Weight: 45 kg
Blood Type: A
Hometown: Uijeongbu, Gyeonggi, South Korea
Stage Name: Jieun
Birth Name: Song Ji Eun
Date of Birth: May 05, 1990
Position: Main Vocalist
Height: 160 cm
Weight: 45 kg
Blood Type: O
Hometown: Seoul, South Korea
|
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Jun Hyoseong Biography
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Read all about Jun Hyoseong with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.
|
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/favicon.ico
|
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2023-10-05T15:28:42+00:00
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Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress under Alien Company. She is a former member of the girl group Secret. She made her solo debut on May 12, 2014 with her first single album "Top Secret". In 2007, Hyoseong was set to debut as a member of Five Girls, a...
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en
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https://static.wikia.nocookie.net/kpop/images/4/4a/Site-favicon.ico/revision/latest?cb=20210526211224
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Kpop Wiki
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https://kpop.fandom.com/wiki/Jun_Hyo_Seong
|
Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress under Alien Company. She is a former member of the girl group Secret.
She made her solo debut on May 12, 2014 with her first single album "Top Secret".
Career[]
Pre-debut[]
In 2007, Hyoseong was set to debut as a member of Five Girls, a five-member girl group under Good Entertainment. However, due to financial issues, the group was disbanded before they could debut. Other members of Five Girls included Yubin, UEE, G.NA, and Yang Ji Won.[3]
2009: Debut with Secret[]
She debuted as the leader of Secret on October 13, 2009 with the group's first single "I Want You Back".
2014: Solo debut[]
On April 26, 2014, it was reported that Hyoseong was preparing for her solo debut.[4] On May 1, she made her debut with the single album "Top Secret".[5]
2018: Departure from TS Entertainment[]
on March 5, 2018, it was revealed that Hyoseong filed a lawsuit against TS Entertainment to nullify her exclusive contract in September 2017.[6] Her departure ultimately led to the disbandment of Secret.[7]
Discography[]
Mini albums[]
Fantasia (2015)
Colored (2016)
Single albums[]
"Top Secret" (2014)
Digital singles[]
"Starlight" (2019)
"Stories Finding Shimmering Sea" (2022)
OSTs[]
"Ms. Perfect OST Part.2" ("Dangerous") (2017)
"Green in My Heart OST" ("항상 나를") (2019)
Filmography[]
Music shows[]
The Show (SBS MTV, 2011) - MC
Gallery[]
Promotional[]
SNS[]
References[]
[]
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Buy Warning I'm Taken By Jun Hyoseong, Don't Flirt With Me: Funny Vintage Notebook For Korean Singers And Actors Lovers | K-pop & K-drama Journals & ... Gift For Jun Hyoseong Fans & Supporters by Publishing, AYGX96 online on Amazon.ae at best prices. ✓ Fast and free shipping ✓ free returns ✓ cash on delivery available on eligible purchase.
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https://www.amazon.ae/Warning-Taken-Hyoseong-Dont-Flirt/dp/B09ZCJNDTV
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Artist: Jun Hyoseong, MusicBrainzID: e6fc0332-fea6-49f4-b53e-86fdf6d063d5, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
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en
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../images/ico/favicon.ico
| null |
Members
1 Female
Origin
Cheongju, Chungcheongbuk-do, South Korea
Genre
K-Pop
Style
---
Mood
---
Born
1989
Active
1989 to Present...
Cutout
Most Loved Tracks
No loved tracks found...
Music Video Links
No Music Videos Found...
Artist Biography
Available in:
Jun Hyoseong (Hangul:전효성; Hanja: 全烋星; born October 13, 1989) often simply known as Hyoseong or Hyosung, is a South Korean idol singer and dancer. She is best known as being the leader, main dancer and lead vocalist of a popular South Korean girl group, Secret.
In 2005 she became a finalist on Mnet's "Battle Shinhwa" which led to her signing a recording contract with Good Entertainment. In 2007 she was to debut in the group 'Five Girls' along with G.NA, Wonder Girls's Yubin, After School's UEE and a former T-ara member and current Spica member Yang Jiwon. However, the group disbanded before they were able to debut due to the company's financial problems. Hyoseong was later discovered by TS Entertainment through a show that was aired on SBS MTV, called "Diary of Five Girls" and spent two years in the company as a trainee. In 2009 she debuted in a four member girl group called Secret along with Song Jieun, Han Sunhwa and Jung Hana.
In May 2014, she released her first single album "Top Secret" with the title track 'Goodnight Kiss'.
Wide Thumb
Clearart
Fanart
Banner
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] |
[] |
[] |
[
""
] | null |
[
"Wonderful Song Contest"
] |
2020-06-12T13:45:35+00:00
|
en
|
/apple-touch-icon.png
|
Wonderful Song Contest
|
https://ylsc.miraheze.org/wiki/Sentile_K-Pop_Contest_1
|
Sentile K-Pop Contest 1
Dates Final date June 2020 Host Host city Ryuhagga, Vovaltik Presenter(s) Lee Dae Hwi, Park Woo Jin Host broadcaster VTVR Participants Number of entries 17 Debuting Athington
Bhoutvia
Coco Islands
Fuxembourg
Ingolia
Junstain
Korviet Republic
Kucura
Mesii
Nexus
Nightfall
Quimlandia
Republic of JP
Republic of Simialand
Talara
Trimute Lands
Vovaltik Vote Voting system 8 favourites are awarded 10, 8, then 6 through 1 points by all participants. Winning song TBA Sentile K-Pop Contest ◄0 2►
The Sentile K-Pop Contest 1 is the first edition of the Sentile K-Pop Contest. The host country is Vovaltik, who made this contest.
Participating Countries[edit | edit source]
Every country debuted in this edition, which ones are participating.
Venue[edit | edit source]
On 21st of March, Voval Television & Radio decided that the city of Ryuhagga will serve as the host city of the 1st edition. The contest will be held in the Ryuhagga National Stadion. The stadium was opened in 2010 with a capacity of 51,000 people.
City Venue Capacity Ryuhagga Ryuhagga National Stadion 51,000
Hosts[edit | edit source]
Lee Dae Hwi and Park Woo Jin are the hosts of the first edition of Sentile K-Pop Contest.
Lee Dae-hwi (Hangul: 이대휘, born January 29, 2001) is a South Korean singer-songwriter, and presenter. He is a member of South Korean boy group AB6IX, and is known for his participation in the reality competition show Produce 101 Season 2, where he finished in third place overall and became a member of the boy group Wanna One, which released several chart-topping albums and singles from 2017 to disbandment in 2019. He released the song "Candle" with Park Woo-jin which reached number 60 on the Gaon Single Chart. In addition to singing and writing songs for various artists, he guest hosted and then became the permanent host for the long-time running variety show M Countdown.
Park Woo-jin (Hangul: 박우진, born November 2, 1999) is a South Korean singer and rapper. He is a member of South Korean boy group AB6IX and a former member of boy group Wanna One. He is mostly known for placing sixth in Produce 101 (season 2).
List of the participants[edit | edit source]
Country Artist Song Athington Sumni Gotta Go Bhoutvia Kard Don't Recall Coco Islands Red Velvet Peek-A-Boo Fuxembourg Blackpink Kill This Love Ingolia Dreamcatcher Deja Vu Junstain Baekhyun Candy Korviet Republic Oh My Girl Fifth Season Kucura Psy New Face Mesii ONEWE End Of Spring Nexus IU ft. Suga Eight Nightfall Solar Spit It Out Quimlandia Chung Ha Stay Tonight Republic of JP Itzy Wannabe Republic of Simialand Twice More & More Talara Younha ft. RM Winter Flower Trimute Lands Jun Hyo Seong Find Me Vovaltik Stray Kids Victory Song
Grand Final[edit | edit source]
Playlist
Recap
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ìëë±ë¡ë°©ì§ë¥¼ ìí´ ë³´ìì 차를 ê±°ì¹ê³ ììµëë¤.
Please prove that you are human.
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| 58
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https://dbkpop.com/group/secret/
|
en
|
Pop Database / dbkpop.com
|
[
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] |
[] |
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""
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[] | null |
Name:Korean Name:Debut:First girlgroup formed by TS Entertainment, company of BAP, Sonamoo and Untouchable. Debuted with 4 members on October 2009 - Song
|
en
|
K-Pop Database
|
https://dbkpop.com/group/secret/
|
First girlgroup formed by TS Entertainment, company of BAP, Sonamoo and Untouchable. Debuted with 4 members on October 2009 – Song Jieun, Jung Hana (then known as Zinger), Jeon Hyosung and Han Sunhwa.
On September 2016 it was announced that Sunhwa left the group to pursue a career as an actress.
Members Jieun and Hyosung also have solo music releases.
