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] | null | [] | 2014-03-18T00:00:00 | In 1987, The Observer sent me to Ireland to interview Pierce Brosnan on and around the set of Taffin, which was then being filmed at Ardmore Studios. For some reason, the piece never ran; Taffin didn't generate a lot of interest in the media, so it might have been that, or it might just have fallen… | en | MULTIGLOM | https://multiglom.com/2014/03/18/pierce-brosnan-the-1987-interview/ | In 1987, The Observer sent me to Ireland to interview Pierce Brosnan on and around the set of Taffin, which was then being filmed at Ardmore Studios.
For some reason, the piece never ran; Taffin didn’t generate a lot of interest in the media, so it might have been that, or it might just have fallen between the cracks, as articles as sometimes wont to do. I had completely forgotten about it until going through a crate of papers the other day, and quite enjoyed reading it again after all this time, so I don’t think it was spiked as unpublishable. But who knows.
Ironically, the film probably enjoys more name recognition now than it ever did around the time of its release, thanks to this line having been reborn as an internet meme, courtesy of Adam and Joe.
This interview is pre-Bond Brosnan, and quite poignant, I think. It must have seemed to him as though other guys were having all the luck – Timothy Dalton had been cast as Bond in his place, and Bruce Willis was reaping the rewards of Glenn Gordon Caron’s talent after the writer had parted company with Remington Steele and gone on to create Moonlighting. More tragically, Brosnan’s first wife (Cassandra Harris, who was present in the background during our interview) was to die of cancer a few years later.
As everyone knows, Brosnan did indeed go on to play James Bond, in GoldenEye in 1995 – and play him very well, I thought. But his next three outings as 007 (Tomorrow Never Dies, The World Is Not Enough and Die Another Day) were greeted with increasingly hostile receptions, and for some reason, many people seemed to hold the actor personally responsible for the decline in the franchise’s quality. The role of Bond, like all such iconic roles, is a poisoned chalice. It makes you mega-famous, but you can never escape it, and audiences will never, ever let you forget it. Your subsequent films, no matter how varied, tend to be viewed as James Bond slumming it, and you are never quite taken seriously as an actor – at least not unless you manage to stick around until old age has taken the shine off your looks.
I liked Brosnan as a person when I met him – he was charming, and disarmingly open while clearly trying manfully to be diplomatic – but I have also liked him as an actor in Nomads (John McTiernan’s first film), The Deceivers, Mars Attacks!, Dante’s Peak, The Thomas Crown Affair, Grey Owl, The Tailor of Panama, The Matador, Seraphim Falls and The Ghost. (I’ve left out some films I didn’t like, and cameos.) I didn’t like him in Mamma Mia!, but nor did I like anyone else in that, and heaven knows he was game enough.
I have never watched a single episode of Remington Steele.
But I think Pierce Brosnan is a better and more versatile actor than he is usually given credit for. He takes creative risks, and seems prepared to send up or undermine his own image (The Matador and The Ghost are two such examples). I’d love to see one of the Young Turks of contemporary cinema (paging Tarantino – even though he’s no longer young) write for him the sort of preconception-busting role he could really sink his teeth into.
The interview begins after this picture of Brosnan in Taffin.
The receptionist at Ardmore Studios in County Wicklow lowers her voice. ‘For God’s sake don’t call him Bronson,’ she says, ‘or that’ll be the end of you.’
Thirty minutes later, outside Healey’s pub in Wicklow Town, a schoolgirl confides that she is hoping to get Mr Bronson’s autograph. There are, in fact, a lot of autograph hunters hanging around outside Healey’s, where a scene from the film Taffin is being shot. They’re all after a glimpse of the Big Star who has flown in from Los Angeles to play the lead role. Pierce Brosnan, aka Remington Steele, aka the man who was so nearly the next 007, is back on his native soil.
Brosnan’s pet hate is people getting his name wrong. ‘Well,’ he says, ‘you have to live with that if you’re going to have a quirky name like mine.’ As far as forenames go, Pierce (‘as in the verb to pierce‘) is probably about as macho as you can get, but it’s not the product of some Hollywood PR’s imagination; the name has been in his family for three or four generations. As for Brosnan, that’s a common enough handle in County Kerry.
Brosnan has been given the afternoon off. He’s spending it in some style, sipping from a tube of lager as he relaxes on the terrace of the 18th Century mansion in which he and his family are staying. ‘We’ve rented so many houses this year that I’ve lost track of where I am and who I am, quite frankly.’ With Remington Steele no longer a fixture in the TV schedules, the public might also have lost track of who he is. But, as he says, ‘it’s been a busy year’. There will be plenty more chances for autograph hunters to get Pierce Brosnan’s name wrong.
We are surrounded by a sample of your actual rolling emerald landscape through which the insistent baa-baaing of sheep is being wafted earwards by a fresh monoxide-free breeze. Brosnan’s three year old son, Sean, is inside watching Superted on TV. His wife Cassie and their two elder children are also close at hand, as is a floppy Retriever called something unpronounceably Gaelic. It’s all very Country Life, but Brosnan looks as though he could be equally at ease in the back room of a pub.
‘This is like an old pair of gloves, really,’ he says. ‘Coming back here is like an old pair of shoes. I feel very relaxed, at one with the land.’ You can tell he’s been living in California.
In photographs, Brosnan looks almost impossibly handsome, like Barbie’s boyfriend Ken, only better looking. In real life, with a touch of designer stubble cultivated for his role in Taffin, and with his endearing charm, beguiling brogue et cetera, he is a walking, talking advertisement for Irish manhood. The jacket is Valentino and the socks are Calvin Klein; they are teamed with jeans (of which the label is not visible). His shoes… Well, he says, the left one belongs to him and the right one belongs to Michael Collins.
Here I suspect I am being led up the garden path. Michael Collins, as far as I’m aware, is not a designer label. He was a founding father of the Irish Republican Army and the subject of a postponed film project that was to have been directed by Michael Cimino from a script by Robert Bolt: a plum part, one would have thought, for any actor with an Irish accent. ‘I would have been interested,’ Brosnan says, ‘but I’m not right for Michael Collins, no way. I don’t think Hollywood is going to be able to tell the Michael Collins story. I think it should be a very small independent film, somebody who goes away and does it quietly.’
Back on the subject of footwear, the sight of my Dr Martens’ (ladies’ style, very low-key) triggers Brosnan’s memory. ‘I wore them when I was a skinhead. I used to support Spurs. My first long trousers were a pair of Levis reinforced at the knee from Milletts on Putney High Street, with a pair of baseball boots and a crewcut, and I thought I was so hot. I was ten.’
Before young Brosnan went bovverish, he’d been brought up by various relatives in County Meath. His parents parted company soon after 1953, when Pierce was born, and his mother went to London, where she struggled to set up a new life for herself as a nurse before sending for her son to join her there in 1964. It would be thirty years before Pierce saw his father again; the reunion, which took place in a Dublin hotel, was not a success. Pierce had wanted it to be a private affair, but some of his relatives sold their snaps of the occasion to the press, and the event received wide exposure in the tabloids.
After two O-levels (in English and Art) and a short stint as a commercial artist, Brosnan studied drama before paying his theatrical dues in various rep productions up and down the country. Those dark good looks were doing the trick even then, because he was singled out for leading roles by Tennessee Williams [to play the role of McCabe in the 1977 British premiere of The Red Devil Battery Sign at the Roundhouse in London] and Franco Zeffirelli [in his 1977 production of Eduardo De Filippo’s Filumena at the Lyric Theatre in London].
His first film roles were blink-and-you-miss-them affairs: he snuggled up to Liz Taylor’s bosom in the all-star Agatha Christie-fest The Mirror Crack’d and appeared, more memorably albeit very fleetingly, as the IRA hitman who aims a gun at Bob Hoskins’ head at the end of The Long Good Friday. ‘I never actually worked with Bob Hoskins,’ Brosnan says. ‘The director said: “OK, the camera’s here, and this piece of tape is Bob.”‘
His first major break was a leading role in a mini-series called The Manions of America, a sort of Irish Roots set during the potato famine. After that, he upped and went to Hollywood. ‘When I went over there I thought I was going to be doing movies, thinking hopefully in my wildest dreams that I was going to be working with the Sidney Lumets and the Martin Scorseses of this world. But I was totally unknown. Anyway, what happened to me was wonderful.’
What happened was the TV show Remington Steele (1982-1987), which catapulted him to celebrity status in America, complete with devoted fan club whose newsletter, The PB Chronicles, filed such fascinating information as the fact that PB’s favourite food is cornflakes, and that Judy from Wyoming has seen one particular episode of Remington Steele no less than seventeen times.
The series never quite took off in the same way on this side of the Atlantic. ‘I think the BBC buying it was a mistake,’ says Brosnan, ‘because it really needed the commercial breaks. It’s a show that didn’t stand up to viewing for 55 minutes non-stop. And they changed it around from Tuesday night to Wednesday and Thursday, so it never really had a good innings.’
The boy-meets-girl-at-detective-agency concept was the brainchild of Glenn Gordon Caron. ‘It was a very sad day when that man left Remington Steele,’ says Brosnan. ‘He had wonderful ideas for Remington and Laura, but he couldn’t really fly with them. I don’t want to throw any mud, as it were, but the producers didn’t see it the way he did. So he just said he was going off to do something faster and funnier. And he did. He went off and did Moonlighting.’
And now Bruce Willis, who took up where Remington left off, has just taken home the Emmy Best Actor award for his role in Moonlighting. ‘Remington was a little bit too straight,’ says Brosnan, ‘but that being said, I have nothing but fond memories of the show.’
Maybe so, but it was Remington that scuppered Brosnan’s chances of becoming the new James Bond, a part that went to Timothy Dalton instead. Remington Steele had been cancelled, and Brosnan had as good as stepped into Roger Moore’s shoes when MTM announced the TV series was going to be revived after all. Contractual obligations being what they were, Brosnan had to kiss his licence-to-kill goodbye. ‘I got cancelled out on a Thursday, and I think they had Timothy on the Saturday. I thought they’d made a very good choice.’
‘Yes, I have taken it in my stride,’ he says. ‘It’s the only thing you can do, really. I don’t feel bitter, no, because bitterness only produces negativity, and negativity produces nothing.’ Nevertheless, when asked whether he has seen The Living Daylights, the answer is negative. ‘I will see it, but right now it’s still a little bit too near the bone. Which speaks volumes in itself…’
But, he reckons, it’s all for the best, it wasn’t meant to be, and anyway fate has dealt him a Good Hand. He played a KGB agent opposite Michael Caine in The Fourth Protocol, recently completed five months’ work in Hong Kong on an eight hour mini-series of James Clavell’s Noble House, and will shortly be off to India for the Merchant-Ivory adaptation of John Masters’ novel, The Deceivers, about the 19th Century cult of Thuggee (previously featured in Terence Fisher’s The Stranglers of Bombay and Richard Lester’s Help!). [ETA: The Deceivers, directed by Nicholas Meyer, is really rather good, and bears scant relation to the usual Merchant-Ivory house style.]