Youtube Channel: TS2008
V app Channel: Hyosung, Jieun
Facebook Page: https://www.facebook.com/SECRET2009/
Twitter Page: https://twitter.com/ts_enter
Instagram Profile:
Official Website: http://cafe.daum.net/SECRETTIME/
Discord (unofficial):
|
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https://m.youtube.com/playlist%3Flist%3DPL-RaCPB_WA7GjnKZE_WWPcI4dVN-ae94F
|
en
|
Bevor Sie zu YouTube weitergehen
|
[
"https://www.gstatic.com/images/icons/material/system/1x/check_black_24dp.png",
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] |
[] |
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""
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de
|
//www.google.com/favicon.ico
|
https://consent.youtube.com/m
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en
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SECRET Profile
|
http://misskpop.weebly.com/uploads/1/2/1/6/12167949/published/169797902.jpg?1546021696
|
http://misskpop.weebly.com/uploads/1/2/1/6/12167949/published/169797902.jpg?1546021696
|
[
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] |
[] |
[
""
] | null |
[] | null |
Company: TS Entertainment Years Active: 2009-2018 Debut: October 13, 2009 Disband: September 2018 Fandom: Secret Time Fan Color: White Past Members: Hyosung (2009-2017), Hana...
|
en
|
MISS KPOP
|
http://misskpop.weebly.com/secret-profile.html
|
Company: TS Entertainment
Years Active: 2009-2018
Debut: October 13, 2009
Disband: September 2018
Fandom: Secret Time
Fan Color: White
Past Members: Hyosung (2009-2017), Hana (2009-2018), Jieun (2009-2017), and Sunhwa (2009-2016)
Birth Name: Jun Hyo Sung
Stage Name: Hyosung
Birthday: October 13, 1989
Position: Leader, Main Dancer, Lead Vocalist, Face of the Group
Height: 160 cm
Weight: 50 kg
Blood Type: B
Instagram: @secrettimehs
-She was born in Chungcheongbuk-do, South Korea
-In 2007, she was supposed to debut with G.NA, Yubin (Wonder Girls), UEE (After School), and Jiwon (SPICA) as girl group 'Five Girls' but they disbanded
-She requested the termination of her contract in 2017
Click here to see Hyosung's solo singles!
Birth Name: Jung Ha N a
Stage Name: Hana
Birthday: February 2, 1990
Position: Main Rapper, Lead Dancer, Vocalist
Height: 157 cm
Weight: 45 kg
Blood Type: A
Instagram: @hanatheonly1
-She was born in Uijeongbu, Gyeonggi, South Korea
-She is friends with 2NE1's CL and Wonder Girls' Sunye
Birth Name: Song Ji Eun
Stage Name: Jieun
Birthday: May 5, 1990
Position: Main Vocalist
Height: 160 cm
Weight: 45 kg
Blood Type: O
Instagram: @secret_jieunssong
-She was born in Seoul, South Korea
-She is a former JYP trainee
-She requested the termination of her contract in 2017
Birth Name: Han Sun Hwa
Stage Name: Sunhwa
Birthday: October 6, 1990
Position: Vocalist, Visual, Maknae
Height: 165 cm
Weight: 45 kg
Blood Type: B
Instagram: @shh_daily
-She was born in Busan, South Korea
-She participated on We Got Married with ZE:A's Kwanghee
-Victon's Seungwoo is her brother
-She terminated her contract in 2016
SECRET Songs
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https://www.asianjunkie.com/2023/07/04/hyosung-ex-secret-continues-to-get-hate-from-anti-feminists-2-years-after-saying-dating-violence-is-bad/
|
en
|
feminists 2 years after saying dating violence is bad – Asian Junkie
|
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[
"https://www.youtube.com/embed/8kFrGN57G0o?feature=oembed"
] |
[] |
[
""
] | null |
[
"IATFB"
] |
2023-07-04T00:00:00
|
If you're a normal person, you likely either completely forgot about Hyosung's
|
en
|
Asian Junkie
|
https://www.asianjunkie.com/2023/07/04/hyosung-ex-secret-continues-to-get-hate-from-anti-feminists-2-years-after-saying-dating-violence-is-bad/
|
If you’re a normal person, you likely either completely forgot about Hyosung’s “controversy” from 2021 or remember fondly that she spoke up about a social issue in Korea (and everywhere, really). The crux of it was essentially that she said dating violence is bad and sometimes she’s afraid to walk home at night alone, so society would be better if people didn’t have to be scared of things like that. Yeah, that’s about it.
Somehow this made the incel population of Korean’s way-too-online denizens extremely mad, leading to her being put on the posters of anti-feminists in parades and all kinds of vile shit. And here we are two years later, and they’re still lurking in the YouTube comments of her recent behind-the-scenes vlog for her new Netflix drama Celebrity on YouTube.
One of them left a comment mocking what she spoke out about, saying, “You must’ve been scared at night, were you okay shooting and leaving?” Hyosung responded to that by basically dismissing it, saying “Uh-huh.“, and that set off a bigger mess in the replies.
Yeah.
> Looks like you were freaking pissed off with only leaving a “ㅇㅇ” reply. You’re pitiful with how much you hate to lose. ㅋㅋㅋㅋㅋㅋㅋㅋㅋ
> ㅋㅋㅋㅋ Fucking hilarious. ㅋㅋㅋㅋ
> Are you tilted? ㅋㅋㅋ
> Kyah!
> You’re so cool~ (T/N: Sarcastic)
> You said it with your own mouth that you were scared. Someone is being worried about you and you can’t even pretend to be a bit nicer with your reply?
> She’s so pissed off but she’s pretending to be cool about it. ㅋㅋㅋㅋㅋㅋ
> ㅋㅋㅋㅋㅋ
> You don’t look like you’re even scared at all? What happened?
> Honestly don’t you regret what you said?
> That attitude. ㅋㅋㅋㅋㅋㅋ
> ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ
> Superstar-nim ㅋㅋㅋㅋㅋ Fighting~
It’s pointless to think about all this reasonably as they’re clearly far beyond that at this point, but yes, they’re acting like they’re victimized by Hyosung saying she feels unsafe at night. They’re mocking her for dismissing them like that while she’s been living in their heads rent-free for two years, so if we’re speaking on being triggered I can’t think of a better definition than that. These types of dudes are ironically exactly why she would say something like that about feeling unsafe, it’s literally deranged behavior.
Anyway, thankfully others caught wind of this and seem to have flooded out everybody else with supportive comments for her.
Also, she’s quite impressive in Celebrity from what I’ve seen so far.
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|
en
|
News
|
[
"https://cdn.public.lu/pictures/logos/gov/en/gov-light.png",
"https://cdn.public.lu/pictures/logos/renow.png"
] |
[] |
[] |
[
""
] | null |
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Lex Delles Eric Thill
|
en
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//cdn.public.lu/pictures/favicons/apple-touch-icon-180x180.png
|
http://meco.gouvernement.lu/en/actualites.html
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[] |
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""
] | null |
[] |
2014-10-21T01:03:25+00:00
|
Name: Hyoseong Jun Member of: Secret Birthdate: 13.10.1989
|
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|
Pinterest
|
https://id.pinterest.com/pin/13299761381690608/
| |||||||
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https://koreajoongangdaily.joins.com/2018/08/29/etc/Jun-Hyoseong-and-agency-refuse-to-budge/3052541.html
|
en
|
Jun Hyo-seong and agency refuse to budge
|
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[] |
[
""
] | null |
[
"koreajoongangdaily.joins.com"
] |
2018-08-29T00:00:00
|
Both singer Jun Hyo-seong and her agency TS Entertainment disclosed that they will not negotiate her contract at trial held on Wednesday.
Originally, Jun claimed that she did not receive payment that she was entitled to from TS Entertainment while
|
en
|
https://koreajoongangdaily.joins.com/2018/08/29/etc/Jun-Hyoseong-and-agency-refuse-to-budge/3052541.html
|
Both singer Jun Hyo-seong and her agency TS Entertainment disclosed that they will not negotiate her contract at trial held on Wednesday.
Originally, Jun claimed that she did not receive payment that she was entitled to from TS Entertainment while she was working with the agency. Jun enclosed evidence of her financial mistreatment and asked TS Entertainment to discontinue her contract in June 2017.
TS Entertainment dismissed her request. She then resorted to filing a suit against TS Entertainment in September 2017, in an effort to get out of her contract.
Wednesday was the fourth hearing in the trial. During the three previous sessions, both parties revealed that they had no intention of coming to an agreement.
“My client does not want to negotiate with Jun,” said TS Entertainment’s lawyer to the press after arriving at court on Wednesday. “She needs to return the contract’s down payment in order for there to be any room for discussion,” the lawyer added.
Jun vowed to pay back the down payment for her contract and agreed to give up the payments she was entitled to if TS Entertainment agreed to nullify her contract. TS Entertainment refused to change their stance that Jun continue her contract until 2021.
By Jeong Ju-won
|
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https://asianews.network/after-being-called-feminists-these-women-faced-online-harassment/
|
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|
After being called feminists, these women faced online harassment
|
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[] |
[] |
[
""
] | null |
[
"Yim Hyun-su",
"Yim Hyun-su →"
] |
2022-02-14T00:20:27+00:00
|
After being called feminists, these women faced online harassment Asia News Network (ANN) is the leading regional alliance of news titles striving to bring the region closer, through an active sharing of editorial content on happenings in the region.
|
en
|
https://asianews.network/after-being-called-feminists-these-women-faced-online-harassment/
|
February 14, 2022
SEOUL – The death of livestreamer Jammi, whose real name is Cho Jang-mi, made headlines this week in South Korea. It emerged that she took her own life after “suffering severe depression over malicious online comments and rumors,” according to an online post written by one of her family members.
The 27-year-old who used to stream on YouTube and Twitch was accused of being a radical feminist in 2019.
The accusations began after she used a pinching hand sign that some claimed to be misandrist. They say that the hand gesture, thought up by radical feminists, is used to mock the size of male genitalia. Last year, many South Korean companies were forced to apologize after some took issue with the hand sign found in advertising materials.
Jammi was not the only one. Many other women have been targets of online harassment, mostly from male users, for being associated with feminism.
In October, Jun Hyo-seong, a former member of K-pop girl group Secret, teamed up with the Ministry of Gender Equality and Family for a campaign to raise awareness on dating violence.
In a video that has over 450,000 views on YouTube, she said, “When I’m going home and it gets dark, I ask myself, ‘Can I make it home safe and alive today?’”
“I think a free society where you can love when you want to and break up when you want to is also a safe society,” she added.
Her remarks were soon met with anger from members of online male communities who felt “betrayed” as her fans. Their criticism goes that she was jumping on the bandwagon of feminism after capitalizing on her sex appeal as a K-pop idol.
“She’s accusing her male fans who used to like her as potential criminals,” said one YouTube comment.
The backlash spilled over onto the street. In November, “New Man On Solidarity” — a prominent right-leaning anti-feminist group who claims they are not misogynists — took to the streets of Hongdae, a neighborhood popular among young people, to denounce feminism and called on politicians to abolish the Gender Equality Ministry.
During the protest, a poster depicting Jun wearing a maid costume appeared with the caption, “You can’t get the femi coin, sister.”
In 2018, Irene, a member of K-pop idol group Red Velvet, also faced backlash in South Korea after saying she read “Kim Ji-young, Born 1982” — a popular feminist novel about a stay-at-home mother who experiences everyday sexism.
Images of Irene’s photos being burned or cut were uploaded online amid the controversy.
“When the target is branded as someone vulnerable who cannot protect themselves, they are more prone to attacks from male dominant online communities,” said culture critic Sohn Hee-jeong.
“They feel they have the right to attack because they have spent so much money and attention and they almost feel betrayed.”
Visiting professor Lee Jong-im in graduate studies in journalism and communication at Kyung Hee University said while it is already hard for celebrities to comment on politics and social issues in South Korea, it is even harder for idols.
“Idols are expected to stick to this made-up image of pureness. When gender conflict is thrown into the mix, talking about their stories or values go beyond the realm of idols the public expect them to stay in,” Lee said.
Professor Lee said the expectations placed on female idols and streamers by men are “narrow.”
“In 2016, a voice actor for online video game Closers was fired for uploading a picture of herself wearing a T-shirt that said ‘Girls Do Not Need a Prince’ after facing strong backlash from male users.
“Making comments and criticisms that border on hate did not invite counter criticism. Instead, (the users) saw their demands as consumers being accepted, giving weight to the attacks against women.”
One in 2 men in their 20s in South Korea tends to be anti-feminist, according to a 2018 study released by the Korean Women’s Development Institute, a government think tank. In the same survey, only 1 in 4 young men saw women as “weaker than men” or needing protection.
But such strong antagonism against feminism has puzzled many looking from the outside at a country that has the highest gender wage gap among OECD countries.
Women also feel less safe than men in the country, according to a 2021 report from the Gender Equality Ministry. Only 21.6 percent of women said they felt safe from crime, as opposed to 32.1 percent of men.
Between 2016 and 2020, more than 80,000 cases of dating violence were reported to police, of which 227 were murder, according to police data. The figure saw a steady rise from 9,364 in 2016 to 18,945 in 2020.
So why is feminism so hated in a country that seems to need it?
Anti-feminism sentiment is nothing new. But it appears to have emboldened in recent years as platforms and web portals are letting people capitalize on hate and outrage, said Sohn, the culture critic.
“We need to look at how there is a market for hate toward not just women but minorities on platforms like YouTube where you can get attention and earn money — it’s a market of hate,” she said.
“The more provocative the content is, the more attention and money you are rewarded with.”
On YouTube, creators can make a profit by monetizing their videos to show Google-placed ads. In such videos, female celebrities are disproportionately targeted, she explained.
In a recent interview with The Korea Herald, Rep. Jang Hye-young of the Justice Party said backlash against feminism surged in recent years in Korea as discussions over women’s safety and feminism grew.
“Though there is widespread support for the idea that gender discrimination, the gender pay gap and violence against women need to stop, feminists have earned this label as a group of extremists, something to be disliked along the process,” Jang said.
The feminist movement has made some major advances including the Constitutional Court’s ruling to overturn a ban on abortion.
But politicians who take advantage of the anti-feminism sentiment are exacerbating the situation, said Sohn.
“Lee Jun-seok, head of the People Power Party, played a major role (in drumming up anti-feminism sentiment). He is spearheading the voices and politicizing them. The People Power Party is adopting tactics straight out of Trump’s playbook during the 2016 US election.
“Just like how Trump hammered CNN as the ‘Clinton News Network’ and refused to do interviews with them, candidate Yoon refused to take part in a TV debate on JTBC citing the network’s bias. Just like Trump, the PPP is also tapping into anti-China sentiment. It is the same story with misogyny.”
Yoon Suk-yeol, the PPP’s presidential candidate who is leading in the polls with the election less than one month away, has promised to abolish the Gender Equality Ministry. The conservative candidate has also said that “structural gender discrimination no longer exists,” echoing one of the anti-feminist slogans online.
Yoon’s rhetoric marks a stark shift from five years ago when President Moon Jae-in was sworn into office in 2017. One of his campaign promises was to become a “feminist president.”
Rep. Jang said abolishing the Gender Ministry is “harmful populism that hurts democracy.”
“If you consider where gender equality stands in South Korea, it would be more accurate to say we need a new Gender Equality Ministry.”
As the country has entered a period of low growth, one of the remaining growth engines is gender equality — to allow women employees to work to their full potential and exercise their economic power. Not only would it improve individual human rights but it would also help with South Korea’s economic growth, the lawmaker explained.
“For politicians in responsible positions to say they would abolish the Gender Equality Ministry to pander to certain groups, when gender equality is a highly important agenda item, is extremely irresponsible,” Jang said.
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https://www.soompi.com/article/1680028wpp/jun-hyosung-confirmed-to-lead-new-film-based-on-true-crime
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Jun Hyosung Confirmed To Lead New Film Based On True Crime
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2024-08-08T01:05:29-07:00
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Jun Hyosung will be making her big screen debut! On August 8, the production team of "Bound to be a Devil" (literal title) announced the casting of Jun Hyosung as the lead. “Bound to be a Devil” is based on a shocking true crime that occurred in May 2022 when a man in his 30s,
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Jun Hyosung will be making her big screen debut!
On August 8, the production team of “Bound to be a Devil” (literal title) announced the casting of Jun Hyosung as the lead.
“Bound to be a Devil” is based on a shocking true crime that occurred in May 2022 when a man in his 30s, known as A, brutally attacked a stranger, B, at the entrance of her apartment in Busan. The crime sparked public outrage after CCTV footage revealed A following, kicking, and dragging the victim’s body into a blind spot.
Jun Hyosung will taken on the role of victim Min Ah, whose life is completely shattered after being assaulted by a stranger she had never met before. Consumed by anxiety and fear that her attacker might come back for revenge, she experiences profound internal changes every day.
“Bound to be a Devil” is expected to delve into the broader issues of random assaults and societal retaliation in Korea, incorporating elements from the Busan incident. Notably, the real-life victim has been involved as a consultant for the film’s script. The film will also mark Jun Hyosung’s first leading role in a film since debuting as a member of the girl group SECRET in 2009.
“Bound to be a Devil” is scheduled to start filming in mid-August and aims for a 2025 release.
While waiting for updates, check out Jun Hyosung in “Memorist” below:
Watch Now
Source (1)
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https://alchetron.com/Jun-Hyo-seong
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Jun Hyo seong (South Korean Singer) ~ Wiki & Bio with Photos
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2017-08-18T08:30:48+00:00
|
Jun Hyoseong (Hangul Hanja born October 13, 1989) often simply known as Hyoseong or Hyosung, is a South Korean singer and actress. In 2005, she was a finalist in television channel Mnet's Battle Shinhwa which led to her signing a recording contract with Good Entertainment. In 2007, she
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Alchetron.com
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https://alchetron.com/Jun-Hyo-seong
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1989–2004: Early life and childhood
Jun Hyoseong was born in Cheongju, Chungcheongbuk-do, South Korea on October 13, 1989. Hyoseong's name is derived from the word 유성 which is Korean for meteor. She was named this way as her father and maternal grandmother saw a shooting star across the sky on the day of her birth. Hyoseong's family struggled financially, and she and her family earned extra money by delivering newspapers every morning since she was in 3rd grade. Ever since she was young, she was known amongst her friends for her singing and dancing skills. However, she never had thoughts of actually becoming a singer until she was in 6th grade. She admitted,
In middle school, she was the leader of her school's dance club and worked part-time jobs to earn the money to travel to Seoul for auditions. Her parents were against her choice at first but later supported her decision when they saw how dedicated she was towards her goal.