And as soon as Taffin wraps, he’ll be making a Diet Coke commercial. ‘They were going to film it in British Columbia. Then they were going to film it in Ireland, then Los Angeles, then New York…’ And where did they end up? ‘Now it’s going to be filmed in Peterborough.’ Peterborough, it seems, is the only place with a train that fits Diet Coke’s requirements.
Brosnan, without being prompted, launches into a protracted and almost poignant justification for his work in advertising (he has already been seen in America endorsing MasterCard), which seems as much for his own benefit as mine. ‘You have to look at your career and think, well, this is who I am and this is what I do, and I may not get a job next year. And I’ve got a wife and three children, and the more money you get, the more money you need. And the money that you get for two days’ work cannot be sneered at.’ (And it’s true that half a million dollars can go a long way towards helping you make the right career moves.)
Taffin, according to the advance blurb, is ‘a very original action thriller which sees the return of the romantic, if somewhat reluctant, hero.’ It is not stated as to where the hero is returning from, but Taffin is a debt collector who finds himself pitted against unscrupulous businessmen who are planning to construct a chemical plant on the outskirts of his hometown.
‘I don’t consider myself a romantic hero,’ says Brosnan. ‘Basically, to be rather mundane and boring, I consider myself an actor. But this character is… I hate the term debt collector because it’s so bland. He’s kind of a frustrated idealist, I guess, which isn’t going to put bums on seats. He’s a loner, yes, he’s very much a loner.’
His co-stars in Taffin are Alison Doody, a young Irish actress with excellent cheekbones who played Jenny Flex in A View to a Kill (Brosnan’s wife Cassie appeared in For Your Eyes Only: he must sometimes think fate is taunting him with a conspiracy of ex-Bondgirls) and esteemed Irish actor Ray McAnally, whose Oscar-nominated role as the Cardinal was by far the best thing about The Mission. [ETA: along with Ennio Morricone’s score. And two years later, Doody would be co-starring in Indiana Jones and the Last Crusade.]
I have already met McAnally, who has been holding forth in the dining trailer on his theories of heredity: actors breeding actors, athletes springing ready-made from the womb with appropriately athletic physiques, and new generations of Irish dancers being born with naturally thick ankles. McAnally pounces on me as the perfect patsy for a demonstration of English ignorance about all things Irish. ‘Nothing personal,’ he says, going on to ask me the population of Ireland, the name of the third biggest city, the names of the opposition parties, of the Prime Minister, and of the seat of government. I score nul points on all counts.
In fact, he gives me a sticky time of it until I cunningly introduce the topic of QPR, which I have read is his favourite football team, and mention of their current league table-topping position gets him beaming benignly. But his lecturing on Irishness has been so authoritative that I conclude he should be the one to know, if anyone does, whether Pierce Brosnan’s Los Angeles lifestyle has turned him into an honorary Angeleno, touching down on Irish soil in the manner of a root-seeking Reagan.
No, says McAnally. ‘He’s Irish. He is definitely an Irishman.’
‘I’m Irish,’ Brosnan confirms. ‘It’s my country. It’s where I was born. It’s my home.’ These days, however, home in the hearthrug sense is a house in the Hollywood Hills, where the Brosnans have been living for the past six years. He is Irish enough, however, to have done away with something called ‘The Disco Room’, a feature of the house when he first bought it. ‘There was a mirrored ball in there,’ he says. ‘Now it’s very anglicised, actually, with a lot of overstuffed chairs.’
Being a man of impeccable taste, however, he has yet to wholeheartedly embrace American beer. ‘I like Moosehead and Corona. Budweiser is like yeeaagghh, it’s like water. But I love beer and I’ve put on pounds since I’ve been over here. I think I’ll have to check the old weight out shortly.’ (Now weighing in at a respectable eleven and a half stone, he has been known to hit the scales at fourteen and a half.) Unlike many other residents of Los Angeles, he has yet to deprive himself of alcohol and caffeine, but he has, he assures me, stopped smoking.
Ten minutes later, halfway through the photo session, I notice he is clutching a lit cigarette.
‘I know,’ he says, ‘but when I come back to Ireland, I take everything up again.’ | |||||
7959 | dbpedia | 3 | 36 | https://www.vulture.com/article/best-bruce-willis-movies.html | en | The Best Bruce Willis Movies, Ranked | [
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] | 2023-08-31T13:02:35.380000-04:00 | From ‘Unbreakable’ to ‘Look Who’s Talking’ to, of course, ‘Die Hard,’ we’re ranking the best theatrically released Bruce Willis movies. | en | Vulture | https://www.vulture.com/article/best-bruce-willis-movies.html | It’s hard to fully express what movies have lost with the retirement of Bruce Willis. When his family announced in February that he had been diagnosed with a rare form of dementia, the scope of his expansive career was pulled into sharp focus. It’s always impressive when a star breaks through with a fully formed persona, and no star manifested a persona as completely as Willis did when he first rose to fame in the mid-’80s. But then not many stars follow the path he took, either in his unusual route to stardom or his unwillingness to rely only on the traits that made him famous to keep that stardom sustained.
Willis was essentially unknown outside of those paying attention to Off Broadway (and Off Off Broadway) theater productions when producer Glenn Gordon Caron cast him opposite Cybill Shepherd in the breezy mystery series Moonlighting. It was a roll of the dice that paid off for both the series and Willis. The almost-30-year-old actor (with a hairline that made him look older) easily slipped into the shoes of David Addison, a roguish, wisecracking, blue-collar private eye with a twinkle in his eye who never seemed to be taking anything seriously but did the right thing when the moment called for it (especially if the moment called for muscle). The role made Willis a star overnight.
It also made it hard to figure out where Addison ended and Willis began. That’s partly because the Willis who made talk-show appearances, appeared in wine-cooler ads, and branched out into music with the album and HBO mockumentary The Return of Bruno, appeared so similar to his star-making role. And it’s partly because the tabloid stories about Moonlighting’s troubled production seemed to echo the fraught relationship between Willis and Shepherd’s characters. But it’s mostly because Willis, even at this early point in his career, understood what he brought to the screen and what he could naturally do well.
Willis’s film career — launched while Moonlighting was still in production — has been less a matter of chameleonic reinvention than of pushing that persona in new directions. Sometimes that’s meant turning down the charm and emphasizing the toughness. Sometimes it’s meant leaning into goofiness or playing against type with a wink. As Willis’s career progressed, some of the mischievousness evaporated as he found himself more frequently playing characters overwhelmed by melancholy. Wise guys largely gave way to tough guys with tragic histories or eccentric tendencies, but this seemed less like a break from the past than a natural evolution. Not every film worked but, taken as a whole, Willis’s filmography suggests an actor with a savvy sense of his own abilities who frequently looked for challenges that stretched those abilities without breaking them.
The final stretch of Willis’s career is defined by a string of low-budget, quickly made direct-to-video roles, seemingly the efforts of a man attempting to work as much as possible while he still could. Though there’s undoubtedly a fascinating study to be made of that work, this ranking of Willis films is pushing them aside to focus on the films that played theaters. (The list also largely skips Willis’s voiceover work, apart from a pair of talking baby movies.)
This is also a list tightly focused on Willis and what he brings to the movies and thus its rankings are weighted in favor of films in which he stars. (Moonrise Kingdom and Pulp Fiction might objectively be better than some of the films that outrank them here, but they’re ensemble pieces, not Willis vehicles. Willis’s cameo gives Robert Altman’s The Player a terrific punch line, but it’s decidedly not a Bruce Willis movie.) It’s a career with undeniable lows but also remarkable highs in which it’s impossible to imagine anyone else playing Willis’s part. That’s what makes a star a star.
68.
Hostage (2005)
Like other marquee actors of the ’80s and ’90s, Willis struggled to find his place in the changing movie landscape of the 2000s, often making movies that vainly tried to repeat past successes. Willis’s ability to anchor action movies is undeniable, but even he can’t turn a bad film into a good one. Here Willis plays Jeff Talley, a former hostage negotiator pulled back into the job when criminals invade the luxurious home of a California mob accountant (Kevin Pollak). Willis effectively conveys Talley’s pain in the film’s early scenes, but the film quickly devolves into an assaultive, suspense-free headache.
67.
Tears of the Sun (2003)
Even without a deeply dubious premise that essentially reimagines the Nigerian Civil War of the 1960s as a story of benevolent American military intervention in the 21st century, there wouldn’t be much to recommend this action film beyond occasional flashes in Antoine Fuqua’s direction. Willis is fine in an unchallenging role.
66.
The Cold Light of Day (2012)
This deeply unmemorable spy thriller stars Willis as a CIA agent who teams up with his son (Henry Cavill) to rescue their kidnapped family in Spain. From Willis’s tough-guy performance to the double-crosses, you’ve seen all of this done better elsewhere.
65.
A Good Day to Die Hard (2013)
Another passing-of-the-torch action film from the same period, A Good Day to Die Hard finds Willis returning to the role of John McClane for a fifth and final time for an adventure in Russia where McClane attempts to rescue his son, Jack (Jai Courtney). At this point, everything that made McClane and the Die Hard series distinctive has fallen away. Once an in-over-his-head everyman, McClane’s now just another generic gun-toting hero stuck in an underachieving film.
64.
Look Who’s Talking (1989)
63.
Look Who’s Talking Too (1990)
A one-joke comedy that nonetheless inspired two sequels and a TV spinoff, Look Who’s Talking stars Kirstie Alley as a single mom named Mollie, John Travolta as a New York cabbie named James, and Bruce Willis as the voice of Mikey, Mollie’s kid, whose inner monologue frequently misunderstands the world around him. Though a huge hit in its day, it’s pretty dire. Willis returned in the just-as-bad sequel co-starring Roseanne Barr as the voice of his sister, but neither showed up for Look Who’s Talking Now in 1993; their characters having grown too old for cutesy observation, that role fell to James and Mollie’s pets.
62.
Cop Out (2010)
Tracy Morgan scores the only laughs in this Kevin Smith-directed buddy cop comedy. Willis never gets above cruising speed as Morgan’s long-suffering partner, and no chemistry ever develops between the two as the story plods along from incident to incident until the film eventually ends.
61.