2005–2008: Career beginnings, Five Girls and personal struggles
In 2005, Hyoseong began auditioning for several talent shows hosted in Cheongju and Seoul, however, she was met with failure. The same management company that Hyoseong had auditioned for at Cheongju held another audition in May 2005. This time Hyoseong made it through to the final round. Hyoseong danced BoA's Valenti at her final audition because, "although many people danced to BoA, no one had done the Valenti dance". Thanks to her song choice, the management company took notice of Hyoseong and she went on to win the talent show. She was then advised by an agent of Good Entertainment to audition for Mnet's "Battle Shinhwa". However, she initially hesitated because she was not sure if she was ready to appear on television and she was worried about her school attendance.
Hyoseong managed to make it to the final 12, out of which only 3 were girls. She expressed, "I changed a lot during 'Battle Shinhwa.' I could never let myself relax. Why? Because I had to survive. I didn't have time to relax. All my friends told me I was being so intense." She went on to add, "It was so hard both physically and mentally because I had to do it while attending school. I left school early often during those 6 months. But my teacher really helped me a lot. I felt so bad for my teacher and my friends, but I didn't want to give up either school or Battle Shinhwa. But honestly, I did pretty well during that time in school."
She was picked as the final 6 and later went on to sign a recording contract with Good Entertainment. She signed officially in 2006 and started to live in the dorms with Yoobin and Uee as a trainee and started going to school in Seoul. Good Entertainment had initially intended for Hyoseong to debut in a three-member group, along with Yoobin and Uee, but ended up adding G.NA and Jiwon. They were set to debut as a five-member group called "Five Girls". In 2007, before their official debut, the group starred in a reality show on MTV called "Diary of Five Girls". Five Girls were never able to debut due to their company's financial issues.
In 2008, after "Five Girls" disbandment, she started working at a part-time job and managed to earn enough money to attend Inha University, however, her college life was short lived. "Only Uee and I were left in the company. I thought I really had to work hard, so I decided to leave school and focus on lessons." However, she was faced with a larger obstacle, during her 11th grade, her father was diagnosed with lung cancer,though he later recovered after treatment. Her father was still weak when he decided to go back to work to support his family, and unfortunately the cancer came back, this time being much more aggressive. The doctors told Hyoseong's family to "be ready". Her father died of lung cancer in 2008. At this point Hyoseong was no longer a trainee with Good Entertainment and had decided to start attending college again. However, her plans changed when a TS Entertainment agent contacted her.
2009–present: Secret and rising popularity
In 2008, a TS Entertainment agent had seen Hyoseong in "Diary of Five Girls" and contacted her to audition for their company. Hyoseong passed the audition and began living as a TS Entertainment trainee. TS Entertainment announced that they would debut a four-member girl group in October 2009. Hyoseong, along with Han Sunhwa, Song Jieun and Jung Hana, debuted as the group, Secret. Prior to their debut, the group appeared in a documentary called "Secret Story" which chronicled their debut process. They released their debut single "I Want You Back" in October 2009.
In April 2010, Secret released their first mini album entitled Secret Time which spawned the hit single "Magic"; and served as their breakthrough song in South Korea. In August 2010, they released their second mini album entitled "Madonna" and the title track continued their success as it topped the Gaon Single Charts.
In January 2011, the group deviated from their "sexy" and "sassy" image and released Shy Boy, a "cutesy" and retro inspired song. Although they were worried with the 180 degrees transformation, the single exceeded their expectations as the song was a huge success. Shy Boy charted strongly in digital charts and Secret won their first trophy on music shows with the song. They won a total of 5 trophies in various music shows with Shy Boy. In March 2011, Hyoseong was chosen as a regular cast on KBS's Oh! My School. Secret continued their success with the release of their second CD single entitled "Starlight Moonlight". The title track became another hit for Secret as the song reached number one on the Gaon Monthly Singles Charts and won them another trophy in SBS's Inkigayo.
The same year, Secret began a foray of Japanese activities with the Japanese release of Madonna and Shy Boy. The Japanese remake of "Madonna" debuted at number nine in the Oricon singles charts. Secret was the third of three Korean girl groups to debut on the Oricon chart in the top 10, the others being Kara and Girls Generation. In October 2011, they released their first studio album entitled "Moving in Secret" and spawned them another hit with the lead single "Love is Move. Secret released their first mini album in Japan entitled Shy Boy. The mini album also debuted at number nine on the Oricon album charts.
On November 23, 2011 Hyoseong was injured after falling downa flight of stairs while leaving the dorm. The accident, which ruptured the cartilage in her left knee and fractured the top of her right foot, halted her promotional activities with Secret.
In February 2012, she played Soo Yeon in the sitcom Salamander Guru and The Shadows that aired on SBS.
On the October 21, 2012 episode of Inkigayo, the live music show revealed a teaser video hinting that twenty of the most-Wanted K-pop stars would transform into four new project groups in the yearly event. Hyoseong will be part of the girl group Dazzling Red with Sistar's Hyolyn, 4Minute's Hyuna, After School's Nana and KARA's Nicole. Brave Brothers was set to produce the group's new title song. Slated to air on December 29, the group will perform the tunes only one time on stage and the profits from online streaming and downloading of the songs would be donated to people in need. The song "This Person" was released on December 27, 2012.
On August 6, 2013, it was announced that Hyoseong would make her drama debut as Han Na Young in Orion Cinema Network's drama, The Ghost-Seeing Detective Cheo Yong. She starred in the ten-episode drama with Oh Ji-ho and Oh Ji-eun. Hyoseong started filming in the middle of August, to make it in time for the premiere on February 9, 2014. In relation to this, according to Hyoseong, she received hard acting training from the drama director during the various shoots for the drama. The drama series ended on April 6, 2014.
Solo career
In 2014, it was confirmed that Hyoseong would be the second member of Secret, after Song Ji-eun, to make a solo debut. On April 16, 2014, Hyoseong's agency, TS Entertainment, released a statement saying:
TS Entertainment's initial statement was then followed by another through an interview with Star News on April 17, 2014, the day after. The TS Entertainment representative released a statement saying, "Hyoseong will release her solo album on May 12 and begin her official activities."
On May 2, 2014, it was re-announced that Hyoseong would release her debut single album on May 12, 2014. This announcement also confirmed that the titled is called Top Secret. The single album has three songs, namely: 여자를 몰라 (You Don't Know Women), 밤이 싫어요 (I Hate The Night), and "Goodnight Kiss", the latter being the featured track of the said album. The song 여자를 몰라 (You Don't Know Women) will also feature 제이켠 (J'Kyun). In a pre-order release by YesAsia, it was revealed that Hyoseong would be releasing two sets of her albums: a normal and a limited edition. The normal edition includes a 44-page booklet and a randomly selected photo card (1 out of 4 possible designs) while the limited edition includes a 76-page booklet, a folded mini poster, a 32-page still photobook, a randomly selected photo card (1 out of 4 possible designs) and a making-of DVD.
Hyoseong held an event, the Top Secret Showcase, to showcase her debut at the 'Ramada Hotel Club Vanguard on May 12, 2014; this date was also the date that it was released.
She released her first extended play, titled Fantasia on May 7, 2015. "Into You" was used as the lead single, accompanied with a music video.
She released her second extended play, titled Colored on March 28, 2016. "Find Me" was used as the lead single, accompanied with a music video.
Family background
Hyoseong is the middle child out of three sisters. According to Hyoseong, her two sisters were born at home while she was born at a hospital. Since they were young, her family struggled financially and they worked together making newspaper deliveries. Her father was a construction worker.
Dating life
It was confirmed in a December 2010 episode of Munhwa Broadcasting Corporation's "Bouquet", in which Hyoseong and the other members of Secret were present, that Hyoseong had a boyfriend during her times as a trainee. According to her, she had a boyfriend until 2008. She also confessed that they had broke up with each other after having a fight right before Christmas.
In an interview by Newsen on February 27, 2014, Hyoseong remarked that:
However, in an interview with 'Sure' magazine, Hyoseong revealed that she was actually 'a person who has never dated before', which is quite contrary to her previous story before in "Bouquet". When asked if she was a "motae solo" or a person who has never experienced dating ever, Hyoseong responded with a question if she was too obvious or not. For her, dating is quite difficult,and also, according to her, "If someone shows interest in me, I get thrilled but I don't know what to do about it. It's worse when a person I like suddenly tells me that he likes me. I think about it and in the end, I end up by myself... It's been a long time since I felt my heart pitapat."
Secret's car accident
On December 11, 2012, Secret was involved in a car accident. According to a report by Sports Chosun, around 2:00 am in Korean standard time, the van that Secret rode in was filmed speeding down the highway by another vehicle with a camera. It was then seen hitting an ice patch which caused their van to slide and veer off the road hitting the guardrail and flipping over. The van was then caught passing in front of another car, however, the other driver managed to hit the brakes and avoided slamming into the band's van, which would have resulted in the van's crash becoming more serious.
It was initially reported that Hyoseong had received serious injuries and was immediately taken to the hospital. However, a YTN News update revealed that although Hyoseong had injured her knee and had to wear a cast, it was fellow Secret member, Jung Hana, who received the most serious injuries after breaking her ribs. Following the accident, Secret went into hiatus, stopping their Talk That song promotions.
In a follow-up television report by web portal Nate, fellow Secret member Song Jieun explained how their leader, Hyoseong saved her life during the accident. She said:
Hyoseong's act was commended by many netizens.
Impersonators
On May 3, 2013, Hyoseong came forward on her Twitter account to make it clear that she did not have a Facebook account after an unknown person impersonated her on the social networking site. Hyoseong had also warned her fans against various impersonation accounts that had frequently shown up.
However, the problem did not stop for TS Entertainment, who had to release a follow-up statement on their Twitter account, cautioning fans that Hyoseong does not use Facebook. The agency said, "We've discovered Facebook account(s) posing as Hyoseong. Hyoseong does not use Facebook. We hope that no one falls victim to the imposter account(s)."
Additionally, they said that Hyoseong and her updates can still be followed by her fans through her accounts on Twitter and Instagram.
Leaked school records
On November 11, 2013, Hyoseong's school records were leaked online on an Online community site. Her school records, which date back to 2008 when she was a student majoring in theater and film at Inha University, showed her class section, her complete address, her social security number, her e-mail address and her phone number.
TS Entertainment responded to the issue on the next day, November 12, 2013, by announcing that they were aware of the leak regarding Hyoseong's personal information, that they will be talking with the school to find the source of the leak. TS also said that if an issue occurs, they will definitely take legal action. The specific details of that legal action to be identified and revealed after an investigation.
Misuse of the word 'democratization'
During the May 14, 2013 broadcast of SBS Power FM's Choi Hwajung's Power Time, the four members of Secret participated in a game in which they were given two options and each member would say which one they preferred. The game was done in order to test the members' teamwork and see if they would agree on one thing and have the same set of answers. With the several pairs of choices given, the members of Secret were able to agree three times. After the MC declared this, Hyoseong then made a remark, stating:
The term "민주화", translated as democratization, defined as the transition from an authoritarian regime to a more democratic political regime, has been used by the Ilbe online community as a slang term. Ilbe users use the term as their "down-voting button", using "democratization" to mean 'the citizens create chaos', 'to destroy', or 'to make disappear'.
In response to this, netizens began claiming that Hyoseong has used the term "democratization" in a negative manner.
Artistry and influences
Hyoseong has said that she was influenced by pop and R&B groups such as Fin.K.L and S.E.S. She was also influenced by South Korean ballad singers such as Kim Bum-soo, Sung Si-kyung and Kim Yeon-woo. When it came to dancing, Hyoseong said that she was influenced by the American singer Beyoncé particularly. She also stated that Beyoncé is one of her music idols. TS Entertainment uploaded a video of Hyoseong performing a cover of Beyoncé's Naughty Girl and Crazy in Love in Secret's 1st Japan Tour in March 2012. Because of her work with Secret, she portrays a mix of cute and sexy image through their songs such as "Shy Boy" and "Madonna".
Endorsements and other activities
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전효성 — The Movie Database (TMDB)
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"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
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"Credits",
"Cast"
] | null |
[] | null |
전효성 is known as an Actor. Some of her work includes Celebrity, Cheo Yong, Memorist, My Shy Boss, The Pure Memories of My Heart, Wanted, My Dear Cat und SNL Korea.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/person/1492529
|
You need to be logged in to continue. Click here to login or here to sign up.
|
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dbpedia
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| 54
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https://www.wattpad.com/164919811-kpop-idols-profiles-facts-%25E2%2599%25A1-%25E2%2586%2592-kpop-facts-24-secret
|
en
|
→ KPOP FACTS #24: SECRET (시크릿) ♡
|
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[] | null |
Read → KPOP FACTS #24: SECRET (시크릿) ♡ from the story KPOP Idols Profiles & Facts ♡ by findingdollyyy_ (Nikki) with 1,821 reads. ailee, 2ne1, bigbang. KPOP FACT...
|
tl
|
//static.wattpad.com/favicon.ico
|
https://www.wattpad.com/164919811-kpop-idols-profiles-facts-%E2%99%A1-%E2%86%92-kpop-facts-24-secret
|
KPOP FACTS ❤
FACTS ABOUT SECRET
• Company: TS Entertainment
• Debut Date: October 13, 2009
• Debut Song: I Want You Back
• Fandom Name: SECRETTIME
Hyosung's Profile
Birth Name: Jeon Hyo Sung (전효성)
Stage Name: Hyosung
Birthday: October 13, 1989
Position: Leader, Vocalist
Blood Type: B
Facts:
- She was born in Chungcheongbuk-do, South Korea.
- Her name is derived from the word 유성 which is Korean for meteor, due to her father and maternal grandmother seeing a shooting star on the day of her birth
- Hyoseong is the middle child out of three sisters
- In 2007, she was supposed to debut with G.NA, Yubin (Wonder Girls), UEE (After School), and Jiwon (SPICA) as girl group 'Five Girls' but they disbanded.
- As a 3rd grader Hyosung and her family started delivering newspapers to get extra money.
- In 6th grade Hyosung decided she wanted to become a singer.
- In middle school, she was the leader of her school's dance team.
- She's a member of the one time sub unit Dazzling RED with 4Minute's Hyuna, KARA's Nicole, After School's Nana, & SISTAR's Hyorin.
- Hyosung's childhood nickname was Pickachu.
- She dislikes Sashimi.
- She choose BigBang's T.O.P as Best Looking Male Idol on Weekly Idol.
- Hyosung was a big fan of Shinhwa, even now after 10 years.
- She secretly wants to go to Banpo Bridge with someone special.
- She wants to try the "full curly spread hair" like Beyoncé.
- Hyosung is good at management of the money.
- When Hyosung was asked what type of man she liked, she said she likes someone who is sharp and reliable.
- Hyosung is known for her Honey thighs.
- Hyosung's sleeping habit is throwing things from the top of the bunk bed.
- B.A.P's Himchan said Hyosung is his ideal woman because she have the "motherly qualities".
- Hyosung's childhood dream was to be a ballerina.
- Hyosung loves kids.
- Hyosung is the messiest member.
- If Hyosung had the chance to exchange lives for a day, she would choose Jieun because she wants small and pretty feet unlike herself who has big and flat feet.
- Hyosung doesn't think she is even close to being sexy but rather cheerful, full of energy and forthcoming.
- Hyosung's dream guy is Arashi's Matsumoto Jun.
- She's a Kang Dong Won fan.
- She's depressed when she can't eat delicious food.
- Her favorite food is Korean food, specifically rice noodles.
|
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https://www.tvinsider.com/people/jun-hyo-seong/
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en
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Singer, Actress
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[] |
[] |
[
""
] | null |
[] |
2023-08-20T03:00:00-05:00
|
Jun Hyo-seong, often simply known as Hyoseong or Hyosung, is a South Korean singer and actress.
|
en
|
https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico
|
TV Insider
|
https://www.tvinsider.com/people/jun-hyo-seong/
|
Benefits to Registering & Following
Watchlist Easy access to only the shows you care about — all in one simple place
Alerts Only important notifications — when a show is returning, when it becomes available to stream, and more.
Special Offers Exclusive products we release related to your favorite shows and streaming services
Sign Up
(It's free!)
|
||||
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https://www.habkorea.net/jun-hyo-seong-named-pr-ambassador-for-hanbok/
|
en
|
KPOP Singer-actor Jun Hyo-seong named PR ambassador for Hanbok
|
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[] |
[] |
[
""
] | null |
[
"HaB Korea.net",
"Anaëlle Dembega",
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] |
2021-07-29T17:00:34+09:00
|
K-pop singer and actor Jun Hyo-seong on July 28 was named PR ambassador for Hanbok (traditional clothing) this year by the Ministry of Culture, Sports and
|
en
|
HaB Korea.net
|
https://www.habkorea.net/jun-hyo-seong-named-pr-ambassador-for-hanbok/
|
Jun Hyo-seong named PR ambassador for Hanbok
K-pop singer and actor Jun Hyo-seong on July 28 was named PR ambassador for Hanbok (traditional clothing) this year by the Ministry of Culture, Sports and Tourism and the Korea Craft & Design Foundation.
Jun’s fondness for Hanbok is well known through photos of her outfits she wears daily posted on her social media accounts. On March 1, she was featured in a billboard advertisement at New York’s Times Square to promote the beauty of Hanbok. Thanks to the ad, she received a letter of appreciation from the ministry.
Minister of Culture, Sports and Tourism Hwang Hee said, “To introduce the beauty and charm of Hanbok, we chose Jun as PR ambassador since she has consistently shown her love for Hanbok.”
“Through Jun Hyo-seong’s efforts, we hope to spread the perception of Hanbok as clothing that can be worn daily at any time instead of just on special occasions.”