North (1994)
Willis is all over Rob Reiner’s disastrous foray into grating whimsy, serving as narrator and making periodic appearances as a string of (maybe) lookalike characters who guide the eponymous hero (Elijah Wood) on his global search for new parents. The film’s a mess, but its problems can’t really be laid at Willis’s feet (as oversize as they are in the scenes where he’s playing a shopping mall Easter Bunny).
60.
The Jackal (1997)
It’s hard to say who’s more miscast in this loose remake of The Day of the Jackal: Richard Gere doing a not-so-impressive Irish accent as an IRA operative sprung from prison or Bruce Willis as the international assassin and master of disguise Gere’s tasked with taking down. Gere might have the edge, but at least he doesn’t have to wear any silly wigs.
59.
Billy Bathgate (1991)
Still, while there are far more versatile performers than Willis, there’s a lot to be said for knowing what you do best and sticking with it. That’s led to a filmography whose best films have used him well and whose worst seldom seem like Willis’s fault. He’s solid and familiar and skilled at being good (or at least not bad) even when the films around him aren’t. It’s a pattern that’s been in place since the early days of his film career, like his work as a flashy, duplicitous mob lieutenant to Dutch Schulz (Dustin Hoffman) in this mostly sleepy adaptation of E.L. Doctorow’s 1989 novel. Willis does what he needs to do, then makes an early exit. The problems with the film lie elsewhere.
58.
Sin City: A Dame to Kill For (2014)
57.
The Whole Ten Yards (2004)
56.
Red 2 (2013)
The Die Hard franchise aside — and even there only up to a point — Willis hasn’t had a lot of luck with sequels. His follow-ups to Red, Sin City, and The Whole Nine Yards all struggle, and fail, to re-create what made the first entries successful. Willis isn’t really to blame in any of these cases. He’s a literally spectral presence in Robert Rodriguez’s Sin City sequel, mostly watching the action from the sidelines of the Great Beyond. He’s game as a hit man in the middle of an identity crisis in The Whole Ten Yards, but that doesn’t make the film any less irritating. Red 2 isn’t so much bad as deeply unnecessary. All suggest Willis could have found better things to do with his time.
55.
The Return of Bruno (1987)
Though not a theatrical feature, so technically breaking our rules, this hour-long, Dick Clark–hosted mockumentary–concert film is a key document of Willis’s early days, capturing him at a moment when his stardom had reached a point where no one was telling him no. Willis had been a singer and a harmonica player before he became famous and in 1987 released the album Return of Bruno on Motown. Dominated by covers of classic soul songs, it’s unextraordinary, but Willis’s love of the music was hard to mistake and the presence of legends like Booker T. Jones, the Temptations, and the Pointer Sisters helped at least partly offset the optics of yet another white guy rehashing the music of Black artists. The Return of Bruno presents a Spinal Tap–inspired account of Bruno Radolini’s career, from his early days as a New Jersey bar-band legend to his appearance at Woodstock to his stint in Detroit as a musician and used car salesman (complete with appearances from Ringo Starr, Elton John, Joan Baez, and others effusively praising Bruno and discussing his important place in music history) before ending with 30 minutes of concert footage in which Willis appears to be having the time of his life.
54.
Charlie’s Angels: Full Throttle (2003)
Willis makes just a quick cameo in this overcranked sequel to the hit spy comedy. It’s notable mostly for two reasons: It reunites Willis with his ex-wife Demi Moore (in the same movie, if not the same scene) and allows him to wear a blond wig so fake it must have been intended as a joke.
53.
Striking Distance (1993)
Making excellent use of its Pittsburgh location as the backdrop for a well-staged car chase, this thriller from Road House director Rowdy Herrington begins promisingly before trotting out a string of serial-killer and corrupt-cop clichés. A palpable lack of chemistry between Willis and co-star Sarah Jessica Parker doesn’t help.
52.
Mercury Rising (1998)
Some of Willis’s best films find him working on the far edges of his comfort zone, but his filmography is still littered with less-than-memorable action films of the sort that needed a solid leading man who could provide a big name to put on the poster. At least this one has a decent gimmick. Willis plays Art, an FBI agent charged with protecting Simon (Miko Hughes), a boy on the autism spectrum whose ability to crack codes has made him the target of a murderous NSA cryptographer (Alec Baldwin).
51.
The Bonfire of the Vanities (1990)
Brian De Palma’s adaptation of Tom Wolfe’s state-of-the-’80s best seller is disastrous enough to have inspired the classic making-of book The Devil’s Candy. The film itself isn’t quite as bad as its reputation and Willis is fine, if a little on autopilot, as a smirking, morally dubious journalist who plays a central role in the hit-and-run case that becomes a lightning rod for New York’s racial and economic troubles.
50.
Last Man Standing (1996)
Willis stars as drifter caught between two warring gangland factions in a Texas border town in this Prohibition-era take on Yojimbo (the Akira Kurosawa film that previously inspired A Fistful of Dollars) directed by Walter Hill. It’s hard to say what went wrong with this seemingly unbeatable mix of talent and material, but the results are as dull as they are oppressively loud.
49.
Sunset (1988)
Similarly, Sunset is one of those films with a premise so clever it’s a shame the execution doesn’t work. Sunset casts Willis as silent-movie cowboy Tom Mix, pairing him with James Garner’s Wyatt Earp to solve a Hollywood murder mystery after Earp makes the trip to L.A. to advise on Mix’s latest picture. Blake Edwards, who helped confirm Willis as a movie star with Blind Date the previous year, directs, but the film falls short of its attempts to be a breezier Chinatown.
48.
Breakfast of Champions (1999)
Apart from George Roy Hill’s Slaughterhouse-Five, Kurt Vonnegut’s novels have largely frustrated those who’ve attempted to adapt them. Simply taking one on is a pretty big dare, as Alan Rudolph found in this quickly buried adaptation of Vonnegut’s 1973 novel about a Midwestern car dealer (Willis) who slowly loses his mind as events push toward a meeting with a science-fiction writer (Albert Finney). Willis delivers an uncharacteristically unrestrained performance, but one that keeps perfectly with a film designed to mimic his character’s madness. It’s a big miss, but it’s hard not to admire the big swing taken by all involved.
47.
Rock the Kasbah (2015)
Willis is fine in a supporting role as a mercenary with literary ambitions who reluctantly helps a music promoter (Bill Murray) in his attempts to turn a talented singer (Leem Lubany) into a star via an appearance on a competition show. The Barry Levinson–directed movie’s problems lie elsewhere (and mostly involve Murray descending into smart-aleck shtick instead of crafting a character).
46.
Disney’s The Kid (2000)
On the verge of turning 40, Rusty (Willis), an unpleasant image consultant, meets and befriends 8-year-old Russ (Spencer Breslin), whom he recognizes as the younger version of himself. Imagine a therapy session adapted into a kid-friendly Disney comedy about the importance of believing in oneself.
45.
Four Rooms (1995)
Willis reunited with his Pulp Fiction director Quentin Tarantino for this anthology film showcasing four shorts from then-up-and-coming indie talent. As a drunken partygoer, Willis is tasked with explaining the rules of the unpleasant game run by a famous director (Tarantino) with a sadistic streak. Tarantino’s contribution is one of the better entries, but there’s a reason this film has largely been forgotten.
44.
Surrogates (2009)
A comic-book adaptation with a neat central idea that it never quite figures out what to do with, Surrogates is set in a near future when many choose to experience life remotely by piloting beautiful androids. Willis brings gravitas to his role as an FBI agent who tries to get to the bottom of a mysterious death (and maybe heal his crumbling marriage in the process), but the film never asks him to be more than a standard-issue troubled hero.
43.
Lay the Favorite (2012)
Stephen Frears’s fact-based story about illegal sports gambling never really comes to life, but it does feature winning performances from Rebecca Hall, who plays a newcomer to the gambling world with a gift for figures, and Willis as the mentor who shows her the ropes.
42.
Lucky Number Slevin (2006)
A film that plays like a leftover from the mid-’90s stretch when Tarantino wannabes flooded the market, Lucky Number Slevin is filled with stars and twists, but it’s never particularly fun or suspenseful. Willis plays it cool as a mysterious killer who may or may not be helping a confused man named Slevin (Josh Hartnett) who’s caught between two warring crime families.
41.
The Story of Us (1999)
Willis stars opposite Michelle Pfeiffer as a suburban couple reflecting on the ups-and-downs of their 15-year marriage while on the verge of breaking up in this Rob Reiner–directed comedy. The jokes don’t work, the drama is forced, and everyone yells a lot.
40.
The Astronaut Farmer (2006)
Playing a sympathetic but disapproving Air Force colonel, an uncredited Willis reunites with his Armageddon co-star Billy Bob Thornton in a mostly sleepy movie about a farmer and former fighter pilot attempting to build his own spaceship.
39.
Glass (2019)
Making a surprise cameo in the final scene of M. Night Shyamalan’s 2016 film Split, Willis reprised his role as David Dunn, the reluctant superhero introduced in Unbreakable. Set in the same connected universe, Glass serves as a continuation of both films, pitting David against both his old antagonist Mr. Glass (Samuel L. Jackson) and Kevin (James McAvoy), the dangerous man with multiple personalities at the center of Split. It’s a clever idea, but nothing more and notable mostly for serving as a disappointing sequel to two films instead of one.
38.
G.I. Joe: Retaliation (2013)
Willis plays the original G.I. Joe in this second film adapted from the popular toy line. It’s a silly (if perfectly watchable) film, but it understands Willis’s value as an action icon, and it’s fun to see him playing the elder statesman opposite next-generation stars like Dwayne Johnson and Channing Tatum.
37.
Perfect Stranger (2007)
A mystery happy to lean into its own ludicrousness, Perfect Stranger stars Halle Berry as a reporter investigating an advertising executive (Willis) who may or may not have murdered her friend. Willis serves as the gruff, still center of an overheated film filled with breathless revelations. It’s not exactly good, but it’s seldom less than compelling.
36.
The Expendables (2010)
35.
The Expendables 2 (2012)
When Universal’s classic monsters stopped being strong box-office draws on their own, the studio started to put them together in films like Frankenstein Meets the Wolf Man and House of Dracula. What worked for monsters in the 1940s worked for action stars in the ’10s. Willis appears only briefly in 2010’s The Expendables, where he plays Mr. Church, a mystery man who sends Barney Ross (Sylvester Stallone) on a mission to topple the dictator of a Caribbean island after Trench Mauser (Arnold Schwarzenegger) opts out, citing his busy schedule. That Mount Rushmore of ’80s action stars was together for just a single scene in the franchise’s first entry but get more screen time together in the sequel, which is filled with knowing winks to their past films and offscreen rivalry. It’s shameless fan service, but for anyone who grew up watching these guys, it’s kind of hard to resist.
34.