Formerly a member of the K-pop girl group Secret, Jun later turned to acting and appeared in dramas on TV and the web such as “Memorist” (2020) and “Green in My Heart” (2019).
|
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https://chart.kpopmap.com/kpopmap-people/jun-hyoseong/
|
en
|
Trends through chart
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
전효성
|
en
|
CHART - Check various K-Trends through chart
|
https://chart.kpopmap.com/kpopmap-people/jun-hyoseong/
| ||||||
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| 50
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https://m.facebook.com/hyoseong89vn/photos/
|
en
|
Facebook
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
| null | |||||||
8112
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| 46
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https://www.tiktok.com/discover/jun-hyo-sung-celebrity
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
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https://www.viberate.com/artist/jun-hyo-seong/
|
en
|
JUN HYO-SEONG - Songs, Events and Music Stats
|
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JUN HYO-SEONG: Listen to new and popular songs, find events, look into their stats and see who their fans are.
|
/static/assets/images/favicon.ico
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https://www.viberate.com/artist/jun-hyo-seong/
|
Popular South Korean pop singer JUN HYO-SEONG is renowned for her soulful vocals and mesmerizing performances. She has been able to create a distinctive sound that appeals to a global audience because to her origins in Asian Pop. Her music combines traditional Korean sounds with modern pop components to give listeners a distinctive and interesting experience.
JUN HYO-SEONG, a seasoned performer, has amassed a devoted fan following as a result of her impassioned and expressive performances. She has a wide vocal range and a special talent for using music to express emotions. Her songs stand out because of their lively energy, captivating melodies, and approachable lyrics.
JUN HYO-SEONG is a powerful influence in the pop music industry. Her audience engagement skills are unsurpassed, and her music is exciting, energetic, and compelling. Through her talent and enthusiasm, she has been able to carve out a place for herself in the very competitive world of music.
Popular South Korean pop and Asian pop music performer Jun Hyo-seong has a history of chart-topping singles. "Good-night Kiss," a flirtatious song that highlights her amazing vocal range, and "Find Me?" are two of her best songs. The latter is a popular pop song with a catchy chorus and an exciting tempo.
Other well-known songs by Jun Hyo-seong include "Into You," a sensual song with a smooth pace, and "Starlight," a beautiful ballad that highlights her expressive voice. Fans especially adore her poignant ballad "isaram," which showcases her talent for using music to express strong emotions.
With its catchy chorus and fast speed, "Taxi Driver" is another fan favorite, while "Follow Me" is a joyful and exciting song that will definitely get fans moving. While "Come To See Me" is a more relaxed tune with a soothing vibe, "Dangerous" is a high-energy pop song with a pulsating beat and forceful vocals. Last but not least, the upbeat and lighthearted pop song "I Got U" features a great chorus and humorous lyrics.
Overall, Jun Hyo-seong has demonstrated her abilities as a versatile and gifted musician with a propensity for writing outstanding pop songs. She has quickly risen to prominence in the Asian pop music market thanks to her powerful vocals and contagious charisma.
Popular South Korean pop singer Jun Hyo-seong just dropped her newest track, "Stories Finding Shimmering Sea," in 2022. This much awaited song features Jun Hyo-seong's distinctive vocals and love of memorable melodies. Fans and critics have both given the song a lot of attention, and many have praised the musician for her distinctive sound and approach.
Along with her most recent single, Jun Hyo-seong has also put out a lot of other well-liked songs throughout the years. A few of these are "nae maeume geurin (Original Television Soundtrack)" from 2019, "STARLIGHT" from 2019, and "Ms. Perfect OST Part.2" from 2017. Each of these songs demonstrates the musician's adaptability and capacity to produce music that appeals to a variety of listeners.
Overall, Jun Hyo-seong is still among the most well-liked and gifted pop performers in the Asian music market. "Stories finding shimmering sea," her most recent single, is merely the most recent in a long series of outstanding songs that have aided in establishing her status as a true musical icon. Pop music lovers, and Asian pop music lovers in particular, won't want to miss this great musician's most recent release.
South Korean pop vocalist Jun Hyo-seong has worked with a variety of other musicians during the course of her career. Her collaborations with Hyolyn and HyunA on "isaram" and Song Ji Eun on "kagteil sarang" are two of her most well-known projects.
To produce the catchy, cheerful music "isaram," Jun Hyo-seong collaborated with other K-pop artists Hyolyn and HyunA. The song combines the soft vocals of Jun Hyo-seong, the strength of Hyolyn, and the humorous rapping of HyunA. The trio of musicians creates a catchy melody that will quickly get listeners singing along.
Song Ji Eun and Jun Hyo-seong's "kagteil sarang" is another outstanding joint effort. This ballad is beautifully complemented by the voices of the two vocalists. The song displays the emotional range of Jun Hyo-seong, whose delicate voice express the sentimental words.
Overall, Jun Hyo-seong's collaborations with Hyolyn, HyunA, and Song Ji Eun show off her artistic breadth and capacity to work with a range of musical styles. Her career has benefited from these partnerships, which have also served to establish her as one of South Korea's most accomplished pop musicians.
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https://sg.news.yahoo.com/starn-focus-jun-hyo-seong-performs-on-sbs-045039063.html
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en
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Jun Hyo Seong performs on SBS MTV 'The Show'
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[] |
[] |
[
""
] | null |
[
"Kim Dong-Joo"
] |
2016-04-13T04:50:39+00:00
|
On April 12th, filming of SBS MTV 'The Show' was held at SBS Prism Tower ...
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo News
|
https://sg.news.yahoo.com/starn-focus-jun-hyo-seong-performs-on-sbs-045039063.html
|
Associated Press
Paetongtarn Shinawatra becomes Thai prime minister after royal signoff
Paetongtarn Shinawatra, daughter of the divisive former leader Thaksin Shinawatra, became Thailand's prime minister after receiving a royal letter of endorsement Sunday, two days after she was chosen by Parliament following a court order that removed her predecessor. Paetongtarn is the third Shinawatra to hold the job, after her billionaire father and her aunt Yingluck Shinawatra. Both were removed from office and forced into exile in coups, although Thaksin returned to Thailand last year as Pheu Thai formed a government.
NextShark
Funeral held for Angelica Bravo as search for her missing children hits 5-week mark
The family of Angelica Bravo, a 28-year-old mother from Sacramento County, held her funeral at St. Mary’s Cemetery on Tuesday along with dozens of community members after she was found dead in the home of her ex-boyfriend, Camron Lee, on July 8. The cause of her death is still undetermined, and while Lee is not labeled a suspect by the Sacramento Police Department, he is believed to have taken Bravo’s two young children, Athena, 4, and Mateo, 2, who remain missing over five weeks later. Lee also has not been able to be located since Bravo’s death.
The Daily Beast
Scaramucci: Trump Is ‘Coming to Grips’ With Losing the Election
Anthony Scaramucci, Donald Trump’s one-time White House communications director, thinks his former boss is “coming to grips” with the possibility that he’ll lose the election and is consequently “growing darker.”“Will be a rough 81 days,” Scaramucci added in an X post Thursday, referring to the time left until Election Day in November. His comment came as Trump spoke at an hour-long press conference at his golf club in Bedminster, New Jersey, in which the Republican nominee explicitly rejected p
Sky News
Personal trainer James Owen jailed for raping 18-year-old client he groomed with partner
A personal trainer who raped an 18-year-old client after grooming her with his partner has been jailed. James Owen, 55, and Ellen Rae, 52, plied the woman with drinks at their Salisbury home before Owen raped her and Rae sexually assaulted her in their hot tub. Prosecutors said the February 2021 attack followed weeks of planning by the couple, whose texts revealed "vile discussions about sexual assaults committed against the victim prior to the rape, and their plans for further abuse".
The Hill
Veterans of Foreign Wars blasts Trump statement as ‘asinine’
Veterans of Foreign Wars (VFW), one of the nation’s largest and oldest veteran advocacy organizations, on Friday condemned former President Trump’s recent statement comparing the Medal of Honor to a presidential award for civilians, calling his remarks “asinine.” “These asinine comments not only diminish the significance of our nation’s highest award for valor, but also…
BuzzFeed
Older Adults Who Never Got Married Are Revealing The Surprising "Truths" About What Their Lives Are Actually Like
"There is no one-size-fits-all solution for everyone. I know many married people who are miserable, having affairs, or using their partner just for money, but we're told somehow these awful people are better just because they're married."
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Instagram
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https://find-and-update.company-information.service.gov.uk/company/FC026909/officers
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en
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INDUSTRIAL BANK OF KOREA people
|
[
"https://matomo.companieshouse.gov.uk//piwik.php?idsite=2"
] |
[] |
[] |
[
""
] | null |
[] | null |
INDUSTRIAL BANK OF KOREA - Free company information from Companies House including registered office address, filing history, accounts, annual return, officers, charges, business activity
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en
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//d1w2pgd9x0c3ql.cloudfront.net/images/govuk-frontend/v3.5.0/images/favicon.ico
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We use some essential cookies to make our services work.
We'd also like to use analytics cookies so we can understand how you use our services and to make improvements.
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|
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FINAL FANTASY XIV, The Lodestone
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[] |
[] |
[
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"FFXIV",
"Final Fantasy XIV",
"Final Fantasy 14",
"Lodestone",
"players' site",
"community site",
"A Realm Reborn",
"Heavensward",
"Stormblood",
"Shadowbringers",
"Endwalker",
"Dawntrail",
"MMO"
] | null |
[
"SQUARE ENIX Inc"
] | null |
Character profile for Jun Hyoseong.
|
en
|
https://lds-img.finalfantasyxiv.com/pc/global/images/favicon.ico?1720069015
|
FINAL FANTASY XIV, The Lodestone
|
https://na.finalfantasyxiv.com/lodestone/character/3172392/
| |||||
8112
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dbpedia
|
1
| 68
|
http://www.wireimage.co.in/celebrity-pictures/Jun-Hyo-Seong-of-South-Korean-girl-group-Secret-performs-during-the/152356191
|
en
|
Jun Hyo Seong of South Korean girl group Secret performs during the...
|
[
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] |
[] |
[] |
[
""
] | null |
[] | null |
Picture of Jun Hyo Seong of South Korean girl group Secret performs during the MBC Music Show Champion on September 18 2012 in Seoul South Korea. WireImage India
|
en
|
/images/WireImage.ico
|
http://www.wireimage.co.in/celebrity-pictures/Jun-Hyo-Seong-of-South-Korean-girl-group-Secret-performs-during-the/152356191
|
Image:
#152356191
Caption:
SEOUL, SOUTH KOREA - SEPTEMBER 18: Jun Hyo-Seong of South Korean girl group Secret performs during the MBC Music 'Show Champion' on September 18, 2012 in Seoul, South Korea. (Photo by Han Myung-Gu/WireImage)
Headline:
MBC Music 'Show Champion'
Location: Seoul, South Korea Date: 18 Sep 2012 Photographer:
Han Myung-Gu / Contributor
Collection:
WireImage
Credit:
WireImage
Special instructions: Contact your local office for all commercial or promotional uses. Release information: Not released. More information Keywords:
Music, Seoul, Performance, Vertical, Celebrities, Jun Hyo-Seong, Group, Privacy, Arts Culture and Entertainment, Girls, South Korea, Show Champion - TV Show, Secret, Child
We reserve the right to pursue unauthorised users of this image or clip. If you violate our intellectual property you may be liable for: actual damages, loss of income and profits you derive from the use of this image or clip, and, where appropriate, the costs of collection and/or statutory damages up to $150,000 (USD).
|
|||||
8112
|
dbpedia
|
3
| 67
|
https://www.astro-seek.com/birth-chart/hyosung-horoscope
|
en
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Birth chart of Hyosung (Hyo
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] | null |
[] | null |
Birth chart of Hyosung (Hyo-seong Jun) - Astrology horoscope for Hyosung born on October 13, 1989. Astro-Seek celebrity database.
|
en
|
https://www.astro-seek.com/favicon.ico
|
Astro-Seek.com
|
https://www.astro-seek.com/birth-chart/hyosung-horoscope
|
Sun in Libra
19°45’
Sun Sign - Zodiac Sign
Perhaps to make their sign happy, people born under the sign of Libra are usually prudent, balanced and harmonious. In any case, they think before they do something. It is possible to find hot-headed individuals among Libras, but they are very rare exceptions. -»
Snake (Earth)
Chinese horoscope
In most countries of the world Snake has a very bad reputation. On the other hand, in the countries of Asia, Snakes are prized, and much appreciated for their wisdom and sagacity. A man born in this sign is sensitive and full of humor. A woman is pretty, and often makes her way through life using her gift of attractive beauty. -»
Maple Tree
Celtic tree horoscope
The most striking features of people born under the rule of maple is their high intelligence, extraordinary memory and the ability to find original solutions to problems others fail to solve. Maple people feel well when they are the leaders because they have natural authority, great ambitions and pride. They can easily get excited by new things and it is easy for them to get others interested as well, but they usually cannot realise their ideas without the help of others. -»
|
||||
8112
|
dbpedia
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1
| 91
|
https://kbizoom.com/the-reason-why-the-lineup-for-netflixs-drama-celebrity-got-criticized-after-jun-hyo-seongs-appearance-was-confirmed/
|
en
|
The reason why the lineup for Netflix’s drama “Celebrity” got criticized after Jun Hyo-seong’s appearance was confirmed
|
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] |
[] |
[] |
[
""
] | null |
[
"dhan"
] |
2022-05-28T09:43:10+00:00
|
After Netflix announced the production of new drama “Celebrity”, malicious comments have been poured out toward Jun Hyo-seong, who appeared in the cast lineup.
|
en
|
KBIZoom
|
https://kbizoom.com/the-reason-why-the-lineup-for-netflixs-drama-celebrity-got-criticized-after-jun-hyo-seongs-appearance-was-confirmed/
|
On May 26th, Netflix Korea unveiled the casting lineup of “Celebrity”, saying “Aren’t you curious about the lives of the top 1% SNS celebrities? Let us show you their splendid and fierce bare faces through Netflix’s series ‘Celebrity’.”
The actors named in the lineup are Park Kyu-young, Kang Min-hyuk, Lee Chung-ah, Lee Dong-gun and Jun Hyo-seong. However, what drew attention was Internet users’ malicious comments toward Jun Hyo-seong under the lineup announcement on Netflix’s Youtube channel.
Earlier in November last year, Jun Hyo-seong appeared in a video titled “Jun Hyo-seong hopes that the generous ideas on dating violence would disappear”, which was uploaded on the Youtube channel of the Ministry of Gender Equality and Family.
In the video, Jun Hyo-seong expressed her opinion on dating violence, saying “Because of the generous ideas of the public, the victims are often blamed for the reason for the crime. The crime is definitely the fault of the perpetrator. ‘The crime happened because of you’, I don’t think they should receive such unnecessary attention”.
In particular, she also said, “Whenever I’m on my way home at night, I often wonder ‘Can I get in my house safely today as well?’”, adding, “I think a safe society is where you can freely speak your minds, go around whenever you want to, love and break up when you want to”.
After the video was released, Jun Hyo-seong faced a huge backlash and was attacked with malicious comments from people who opposed her idea. The aftermath even spread to Jun Hyo-seong’s personal Youtube and SNS accounts.
|
|||||
8112
|
dbpedia
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| 88
|
https://www.pinkvilla.com/entertainment/secrets-jun-hyosung-in-talks-for-first-film-lead-role-in-bound-to-be-a-devil-based-on-real-life-busan-case-report-1334537
|
en
|
SECRET’s Jun Hyosung in talks for first film lead role in Bound to be a Devil, based on real-life Busan case; Report
|
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[] |
[] |
[
"Jun Hyosung"
] | null |
[
"Moupriya Banerjee"
] |
2024-08-01T17:41:50+05:30
|
SECRET’s Jun Hyosung has reportedly been offred a lead role in the upcoming film Bound to be a Devil, based on a true crime story. Read on to know more.
|
en
|
/assets/icons/favicon.ico
|
PINKVILLA
|
https://www.pinkvilla.com/entertainment/secrets-jun-hyosung-in-talks-for-first-film-lead-role-in-bound-to-be-a-devil-based-on-real-life-busan-case-report-1334537
|
Trigger Warning: This article contains mention of assault.
Jun Hyosung is reportedly gearing up to take on her first film lead role in her 15-year-long career since debuting with the girl group SECRET. As per recent reports, the actress has been offered to headline the upcoming true crime-based film Bound to be a Devil (literal title). The story will revolve around a real-life notorious case that took place in Busan, South Korea.
On August 1, Korean media outlet OSEN reported that Jun Hyosung has been offered to play the lead role in the upcoming true crime-based film Bound to be a Devil. In response to the report, the actress’ current agency Alien Company said, “It is true that she has received a casting offer and is currently positively reviewing it”.
If the actress confirms her appearance, this will mark her first lead role in a film since her debut in the entertainment industry with girl group SECRET. In Bound to be a Devil, she has been approached to play a victim’s character, which is different than any of her previous roles in Celebrity, Memorist, and more works.
The upcoming film Bound to be a Devil is based on a notorious crime that earned the moniker Busan roundhouse kick case. Occurred on May 22, 2022, and the case shook the nation after it came to light.
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This shocking true crime incident unfolded at the victim’s (referred to as B) apartment in Busanjin District. A man in his 30s, identified as Lee followed and attacked victim B. At the entrance of her apartment, he knocked her down with a roundhouse kick and kept stocking until she lost consciousness. It was reported that there was no prior relationship between the assailant and B.
The crime grabbed the public attention when the CCTV footage was released, where the man was seen dragging the woman’s senseless body to a blind spot. Lee was later sentenced to 20 years in prison.
Attention is on how Bound to be a Devil will unfold this jolting true crime narrative. Notably, the actual victim will also reportedly take part in the making process, raising anticipation for the film.
Meanwhile, the work is being helmed by director Lim Young Jae, known for Yellow Dog, I Can Only See, Black Hand, and more.