Blind Date (1987)
Willis’s big-screen experience was limited to a handful of appearances as an extra in films like The Verdict prior to making his starring debut in this Blake Edwards–directed comedy about Walter (Willis), a put-upon businessman whose blind date with the beautiful Nadia (Kim Basinger) takes a wild turn when she ignores her disastrously low tolerance for alcohol, leading to a string of mishaps. Though the movie is mostly bland and predictable, Edwards flashes some sparks of the visual imagination seen in his prime and Willis successfully translates his Moonlighting charms to the big screen. Critics shrugged, but the film became a hit and Willis was on his way.
33.
The Siege (1998)
Edward Zwick’s film imagines a what-if scenario in which the borough of Brooklyn is placed under martial law after a string of terrorist attacks. Though crafted as a defense of equality and civil rights, it earned criticism for its stereotypical depiction of Arab Americans. Those issues aside, the film doesn’t really work, but Willis, effective as a tyrant in the making, can’t be blamed for that.
32.
Alpha Dog (2006)
Willis is also good as a smaller-scale tyrant in this fact-inspired story of a kidnapping gone awry. Willis plays Sonny Truelove, who’s both father and supplier to Johnny Truelove (Emile Hirsch), a drug dealer who gets embroiled in a murder-kidnapping scheme. Without letting Hirsch’s character off the hook, Willis’s performance suggests the kid never had much of a chance not to be a criminal creep.
31.
Hudson Hawk (1991)
Willis shares a story credit on Hudson Hawk, but even without it his stamp would be all over the film. Tailored to its star’s wiseacre skills — the defining element of most of Willis’s early roles — it follows the globetrotting master thief Hudson Hawk (Willis) as he gets embroiled in a convoluted scheme to activate a Leonardo da Vinci–designed device that can turn lead into gold. Hudson Hawk was a critical and financial disaster whose title became synonymous with failure in 1991, but time has been fairly kind to it. It’s charmingly eccentric and features a pair of memorably over-the-top performances from Richard E. Grant and Sandra Bernhard as married villains. The film is undeniably a vanity project, but it’s never dull and there’s nothing else quite like it. Willis bounced back easily — that it was one of four films he appeared in that year undoubtedly helped — but he must have been chastened by the rejection: He’d continue to crack wise but never quite go full Bruno again.
30.
Color of Night (1994)
If you’re really in the mood to watch Willis in a ridiculous, twisty suspense film, skip Perfect Stranger and hold out for Color of Night, a widely panned but undeniably entertaining erotic thriller directed by Richard Rush (The Stunt Man). Willis fully commits himself as Bill Capa, a psychiatrist who takes over Bob Moore’s (Scott Bakula) group therapy session after Bob is murdered, possibly by one of his patients. Rush tries to walk a line between stylish Hitchcock homage and camp sleaze. It’s a fascinating high wire act that doesn’t always work, but Willis makes for an effective, if easily seduced, everyman.
29.
What Just Happened (2008)
28.
The Player (1992)
27.
Ocean’s Twelve (2004)
Instantly recognizable, Willis effectively played himself several times in cameo appearances, arriving to complicate the hall-0f-mirrors of Ocean’s Twelve (a film in which Julia Roberts impersonates the famous Hollywood star Julia Roberts), and (again with Roberts), showing up to give The Player a perfect Hollywood ending. The latter appearance also suggests an understanding of how Hollywood saw him at the time, and with it an urge to stretch beyond the quippy action hero slot into which he’d fallen. His funniest and most self-deprecating cameo can be found in Barry Levinson’s What Just Happened, in which Willis plays an obnoxious version of himself whose refusal to shave his beard threatens to derail an entire film production (recreating a real-life incident involving Alec Baldwin).
26.
Live Free or Die Hard (2007)
Arriving a dozen years after Die Hard with a Vengeance the fourth Die Hard installment doesn’t bear that much connection to its predecessors beyond the John McClane name. It also abandons the relatively small scale of the previous film for a cyber thriller plot that could just as easily belong to a James Bond movie. It’s not bad, though, thanks largely to Willis’s assured presence and able support from Justin Long as a mismatched ally and Timothy Olyphant as the bad guy.
25.
Bandits (2001)
Though a bit too shaggy for its own good, Barry Levinson’s quirky crime film gets a lot of mileage out of good casting. Willis co-stars as the cooler half of a crime team opposite Billy Bob Thornton as his neurotic partner. After they team up with a bored housewife played by Cate Blanchett an oddball love triangle forms. The film’s a long amble to nowhere but the characters are a good hang.
24.
Death Becomes Her (1993)
Willis dialed back the movie star ego to play a stooge caught in a love triangle between two actresses (Meryl Streep and Goldie Hawn) who’ve stumbled into a secret that will keep them young and beautiful forever — maybe. Streep and Hawn’s film-long catfight and the groundbreaking special effects are the real stars of this Robert Zemeckis–directed dark comedy, but Willis again proves he’s more than capable of supporting others and willing to make himself look like a fool in the process.
23.
Grindhouse (2008)
Playing an unhinged military man who accidentally starts a zombie outbreak, Bruce Willis taps into the spirit of Planet Terror, Robert Rodriguez’s tongue-in-cheek, hyperviolent contribution to the double-feature package Grindhouse. He’s not the star, but it wouldn’t work nearly as well with a less iconic face as a bad guy.
22.
Motherless Brooklyn (2019)
Willis’s last performance in a widely released film finds him playing father figure to a gaggle of misfit private eyes in Edward Norton’s underrated, long-in-the-works adaptation of a Jonathan Lethem novel. Though not in the picture for long, Willis’s understated work makes an impression that lasts the rest of the film, and suggests a skill at playing elders and mentors he might have had a chance to develop under other circumstances.
21.
Hart’s War (2002)
Set in a German World War II POW camp, this murder mystery/prison escape/courtroom drama casts Willis as Col. William McNamara, the torture-hardened leader of a group of American soldiers. Colin Farrell co-stars as Thomas Hart, a lieutenant tasked with defending Lincoln Scott (Terrence Howard), a Tuskegee Airman accused of killing a fellow officer, a job that finds him arguing against McNamara—though Hart begins to suspect there’s more to the story. It’s more solid than great, but strong performances, including Willis’s pained work as a man forced to make impossible choices, helps elevate it.
20.
Die Hard 2 (1990)
In the years after Die Hard, its structure became a much-used template for action films that put ordinary people in tight quarters and asked them to perform extraordinary acts of heroism. Under Siege was, in essence, Die Hard on a boat. Speed was Die Hard on a bus, and so on. Die Hard 2 had to go bigger lest it be accused of simply repeating the original film, but it’s essentially Die Hard in an airport (with a few scenes set on one of the airplanes circling it). Here John McClane once again finds himself called into action when terrorists take over Washington’s Dulles Airport as part of a nefarious scheme. Though directed with flair by Renny Harlin, it’s not as good as the original but it is louder and features more graphic violence and Willis looks appropriately shocked and exasperated as a character who can’t believe he’s stuck in such a familiar situation.
19.
16 Blocks (2006)
Cops and military men dominate the back half the final decades of Bruce Willis’s career but there’s good reason: he played those roles well. The final film directed by Richard Donner, 16 Blocks gives Willis one of his best cop roles, an NYPD detective who has to battle a bunch of corrupt fellow officers and a tight deadline as he escorts an eccentric witness (Yaslin Bey) to the courthouse. Willis and Bey (known at the time as Mos Def) make an effective mismatched team, the latter’s non-stop chatter making it easy to understand the former’s annoyance with the job at hand.
18.
Armageddon (1998)
For some, the frenetic Michael Bay style remains a permanent barrier to enjoying this blockbuster about oil drillers charged with saving the Earth from colliding with an asteroid. But Bay’s always been savvy about assembling strong casts to humanize his work and Armageddon is no exception, thanks in part to Willis’s contributions as a tough-but-caring dad who’s willing to put his life in danger to save the world but who’s mostly concerned about the well-being of his daughter (Liv Tyler). The film arrived at a key moment in Willis’s career, signaling a future in which he’d cede young hotshot roles to the next generation of stars, in this instance Ben Affleck.
17.
Sin City (2005)
Robert Rodriguez and Frank Miller co-direct an adaptation of Miller’s overcranked noir comics that uses a live action cast to recreate Miller’s (mostly) black-and-white images in exacting detail. It’s a neat trick saved from being a mere technical exercise by a cast that brings dimensionality to its hard-bitten dialogue and stock characters. Willis gets one of the meatier roles as John Hartigan, a cop who rescues a girl from a serial killer then becomes a kind of guardian angel to her in adulthood.
16.
Fast Food Nation (2006)
Willis is just one small part of a sprawling tapestry in Richard Linklater’s adaptation of Eric Schlosser’s non-fiction bestseller that exposed the abuses and excesses of the fast food industry, but he’s a crucial part. The film weaponizes his gift for glibness in a brief appearance as an executive who waves away worries about manure contaminated meat by saying, “The truth is we all have to eat a little shit from time to time.”
15.
In Country (1989)
Willis had already proven he could anchor comedies and action films by 1989, but whether or not he could hold his own in dramatic roles remained in question. Directed by Norman Jewison, In Country answered it in the affirmative. The plot focuses on Samantha (Emily Lloyd), a Kentucky teen seeking to uncover her family’s past. That includes her Uncle Emmett (Willis), a Vietnam vet suffering from PTSD but nonetheless doing his best to make up Samantha’s absent mother. The movie’s not entirely successful, but Willis is quite strong as a tough guy shaken by a past he can’t forget.
14.
Red (2010)
The title of this comic book adaptation doubles as an acronym for “Retired Extremely Dangerous,” a label aptly applied to Willis’s Frank Moses, an ex-CIA agent desperate for a quieter life and to spend some time with Sarah (Mary-Louise Parker), the call-center employee with whom he’s struck up an ongoing flirtation. That doesn’t go quite according to plan, however, when Frank becomes the target of an assassination attempt, putting Sarah in danger in the process. One of Willis’s best late-career action roles, Red remembers its star has a gift for comedy, gives him an able partner in Parker, and lets him play straight man to the more eccentric characters around him, most memorably a paranoid ex-spook played by John Malkovich.
13.
The Last Boy Scout (1993)
Not for viewers with a distaste for excess, this Tony Scott-directed, Shane Black-scripted thriller brings out the best and worst of all involved. Scott piles on the style and flash, Black’s self-awareness and wit often feels mean. Willis and co-star Damon Wayans turn the macho up to 11, and it’s one of the most violent and sexist action films of a violent and sexist era. Still, it’s undeniably compelling and it’s fun to see Willis portray a character who could be John McClane gone to seed.
12.
Die Hard With a Vengeance (1995)
An argument could easily be made that Die Hard didn’t need a sequel, that its story of a man repairing his marriage while taking out bad guys in an LA high rise works best as its own self-contained film. Hollywood doesn’t work that way, however, and that’s not always a bad thing. This second sequel finds McClane back on the beat for the NYPD (and once again trying to hold onto his marriage) when he becomes embroiled in a terrorist scheme masterminded by Peter Gruber (Jeremy Irons), brother to the original film’s bad guy. John McTiernan ably returns as director after sitting out Die Hard 2, but it’s Willis’s contentious chemistry with Samuel L. Jackson, an electrician who unexpectedly becomes his partner, that gives the film its punch.
11.
The Fifth Element (1997)
Willis’s gift for seeming like an ordinary guy no matter how extraordinary his surroundings provides some much needed ballast for Luc Besson’s fanciful space fantasy in which he plays 23rd century taxi driver Korben Dallas who unexpectedly becomes central to saving the Earth from destruction when Leeloo (Milla Jovovich), a woman from another world, lands in his cab. Besson keeps throwing one idea after another into the film, which wouldn’t work nearly as well without a skeptical everyman to balance it, and few stars play that part better than Willis.
10.
Mortal Thoughts (1991)
Willis has played his share of villains and tough guys over the years but most of those roles haven’t asked him to abandon his innate charisma. Not so with Jimmy Urbanski, a full-on Jersey sleazebag whose murder is at the center of this Alan Rudolph-directed thriller co-starring Glenne Headley and Demi Moore (Willis’s wife at the time, who delivers one of the strongest performances of her career here). As a mystery it doesn’t really work, but Rudolph keeps the atmosphere tense and Willis is convincing as a man whose homicide seems 100% justifiable. It’s an instance of perfect casting: this character plays like the dark side to the easygoing party guy roles that Willis is famous for.
9.
Moonrise Kingdom (2012)
Another film that suggests the direction Willis’s career might have traveled if he hadn’t been sidelined by illness, Moonrise Kingdom finds him easily slipping into the Wes Anderson ensemble as a kindly island police captain called upon to rescue a pair of runaways. Willis again plays a man of few words but that doesn’t prevent him from being at the center of some of the film’s most moving moments.
8.
The Whole Nine Yards (2000)
As Willis increasingly became associated with action blockbusters in the 1990s it became easy to forget that it was a gift for comedy that made him famous. The Whole Nine Yards provided a reminder via his work as Jimmy “The Tulip” Tudeski, a feared hitman who moves into an inconspicuous suburban home next to Oz (Matthew Perry), a dentist with money troubles who first befriends, then runs afoul of, his new neighbor. Playing off his tough guy image, Willis brings a fun sense of comic menace to the part, a contrast to the frantic plot and fun, energetic performances from Perry and, especially, Amanda Peet. There’s nothing particularly inventive about the movie, but the cast offers a master class in how to elevate so-so material.
7.
Nobody’s Fool (1994)
This Richard Russo adaptation belongs to Paul Newman, who delivers a late-career highlight as Sully Sulivan, an irascible New England ne’er do well. But Willis proves a worthy foil as Carl, Sully’s womanizing sometime employer and the butt of both his practical jokes and lawsuits. As a man just as seemingly doomed to serve as his own worst enemy as Sully, despite his financial success and marriage to the beautiful Toby (Melanie Griffith), Willis brings more than a hint of tragedy to what could have easily been a caricature.
6.
Looper (2012)
Willis’s last great starring role finds him playing opposite Joseph Gordon-Levitt (as the same character) in Rian Johnson’s twisty sci-fi thriller about time travel and hit men. The plot is clever—if hard to explain succinctly—but it’s the way the two leads turn the story into an exploration of regret and the meaning of second chances that makes it so memorable.
5.
Pulp Fiction (1994)
Finding untapped potential in established stars is one of Quentin Tarantino’s greatest gifts. While John Travolta’s comeback got most of the attention at the time, Pulp Fiction now looks like an equally transformative moment for Willis, who’d never before been so quiet and restrained on screen. In the film’s central sequence, Willis plays Butchie, a boxer whose refusal to throw a fight requires him to flee the mobsters on his trail. Butchie’s story climaxes in violence, but scenes of the character’s gentleness with his girlfriend Fabienne (Maria de Medeiros) revealed a softer side Willis had never really gotten to showcase, opening up new possibilities in the process.
4.
The Sixth Sense (1999)
Butchie’s gentle moments make it easy to draw a direct line from that character to Malcolm Crowe, the child psychologist Willis plays in M. Night Shyamalan’s breakthrough The Sixth Sense. By now, everyone knows the film’s big twist, but it’s not the twist that makes the film great. Locked in to Shyamalan’s patient rhythms, Willis brings tremendous sensitivity to his scenes with Haley Joel Osment’s Cole Sear, a fragile boy who claims to be able to interact with ghosts. When the twist is revealed, it’s Willis’s reaction—shock, disbelief, and finally acceptance—that makes it hit so hard.
3.
Die Hard (1988)
It’s not a question of whether or not Die Hard is Bruce Willis’s best action movie. That’s undeniable. It’s more a question of whether Die Hard is the best action movie, period. If so, much of the credit belongs to Willis, whose John McClane begins the film as an East Coast guy baffled by California weirdness and hoping to repair his relationship with his wife Holly (Bonnie Bedelia), before being called upon to take out a bunch of high-tech European terrorists because nobody else can. Willis makes for a great action hero in part because he doesn’t look like an action hero, at least at first. He doesn’t have Schwarzenegger and Stallone’s bulging physiques nor does he radiate aggression. But his McClane does have an innate toughness and cares deeply about his wife, which combine to become a kind of superpower (that and gift for well-deployed catchphrases). Both the film and Willis’s performance would be much-imitated in the years that followed but never replicated and certainly never topped.
2.
12 Monkeys (1995)
Even at his most glib Willis gave his characters a sense of vulnerability. That vulnerability deepened with age, which may explain why some of Willis’s strongest performances can be found in melancholy stories about time travel and second chances. In Terry Gilliam’s quasi-remake of Chris Marker’s classic short La Jetee, Willis plays James Cole, a prisoner in a post-apocalyptic future who’s sent back in time to gather information about a deadly virus that wiped out much of humanity when Cole was just a boy. Once there, he meets and eventually falls for Kathryn Railly (Madeline Stowe), a psychiatrist who thinks he’s delusional—at least at first. The film is about Cole’s quest for answers but it’s just as concerned with its protagonist’s personal journey. A visitor from a time with no future, he finds himself awakening to life’s possibilities, at least in the moments when he’s not struggling just to stay alive or forced to question his own sanity. What now looks like a companion piece to Looper contains some of Willis’s most intense and poignant work in a role that’s far removed from John McClane. Instead of a man who takes fate in his own hands, Cole finds he’s fate’s prisoner as, perhaps, we all are.
1.
Unbreakable (2000)
Arriving just a year after The Sixth Sense, Unbreakable baffled viewers who expected more of the same. Sure, the M. Night Shyamalan film similarly ended on a twist, but instead of returning with another supernatural thriller, Shyamalan opted for a superhero-origin story told in slow motion. Willis plays David Dunn, a high-school-sports hero turned security guard who becomes the sole survivor of a horrific train crash. With the guidance of the frail comic book shop owner Elijah Price (Samuel L. Jackson), David comes to realize that he’s essentially indestructible (in addition to having other extraordinary gifts.) As in The Sixth Sense, Willis’s performance works in perfect sync with Shyamalan’s deliberate pace. Neither is afraid of stillness or silence and David’s hesitance to accept his calling is at the heart of the character. Willis captures that feeling and movingly conveys David’s decision to take on the mantle of hero. It all pays off with a wordless exchange in which David acknowledges to his son Joseph (Spencer Treat Clark), that, yes, he’s the mysterious vigilante hero the papers are writing about. It may be the single best moment in Willis’s screen career. Then again, there are many more to choose from. | |||||
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] | null | [] | 2020-08-10T00:00:00 | by Armando Vanegas Wilder Napalm was a movie that was probably always destined for limited appeal and it's too bad because it's quite a ride. I'm grateful that a streaming service like Amazon Prime is allowing older, obscure movies like this to be exposed to the public. Arliss Howard is great as one of… | en | Cinephellas | https://cinephellas.com/2020/08/10/review-wilder-napalm-1993/ | by Armando Vanegas
Wilder Napalm was a movie that was probably always destined for limited appeal and it’s too bad because it’s quite a ride. I’m grateful that a streaming service like Amazon Prime is allowing older, obscure movies like this to be exposed to the public.
Arliss Howard is great as one of two estranged brothers who have the power to start fires with their bodies. It’s weird someone thought, “Hey, that small balding young old guy from Full Metal Jacket would be great to anchor a rom-com/sci-fi/drama!!!” and thought that it might appeal to someone. But it somehow works. Howard brings a weird energy as Wilder as he’s lived a very sheltered and quiet life to the detriment of his wife Vida. They’re both happy but it’s clear that something is missing. They at least have a healthy sex life and when his brother Wallace comes into the picture, it’s not played as he’s physically superior so therefore he’s a threat. It’s more that Wallace is actually charming, outgoing, and extroverted in a way that it starts to appeal to Vida. It’s an interesting dynamic for the movie to play with as love triangles such as these usually deal with the sexual side of things when all this trouble starts simply because Debra Winger just wants to go outside now that she’s been released from house arrest. He’s clearly loving and caring, but there’s a darkness that’s he doesn’t want to get out.
As the movie progresses, him trying to keep his fire power in control forces him to get out of control. Not to mention his brother played by Dennis Quaid comes back into the picture as he’s part of the circus that has come into town. He’s supposed to be a clown that shoots fire. Quaid is fun to see chew scenery as Wallace. He’s probably extra but it’s just nice to see him actually be in a role that allows him to be intense and over the top. I feel like he’s supposed to be the antagonist, which he definitely is. However, he’s kind of not at times when he starts to get closer to Debra Winger. We see how she and Howard’s relationship affects her at a certain point and I understood why they were getting really close. Also, Wallace’s reappearance starts to finally force Wilder to get out of his shell he’s made for himself after dealing with a personal tragedy from years ago. Eventually, you understand why things between them are the way they are as it’s pretty dark stuff when it’s revealed. Winger is also fantastic as Vida, Wilder’s wife. She had a lot of layers other than the put upon wife as she’s forced to face her past as she’s on house arrest. Being forced to be home makes her restless and frustrated and she really gets that across. You start to feel what she feels and want her to not get in trouble again if this is making her act the way she does.
I honestly wasn’t sure what this was going to do for me because I saw it when I was in middle school and it was hard to make something out of it. In 2020, everything about it feels like a breath of fresh air as it’s got a very oddball tone that is also very charming. I like that it’s set somewhere in the south since so many movies are usually set in New York and Los Angeles. For some reason, there’s a southern feeling to it that was relaxing to me. That feeling of being home and being with friends and family started to set in. Someone remarked once in a random review that this was reminiscent of Raising Arizona and I can kind of see that. Especially when the fire shenanigans start to happen. Once the literal fire fights were going on, it was becoming a blast (no pun intended, but I’ll keep it). This took some time to get on my wavelength because again, I wasn’t sure what to make of it from the beginning. It never manages to set up what genre it is right away so I was thinking that it’s a fascinating mess in that regard. It feels less messy once you get used to its weirdness. But it was weird in an appealing way that I never turned away from it. Then at some point, I think I was loving it? It’s impressive how director Glenn Gordon Caron makes all this feel very cinematic considering he was a TV guy. There’s some truly gorgeous shots throughout that surprised me so thanks, cinematographer Jerry Hartlesben! That shot of Arliss Howard standing on top of a recently burnt house while looking at his kid self and that 360 shot of Dennis Quaid and Debra Winger while everything burns in the background were some true kino. Screenwriter Vince Gilligan even back then is a guy that was capable of having unique ideas and willing to embrace them in the weirdest ways.
But yeah, it’s very unlike a lot of movies you’ll see nowadays as it has an intriguing balance of drama and comedy. It manages to be a very entertaining romantic comedy-drama as it successfully balances all those genres. Even the romantic comedy aspect didn’t annoy me because it’s handled with such a delicately idiosyncratic touch that I got sucked into the triangle myself. It even gets to a point where you genuinely have no idea what’s going to happen and are curious to know what will happen next. Wilder Napalm is the kind of movie that will charm and delight with its weirdness if you’re open to it. It’s also a movie that has singing doo wop firefighters, who doesn’t like singing doo wop firefighters??!!!
I am giving Wilder Napalm a 4 out of 5 Hairpieces!
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] | null | [] | null | 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. | en | /themes/custom/bogart/favicon.ico | Watch TCM | http://prod.tcm.com/unavailable/ | Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.
Watchlist and resume progress features have been disabled.
ACCEPT | ||||
7959 | dbpedia | 3 | 76 | https://time.com/archive/6713002/show-business-hollywood-goes-on-the-wagon/ | en | Show Business: Hollywood Goes on the Wagon | https://time.com/favicon.ico | https://time.com/favicon.ico | [] | [] | [] | [
""
] | null | [
"Richard Corliss"
] | 1988-08-22T04:00:00+00:00 | A new film tests the old saw that drunks are funny | en | /favicon.ico | TIME | https://time.com/archive/6713002/show-business-hollywood-goes-on-the-wagon/ | Pretty pathetic creature. He hides out at the local bar and tries to forget his troubles by downing shot after shot of whiskey. When he finally seeks help for his woes, it is not A.A. he calls but another broken soul who has sipped himself into a perpetual stupor. So what do you think? Is Roger Rabbit an alcoholic?
Bud Yorkin thinks so. And, as director of this summer’s flop Arthur 2 on the Rocks, he should know. Yorkin is steamed at critics who torpedoed his movie for its portrait of an insouciant inebriate. “Arthur is a fantasy , character,” he spumes, “just like Roger Rabbit. But that movie is all about drinking, and it’s being called one of the great movies of all time.”
Yorkin may be ignoring a few variables: that sequels often fall on their prats, that Stars Dudley Moore and Liza Minnelli have been on a 0-for-ever streak since the original Arthur in 1981, that critics didn’t make Who Framed Roger Rabbit a hit, and they didn’t break Arthur 2. Still, Yorkin deserves sympathy for getting caught in a zeitgeist warp. Seven years ago, at the dawn of the Reagan era, a movie drunk could seem a sweet anachronism, a throwback to giddier times with fewer responsibilities. Today Americans know there is a price to be paid for every excess, fiscal or physical. And in a town where, as one wag notes, “there are more stars at a Rodeo Drive Alcoholics Anonymous meeting than there are at the Academy Awards,” a few moviemakers are taking the pledge to put drug and alcohol addiction onscreen.
Two biographical films, soon to be released, will limn the twin toxicities of heroin and pop celebrity. Bird is Clint Eastwood’s meditation on the pioneering jazzman junkie Charlie Parker; Wired adapts Bob Woodward’s book about the life and drug-induced death of John Belushi. Both movies fit a familiar genre: a star is born, a star falls into the black hole of self- abuse, a star dies. But a third drug-and-alcohol drama, Clean and Sober, which opened last week to generous reviews, goes for the grit without the name- dropping glamour. It has eyes to be the Lost Weekend, the Days of Wine and Roses of the late ’80s.
Michael Keaton plays Daryl Poynter, the very model of a white-collar slime mold: he’s a thief, an accessory to murder and a meanie to his mom. He can’t even admit he has a drug problem — cocaine and alcohol — until a tough-love therapist (Morgan Freeman), an A.A. veteran (M. Emmet Walsh) and a nervy fellow addict (Kathy Baker) help him see the dark before the light. Some of the early scenes ring as inauthentic as the Philadelphia accents; each supporting junkie pushes too hard, as if he were part of an Actors Lab experiment that failed. But there are home truths here. Mostly, the film shows, not preaches. And Keaton proves how fully a fine comic actor can inhabit a serious, potentially solemn film.
Does this trio of films signal a new wave or just a coincidence? That is hard to say, since pictures that glorify the communal joys of tippling can still magnetize moviegoers; Cocktail, starring Tom Cruise as a bartender who becomes famous for 15 martinis, earned $27 million in its first ten days of release. And any serious film has a handicap. When Bright Lights, Big City sent Michael J. Fox to the lower-middle depths of coke craving, audiences sniffed and stayed away. “Will people go to Clean and Sober?” wonders its co-producer Tony Ganz. “If they have a problem with alcoholism, they may refuse to go. If they don’t have a problem, they may not want to go.” Yet it is good to see Hollywood emerging from its binge of party-till-you-puke teen comedies and issuing the warning “Substance abuse may be hazardous to your health.”
It used to be that movie screeds about drinking and drugs were hazardous only at the box office. As Wired Co-Producer Ed Feldman notes, “You can’t do an hour-and-45-minute sermon.” TV movies, with their captive middle-aged audiences and their social diseases of the week, were the place for tidy moralizing. But traditionally, the big screen and its youthful audience welcomed the happy drunk. For early moviegoers, booze was a truth serum that liberated every endearing character from Charlie Chaplin to Dumbo. It can still cadge cheap laughs: in this summer’s License to Drive, a teenager’s dream girl does a drunken dance on his dad’s car hood. For the ’60s generation, the use of recreational drugs was a gesture of political defiance, and movies mimicked it. “Drugs weren’t a by-product of our culture,” says Glenn Gordon Caron, 34, the Moonlighting mogul who directed Clean and Sober. “They were our culture.”
In the overdue national detox program that may be the ’90s, the drug culture could change. On movie screens it already has. Film Critic Roger Ebert, who has ragged Hollywood for glamourizing alcoholics, is hopeful: “Today you have creative people finding solutions.” Clean and Sober will give an early clue to that solution. Will American moviegoers find the tonic chill of a dramatized A.A. lecture as bracing as the sight of a rabbit who can act like a boozehound? Stay tuned. | ||
7959 | dbpedia | 0 | 8 | https://www.rottentomatoes.com/m/love_affair_1994 | en | Love Affair (1994) | [
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] | null | [] | null | Although they are each engaged to other people, former athlete Mike Gambril (Warren Beatty) and vocalist Terry McKay (Annette Bening) fall for each other on an international flight that gets diverted due to technical problems. After their trip, they agree to meet in New York City three months later, but tragedy strikes on the day of their reunion, resulting in Terry's hospitalization, which is unknown to Mike. Can the star-crossed lovers finally find each other? | en | https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico | Rotten Tomatoes | https://www.rottentomatoes.com/m/love_affair_1994 | 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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Sign me up No thanks | ||||
7959 | dbpedia | 0 | 58 | http://www.theguardian.com/film/movie/76540/love-affair | en | The Guardian | [
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] | null | [] | null | en | http://static.guim.co.uk/favicon.ico | http://www.theguardian.com/film/movie/76540/love-affair | Noah review â 'a preposterous but endearingly unhinged epic'
Russell Crowe wrestles angels and demons in Darren Aronofsky's $125m mashup of the ancient story of Noah, writes Mark Kermode | ||||||
7959 | dbpedia | 1 | 1 | https://www.rottentomatoes.com/m/love_affair_1994 | en | Love Affair (1994) | [
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] | null | [] | null | Although they are each engaged to other people, former athlete Mike Gambril (Warren Beatty) and vocalist Terry McKay (Annette Bening) fall for each other on an international flight that gets diverted due to technical problems. After their trip, they agree to meet in New York City three months later, but tragedy strikes on the day of their reunion, resulting in Terry's hospitalization, which is unknown to Mike. Can the star-crossed lovers finally find each other? | en | https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico | Rotten Tomatoes | https://www.rottentomatoes.com/m/love_affair_1994 | Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks | ||||
7959 | dbpedia | 3 | 83 | http://www.thisdayindisneyhistory.com/Oct30.html | en | OCT 30 Disney History | [
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7959 | dbpedia | 3 | 56 | https://facts.net/movie/30-facts-about-the-movie-love-affair/ | en | 30 Facts About The Movie Love Affair | [
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"Nissie Weber"
] | 2023-12-22T04:01:16+08:00 | Discover fascinating facts about the movie Love Affair with this comprehensive list of 30 trivia tidbits. Dive deeper into the beloved romantic film and relive its magic. | en | https://facts.net/wp-content/uploads/2019/09/fac-icon.ico | Facts.net | https://facts.net/movie/30-facts-about-the-movie-love-affair/ | Love Affair was released in 1994
The movie Love Affair was released in 1994, making it over 25 years old.
Love Affair is a romantic drama film
Love Affair falls under the genre of romantic drama, captivating audiences with its heartfelt story.
Love Affair stars Warren Beatty and Annette Bening
The lead roles in Love Affair are played by renowned actors Warren Beatty and Annette Bening, adding to its star-studded cast.
The movie was directed by Glenn Gordon Caron
Glenn Gordon Caron directed Love Affair, showcasing his talent for bringing emotional depth to the big screen.
Love Affair was inspired by the 1939 film of the same name
The movie Love Affair is a remake of the 1939 film with the same title, adding a modern touch to a classic story.
Love Affair received positive reviews from critics
Upon its release, Love Affair garnered positive reviews from critics, praising its performances and heartfelt narrative.
The movie depicts a chance encounter between two strangers
Love Affair tells the story of two strangers who meet by chance and find themselves falling in love against all odds.
Love Affair explores themes of love, destiny, and sacrifice
The movie delves into powerful themes of love, destiny, and sacrifice, resonating with audiences on an emotional level.
The film’s soundtrack features the hit song “Love Theme from Love Affair”
The soundtrack of Love Affair includes the popular song “Love Theme from Love Affair,” adding to the film’s romantic atmosphere.
Love Affair was shot in various locations around the world
The movie was filmed in multiple locations, including New York City, Paris, and several picturesque destinations, adding visual appeal to the film.
Love Affair was nominated for several awards
The film Love Affair received nominations for various awards, including the Academy Awards and Golden Globe Awards.
Love Affair showcases the chemistry between Warren Beatty and Annette Bening
The on-screen chemistry between Warren Beatty and Annette Bening adds authenticity and depth to their characters’ love story.
Love Affair is known for its poignant and emotional moments
The movie Love Affair is filled with poignant and emotional scenes that tug at the heartstrings of viewers.
Love Affair explores the complexities of relationships
The film delves into the intricacies of relationships, highlighting the ups and downs, joys and challenges of being in love.
Love Affair has a timeless appeal
The story and themes presented in Love Affair have a timeless appeal, making it resonate with audiences across generations.
The movie’s screenplay was co-written by Robert Towne
The screenplay of Love Affair was co-written by Robert Towne, known for his work in renowned films such as Chinatown.
The chemistry between Warren Beatty and Annette Benning was praised by critics
Critics hailed the chemistry between Warren Beatty and Annette Benning as one of the highlights of Love Affair.
Love Affair explores the concept of love at first sight
The movie delves into the concept of love at first sight, showcasing how a chance encounter can change the course of one’s life.
Love Affair is a tale of forbidden love
The story of Love Affair revolves around a forbidden love, adding drama and intensity to the narrative.
Love Affair was a box office success
The movie Love Affair achieved commercial success, attracting a large audience and generating significant revenue.
Love Affair is often considered a classic in the romance genre
The film Love Affair has earned a reputation as a classic in the romance genre, captivating audiences with its timeless story.
Love Affair features stunning cinematography
The movie showcases stunning cinematography, capturing beautiful landscapes and adding visual allure to the story.
Love Affair was praised for its heartfelt performances
The performances in Love Affair, particularly by Warren Beatty and Annette Benning, were praised for their authenticity and emotional depth.
The movie’s storyline keeps viewers engaged until the end
Love Affair keeps viewers engaged throughout its runtime, with its compelling story and unpredictable twists.
Love Affair explores the concept of second chances
The film explores the idea of second chances in love and life, reminding viewers that it’s never too late to pursue happiness.
The movie’s soundtrack enhances the emotional impact of the story
The carefully selected songs in Love Affair’s soundtrack complement the emotional journey of the characters, intensifying the viewer’s experience.
Love Affair portrays the complexities of modern relationships
The film sheds light on the complexities of modern relationships and the obstacles couples face in the pursuit of love and happiness.
Love Affair is known for its memorable quotes
The movie Love Affair features memorable quotes that have become beloved by fans and are often cited in discussions about love and relationships.
Love Affair showcases the power of true love
The film epitomizes the power of true love, demonstrating how it can overcome obstacles and stand the test of time.
Love Affair leaves a lasting impression on viewers
The movie Love Affair leaves a lasting impression on viewers, touching their hearts and reminding them of the beauty and complexities of love.
Conclusion
In conclusion, Love Affair is a timeless romance movie that has captivated audiences for decades. From its iconic storyline to its memorable performances, this film continues to be a beloved classic. With its touching plot, breathtaking cinematography, and unforgettable soundtrack, Love Affair has left an indelible mark on the hearts of moviegoers around the world.
FAQs
Q: Who directed Love Affair?
A: Love Affair was directed by Glenn Gordon Caron.
Q: When was Love Affair released?
A: Love Affair was released on October 21, 1994.
Q: Who starred in Love Affair?
A: Love Affair starred Warren Beatty and Annette Bening in the lead roles.
Q: What is the plot of Love Affair?
A: Love Affair follows the story of two strangers who meet on a plane and fall in love, only to discover that they are both engaged to other people.
Q: Is Love Affair based on a true story?
A: No, Love Affair is not based on a true story. It is a fictional tale of love and missed opportunities.
Q: Does Love Affair have a happy ending?
A: Without giving away too much, Love Affair has a bittersweet ending that will leave viewers with a range of emotions.
Q: What is the running time of Love Affair?
A: Love Affair has a running time of approximately 108 minutes.
Q: Was Love Affair well-received by critics?
A: Love Affair received mixed reviews from critics, but it has since gained a dedicated fan base and is considered a classic in the romance movie genre.
Q: Is Love Affair available on streaming platforms?
A: Love Affair is available on various streaming platforms, so you can enjoy it from the comfort of your own home.
Q: Are there any other movies similar to Love Affair? | ||||
7959 | dbpedia | 2 | 6 | https://variety.com/1994/film/people-news/love-affair-2-1200439050/ | en | Love Affair | [
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"Todd McCarthy"
] | 1994-10-10T08:00:00+00:00 | The appeal of this "Love Affair" is only skin-deep. A film of gorgeous surfaces and negligible emotional resonance, this third rendition of a perennial sentimental favorite is easy on the eyes and has its share of beguiling moments in the early going, but crucially lacks a compelling climax and any sense of urgency in its storytelling. | en | Variety | https://variety.com/1994/film/people-news/love-affair-2-1200439050/ | The appeal of this “Love Affair” is only skin-deep. A film of gorgeous surfaces and negligible emotional resonance, this third rendition of a perennial sentimental favorite is easy on the eyes and has its share of beguiling moments in the early going, but crucially lacks a compelling climax and any sense of urgency in its storytelling. Big promotional push and lack of much competition should translate into some good opening numbers, but audiences won’t likely give a hoot in the long run.
Leo McCarey’s two versions of this star-crossed romance, “Love Affair,” starring Charles Boyer and Irene Dunne in 1939, and
“An Affair to Remember,” toplining Cary Grant and Deborah Kerr in 1957, were favorites to their respective generations. Contempo audiences will recall that “Sleepless in Seattle” paid extended homage to the latter as the epitome of romance, making it one of the hot video rental titles of last summer.
Main hook of this telling is the matchup of Warren Beatty and Annette Bening as the otherwise engaged jet-setters who become irresistibly attracted to each other and, after an intense tryst, resolve to meet at the top of the Empire State Building in three months if they are serious about each other. Beyond that , there is the curiosityof seeing Katharine Hepburn on the bigscreen in a major film for the first time in 13 years.
Setup is jauntily and briskly done, with Beatty plausibly cast as a former L.A. football star (shades of “Heaven Can Wait”)-turned-broadcaster engaged to a talkshow doyenne (Kate Capshaw), and glamorous Bening as Terry, the fiancee of a high-finance magnate (Pierce Brosnan). Pair meet in the upstairs first-class cabin on a flight to Sydney, and self-referential lines abound as Beatty’s well-known sports stud, Mike, eagerly puts the make on Terry to the scarcely concealed fascination of the other passengers.
An emergency landing on a tiny South Pacific island fatefully pits the characters together for longer than anticipated, as the travelers board a Russian cruise ship for a brief drunken voyage to Tahiti. Again, Mike does his best to get to know the quick-witted, elegantly sophisticated object of his desire, but it’s only upon a visit to his aunt (Katharine Hepburn) at her splendid home in the hills of Bora Bora that, spurred by a heart-to-heart between the women, the possibility of something meaningful between the two sparring partners becomes apparent.
Flying back to New York after a torrid two-day fling that’s seen only in a banal ship montage, they set their Empire State rendezvous and check out their respective fiances at the gate after landing. With both set on breaking their engagements, pic treads water in mid-section, with Beatty lamely informing his L.A. agent (Garry Shandling) that “I want to simplify my life” and taking a football coaching job at a remote state college, and Bening making the rounds in Gotham as a jingles singer and music teacher.
On her way to her appointment with destiny, Bening meets with a tragic accident that sends her to the hospital and leaves Beatty holding the bag. It’s here that the emotional tension should build, but instead, the story stalls in a holding pattern until the long-awaited reunion. Played in Bening’s unaccountably cold, tiny apartment, the scene is muffed in the writing, direction and playing, turning what should be a cornily irresistible romantic climax into a no-impact ending.
As he has in other films, notably “Shampoo,” Beatty has fun with his own image here, but in a mild and innocuous way. There are plenty of references to his character’s irrepressible flirtatiousness and past conquests (“You know that I’ve never been faithful to anyone in my life,” he warns Bening), as well as offhand remarks about his advancing age, new-found like of children and desire to settle down. But unlike some of his previous roue characters, this one just isn’t very interesting, so even though Beatty looks great and has his patter down, the inner needs of his aging jock aren’t conveyed to the viewer with any conviction.
It’s not even that the motives behind making the film aren’t heartfelt, as there’s no reason to doubt that Beatty, who produced and co-wrote with Robert Towne, didn’t intend this as a lavish and sincere valentine to his wife. But dramatically, there’s no keen edge or passion to it, and pic doesn’t do enough to make the audience care about characters who would seem to have everything, whether they end up together or not. Ultimate effect is of a beautiful package with nothing much inside.
Bening is enchantingly vivacious and sparkling, a fine match in looks, wit and sophistication to her leading man. At first, it’s disconcerting to see Hepburn truly looking like a little old lady, puttering about with a cane and clearly afflicted by her long-term neurological disease. But it must also be said that the conclusion of her 10-minute turn results in the only moving moment in the picture, as Mike, and then Terry, say goodbye to the great lady, leaving her alone on her mountaintop.
Shandling proves lively as Beatty’s toady, while Capshaw and Brosnan are given short shrift as the cast-off prospective mates.
Although some wry humor is sprinkled throughout, script could have been funnier, and there’s a lack of unified visual style and directorial approach by Glenn Gordon Caron despite rich lensing by Conrad L. Hall, opulent production design by the late Ferdinando Scarfiotti (who receives an “in memorium” end credit) and a lushly romantic score by Ennio Morricone that betrays more than a hint of his “Once Upon a Time in America” theme.
Several TV personalities appear on-air as themselves, as does Ray Charles in a concert sequence. Film is dedicated to Time Warner’s late topper, Steve Ross. | |||||
7959 | dbpedia | 1 | 6 | https://filmfind.me/t/what-is-the-movie-name/7145 | en | What is the movie name | [
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] | null | [] | 2024-06-05T18:11:45+00:00 | A football player and a fashion designer meet on a boat on a trip, and an emotional relationship develops between them. The boat breaks down, and while it is being repaired, the girl gets to know the player’s aunt, falls… | en | Filmfind | https://filmfind.me/t/what-is-the-movie-name/7145 | A football player and a fashion designer meet on a boat on a trip, and an emotional relationship develops between them. The boat breaks down, and while it is being repaired, the girl gets to know the player’s aunt, falls in love with her, and finds a beautiful painting with her.
The two lovers agree not to meet for a year until they are sure of the sincerity of their feelings, and to meet after a year on the roof of the highest building in the city.
After a year has passed, while the girl was gone, she had a collision with a car and lost the ability to walk. She did not meet her lover, who became extremely sad.
The young man’s aunt dies and he puts the painting up for sale, and the girl finds out and buys the painting
The player succeeds in his work and receives a job offer in another country. Before traveling, he goes to the girl to find out why she did not meet him on the roof of the building, but he is surprised that she bought the painting, that she is paralyzed, that she was in an accident, and that she still loves him. | |||||
7959 | dbpedia | 3 | 71 | https://www.boston.com/uncategorized/noprimarytagmatch/2013/09/27/ben-affleck-kept-his-promise-to-emilio-mauro/ | en | Ben Affleck kept his promise to Emilio Mauro | [
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"Legacy User"
] | 2013-09-27T00:00:00 | Writer Emilio Mauro was in Los Angeles earlier this month, but it wasn’t because Ben Affleck is directing a pilot of his television show. Just a few days after Deadline.com reported that Affleck would helm the drama that Mauro and Michael Yebba pitched to him during filming of “The Town,’’ and that Glenn Gordon Caron, of “Moonlighting’’ and “Medium’’ had signed on as showrunner, Mauro was on the West Coast to work on his other big project — the film “God Only Knows,’’ which is just about finished and under consideration for festivals. The movie was shot around Rhode Island and Boston last year, and Mauro is banking on it getting attention from the Sundance Film Festival. | en | Boston.com | https://www.boston.com/uncategorized/noprimarytagmatch/2013/09/27/ben-affleck-kept-his-promise-to-emilio-mauro/ | Writer Emilio Mauro was in Los Angeles earlier this month, but it wasn’t because Ben Affleck is directing a pilot of his television show. Just a few days after Deadline.com reported that Affleck would helm the drama that Mauro and Michael Yebba pitched to him during filming of “The Town,’’ and that Glenn Gordon Caron (“Moonlighting,’’ “Medium’’) had signed on as showrunner, Mauro was on the West Coast to work on his other big project — the film “God Only Knows.’’ The movie was shot around Rhode Island and Boston last year, and Mauro is banking on it getting attention from the Sundance Film Festival. “We have to get in,’’ Mauro said of the crime movie, which stars Harvey Keitel, Ben Barnes, Leighton Meester, and Stoughton’s own Kenny Wormald. “Obviously, it’s an indie. It’s got some big talent,’’ Mauro said, when he called us from Los Angeles. As for the TV show, Mauro says he doesn’t know whether it’ll be shot in Boston, but he’s hopeful. After all, “The Middle Man’’ (that’s the show’s name for now) is about Boston mafia in the ’60s. Mauro, who’s an executive producer on the project, explained that he and writer-actor Yebba pitched it when Yebba was acting in “The Town’’ and working as a stand-in for Boston actor-rapper Slaine. “I’ve got to hand it to Ben. He said, ‘I’m going to direct this,’’ Mauro said. “He said, ‘I don’t know when,’ but five years later, he is.’’ | |||||
7959 | dbpedia | 3 | 4 | https://tv.apple.com/dk/person/glenn-gordon-caron/umc.cpc.1fza8lpzfgrebf8acis1p8qfl | en | Glenn Gordon Caron Films and Shows â Apple TV (DK) | [
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] | null | [] | null | Learn about Glenn Gordon Caron on Apple TV. Browse shows and movies that include Glenn Gordon Caron, such as Picture Perfect and Clean and Sober. | en | /assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png | Apple TV | https://tv.apple.com/dk/person/glenn-gordon-caron/umc.cpc.1fza8lpzfgrebf8acis1p8qfl | Glenn Gordon Caron was born in Brooklyn, NY and spent his childhood in Oceanside, Long Island. He was not a particularly motivated student during his days at Oceanside High School, but progressed on to college at the State University of New York College of Arts and Sciences at Geneseo, where he studied speech and communication. Film was his true goal, however, so he ultimately switched to the theatre department. After obtaining a BA degree in drama, Caron paid the bills with a series of blue-collar positions, before managing a movie theater and toiling for an advertising agency. Looking for an inside track into moviemaking, Caron decided to try his hand at writing screenplays and studied with the famous comedian-improvisation teacher Del Close at Second City. His work eventually came to the attention of NBC and he was engaged to write a pilot called "The God Squad." The fantasy-comedy was a disaster and never aired, but Caron, who had left for the West Coast with no clear career plan, was offered a contract with the ICM talent agency and penned an episode of "Taxi" (ABC/NBC, 1978-83). The cycling dramedy "Breaking Away" (1979) had been a theatrical success for 20th Century Fox and the company decided to spin it off into a TV series. Although he was only in his mid-twenties and had no experience, Caron was hired to produce that new incarnation of "Breaking Away" (ABC, 1980-81) and also to write a number of episodes. The program left the air after only a few weeks, but Caron had now established himself in the industry and bigger and better opportunities were on the horizon. Although he had no affinity for detective shows, Caron signed on as supervising producer for the initial season of "Remington Steele" (NBC, 1982-87), but was lured away by ABC to produce a trio of pilots that could also be sold to viewers as made-for-TV features. Caron created Picturemaker Productions and wrote and executive produced a pair of action movies. For the third effort, ABC requested a lightweight detective comedy series pilot which would turn out to be "Moonlighting" (ABC, 1985-89). Pairing together former model and seemingly "washed up" actress Cybill Shepherd and a brash, charismatic newcomer named Bruce Willis - whom Caron had to repeatedly champion before the network finally agreed to his casting - the program played with the age-old format by doing all manner of offbeat things, including having the characters break the third wall by talking to the audience, making light of "clip shows," shooting one memorable Noir-inspired episode in black-and-white, and utilizing Golden Age film talent like director Stanley Donen and Orson Welles, who gave his final performance doing an episode's introduction. Caron drove his ABC minders crazy with these unorthodox ideas, but "Moonlighting" slowly built a loyal audience and became an unexpected sensation, making overnight stars of all involved, including showrunner Caron, who found himself a household name. However, after the successful first season - during which fans enjoyed a "will they or won't they" relationship between Shepherd's uptight Maddie Hayes and Willis' zany wild man, David Addison - all manner of problems soon arose, including Caron's unusual approach to production, which often ran behind schedule; his high standards; and an increasingly toxic relationship between himself and Shepherd, which prompted Caron to depart after the second season.The popularity and acclaim generated by "Moonlighting" helped secure Caron theatrical feature directing assignments; his first was the drama "Clean and Sober" (1988), which starred Michael Keaton as a successful real estate agent whose life is derailed by substance abuse. Known primarily as a comedian at that point, Keaton's dramatic performance earned much praise, but reviews for the dark, downbeat film were largely mixed and its grosses proved disappointing. His next project was the change-of-pace outing "The Making of Me" (1989), a family-oriented sex education short that was shown in the EPCOT attraction at Walt Disney World of all places. Caron returned to feature directing with "Wilder Napalm" (1993), a comic fantasy featuring Dennis Quaid and Arliss Howard as brothers with pyro-kinetic abilities. Neither the studio nor critics knew what to make of the offbeat production, which only played a handful of theatres before heading to video. A more conventionally commercial outing, "Love Affair" (1994) starred husband and wife team Warren Beatty and Annette Bening in a remake of the 1939 classic. Caron assembled a fine cast, but was locked out of the final edit by Beatty, and grosses for the expensively produced film were far short of what Warner Brothers had hoped. He finally had some luck with the romantic comedy "Picture Perfect" (1997). An early motion picture credit for Jennifer Aniston, whose star was in ascension thanks to "Friends" (NBC, 1994-2004), it proved to be moderately profitable, though not enough for Caron to continue making movies.Caron returned to series television, but it proved to be a while before he hit another one out of the park. In addition to creating the comedy-adventure "Now and Again" (CBS, 1999-2000), he also directed the pilot. The show was picked up, but did not live to see a second year, despite much critical enthusiasm. The comedy series "Fling" (Fox, 2001) had an even shorter lifespan. Caron's conception of the program, and the dark romance at its core, proved to be much different in finished form than what Fox had been expecting. Although six episodes were completed, none were ultimately broadcast. His luck finally changed for the better with "Medium" (NBC/CBS, 2005-2011), which Caron based loosely on the life of a young woman who claimed to have supernatural powers. Patricia Arquette starred as the clairvoyant, who uses her gifts - which include an ability to converse with the deceased - to aid law enforcement. In addition to creative use of the fantasy/horror hook, the program built and maintained a viewership, thanks to the quality of the characters, the offbeat relationship at its core, and the emotional intensity often reached. As with "Moonlighting," Caron was determined to challenge viewers' expectations and "Medium" included elaborate and imaginative dream sequences. Among other technical accomplishments, it was also the first episode of a TV series that utilized high-definition 3-D. It left the air in 2011, but CBS, which had picked the program up for remaining seasons, was eager to keep Caron and signed him to a two-year, seven-figure development deal. The subsequent projects were "Near Dead," about a detective who has a near death experience that may somehow relate to the murder of his wife, and "Motor City Shakedown," adapted from the like-named novel about the reluctant partnership between two contrasting attorneys. Caron also served as executive producer for the Showtime Network meta-mockumentary pilot "Gurland on Gurland" about a documentary filmmaker shooting documentaries about his work as a maker of documentaries.By John Charles | ||||
7959 | dbpedia | 3 | 88 | https://www.unionleader.com/news/back_page/bruce-willis-is-incommunicative-and-not-totally-verbal-now-moonlighting-creator-says/article_afb1a2d8-58a6-56b1-a401-c9766714822a.html | en | Bruce Willis is 'incommunicative' and 'not totally verbal' now, 'Moonlighting' creator says | [
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] | null | [] | 2023-10-13T18:59:00-04:00 | Bruce Willis is “incommunicative” now, according to “Moonlighting” creator Glenn Gordon Caron, after the actor’s career-ending diagnoses of aphasia and frontotemporal dementia. | en | https://www.unionleader.com/content/tncms/site/icon.ico | UnionLeader.com | https://www.unionleader.com/news/back_page/bruce-willis-is-incommunicative-and-not-totally-verbal-now-moonlighting-creator-says/article_afb1a2d8-58a6-