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Disclaimer: If you need support or know someone who is struggling with violence, assault or abuse, please reach out to your nearest support, NGO or speak to someone about it. There are several helplines available for the same.
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https://twitter.com/ss_jhyosung%3Flang%3Den
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en
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x.com
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[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
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8112
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dbpedia
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2
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https://kpopping.com/profiles/idol/Hyoseong
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en
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Hyoseong (Secret) profile, age & facts (2024 updated)
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] |
[] |
[] |
[
""
] | null |
[
"Hyoseong",
"TiamoOurSecretWord"
] |
2022-09-06T00:00:00+09:00
|
Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress currently under her own agency, JHS Entertainment. She is a former member o...
|
en
|
/apple-touch-icon.png
|
https://kpopping.com/profiles/idol/Hyoseong
|
Introduction
Jun Hyo Seong (전효성; simply as Hyoseong) is a South Korean singer and actress currently under her own agency, JHS Entertainment. She is a former member of the girl group Secret. She made her solo debut on May 12, 2014 with her first single album "Top Secret".
Jul 13, 2023-present
Apr 13, 2021-Jul 1, 2023
Nov 1, 2019-Apr 12, 2021
Oct 29, 2018-Nov 1, 2019
Oct 10, 2009-Dec 31, 2018
Jan 1, 2006-Dec 31, 2008
Debut:
Oct 13, 2009
Current state:
active
Active years:
2007-present
Zodiac-sign:
Language(s):
Korean
Training period:
2007-2009
Education:
Inha University
kpopping rank:
527th
0 wins
611 pics
90 videos
5 albums
29.6K views
33 adds
Oppa no!
If you find our kpop platform useful please consider subscribing to kpopping or disabling your adblocker
|
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8112
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dbpedia
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3
| 47
|
https://www.musicplaza.com/products/l200001220
|
en
|
전효성 | JUN HYOSEONG 2ND MINI ALBUM [ COLORED ] LIMITED EDITION
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[] |
[] |
[
""
] | null |
[] | null |
01. Follow Me02. 나를 찾아줘 (Feat. D.Action)03. 딱 걸렸어04. So Good05. Dear Moon06. Hello
|
en
|
Music Plaza
|
https://www.musicplaza.com/products/l200001220
|
01. Follow Me
02. 나를 찾아줘 (Feat. D.Action)
03. 딱 걸렸어
04. So Good
05. Dear Moon
06. Hello
|
|||||
8112
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|
https://www.theaudiodb.com/artist/129978-Jun-Hyoseong
|
en
|
TheAudioDB.com
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[] |
[] |
[
""
] | null |
[] | null |
Artist: Jun Hyoseong, MusicBrainzID: e6fc0332-fea6-49f4-b53e-86fdf6d063d5, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
|
en
|
../images/ico/favicon.ico
| null |
Members
1 Female
Origin
Cheongju, Chungcheongbuk-do, South Korea
Genre
K-Pop
Style
---
Mood
---
Born
1989
Active
1989 to Present...
Cutout
Most Loved Tracks
No loved tracks found...
Music Video Links
No Music Videos Found...
Artist Biography
Available in:
Jun Hyoseong (Hangul:전효성; Hanja: 全烋星; born October 13, 1989) often simply known as Hyoseong or Hyosung, is a South Korean idol singer and dancer. She is best known as being the leader, main dancer and lead vocalist of a popular South Korean girl group, Secret.
In 2005 she became a finalist on Mnet's "Battle Shinhwa" which led to her signing a recording contract with Good Entertainment. In 2007 she was to debut in the group 'Five Girls' along with G.NA, Wonder Girls's Yubin, After School's UEE and a former T-ara member and current Spica member Yang Jiwon. However, the group disbanded before they were able to debut due to the company's financial problems. Hyoseong was later discovered by TS Entertainment through a show that was aired on SBS MTV, called "Diary of Five Girls" and spent two years in the company as a trainee. In 2009 she debuted in a four member girl group called Secret along with Song Jieun, Han Sunhwa and Jung Hana.
In May 2014, she released her first single album "Top Secret" with the title track 'Goodnight Kiss'.
Wide Thumb
Clearart
Fanart
Banner
User Comments
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8112
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dbpedia
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0
| 45
|
https://edurank.org/uni/inha-university/alumni/
|
en
|
29 Notable Alumni of Inha University [Sorted List]
|
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"https://edurank.org/assets/img/alumni/no-min-woo.jpg",
"https://edurank.org/assets/img/flags/japan-flag.svg",
"https://edurank.org/assets/img/alumni/shindong.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/han-sun-hwa.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/jun-hyo-seong.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-sung-ryung.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-ryeo-wook.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/park-cho-a.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-bo-ra.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/chun-ho-jin.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/park-kyung.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-gu-ra.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/cho-yang-ho.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/seo-jun-young.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/jung-ha-na.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/song-yoo-geun.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/park-joon-hyung-comedian.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kasugao-katsumasa.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/jae-weong-seo.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/cho-won-tae.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-sa-rang-badminton.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/lee-yun-yeol.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/gree-entertainer.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-na-young-figure-skater.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/kim-keum-hee.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/alumni/you-kwang-woo.jpg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
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"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/flags/south-korea-flag.svg",
"https://edurank.org/assets/img/logo.svg",
"https://edurank.org/assets/img/misc/info-mail.svg"
] |
[] |
[] |
[
""
] | null |
[
"EduRank"
] |
2021-08-11T10:00:00-08:00
|
Below is the list of 29 notable alumni from Inha University sorted by their wiki pages popularity. The directory includes famous graduates and former students along with research and academic staff.
|
en
|
/favicon.png
|
EduRank.org - Discover university rankings by location
|
https://edurank.org/uni/inha-university/alumni/
| |||||
8112
|
dbpedia
|
1
| 48
|
https://open.spotify.com/artist/73RRzEpK7IQexOhC0CuTRZ
|
en
|
Jun Hyo Seong
|
https://i.scdn.co/image/ab67616d0000b2738e9ee83493ac005c2cee32e3
|
https://i.scdn.co/image/ab67616d0000b2738e9ee83493ac005c2cee32e3
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Listen to Jun Hyo Seong on Spotify. Artist · 59.4K monthly listeners.
|
en
|
Spotify
|
https://open.spotify.com/artist/73RRzEpK7IQexOhC0CuTRZ
| ||||
8112
|
dbpedia
|
3
| 51
|
https://kpopisland.com/product/jun-hyo-seong-fantasia-mini-album-released/2298/
|
en
|
Kpopisland
|
[
"https://cafe24.poxo.com/ec01/softbaynkpop/fYw07Q+e08011Z5Qzbz305Ih4GjfXHMDf6Jdz2hubY9Sj2DFzs11JMy8Jtziitwl9JFcWOyS+dKfCTU19aQrxg==/_/web/product/big/202202/4ec04bf283d10e35147043f4096d646f.jpg",
"https://cafe24.poxo.com/ec01/softbaynkpop/fYw07Q+e08011Z5Qzbz305Ih4GjfXHMDf6Jdz2hubY9Sj2DFzs11JMy8Jtziitwl9JFcWOyS+dKfCTU19aQrxg==/_/web/product/small/202202/6ee7762bb6f7baf21a7f966f9ec320bd.jpg",
"https://img.echosting.cafe24.com/skin/base_ko_KR/product/txt_naver.gif",
"https://img.echosting.cafe24.com/skin/base_ko_KR/product/btn_count_up.gif",
"https://img.echosting.cafe24.com/skin/base_ko_KR/product/btn_count_down.gif",
"https://img.echosting.cafe24.com/design/skin/admin/en_US/ico_product_point.gif",
"https://img.echosting.cafe24.com/skin/base_ko_KR/layout/txt_progress.gif",
"https://img.echosting.cafe24.com/skin/base/layout/img_loading.gif",
"https://img.echosting.cafe24.com/skin/base/common/btn_close.gif"
] |
[] |
[] |
[
"Bts",
"Bangtan",
"Dynamite",
"aespa",
"Ive",
"Blackpink",
"Nct",
"Stray Kids",
"Nct",
"Red Velvet",
"Loona",
"Kpop",
"Ateez",
"Treasure",
"Shinee",
"MonsterX",
"SuperM",
"Psy",
"BigBang",
"GDragon",
"Kpop",
"Kpop Album",
""
] | null |
[] | null |
JUN HYO SEONG- Fantasia
|
en
|
/web/upload/favicon-c36df1ee05de9a1f74a8a5116efc0558.ico
|
KPOPISLAND
|
https://kpopisland.com/product/jun-hyo-seong-fantasia-mini-album-released/2298/
|
1. Address for returns and exchanges:
- [10386] 경기도 고양시 일산서구 주엽동 72 제일프라자 403호
If you send us the inquiry through the email, we handle it in 24 hours. Also, we will solve you the problems for the orders like damaged item, receiving the wrong one or delivery trouble as soon as possible.
If you have any inquiry or questions, please contact us at alex@softbayinc.com
|
||||
8112
|
dbpedia
|
0
| 90
|
https://www.tiktok.com/%40barbie.singing/video/7288885882776521992
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |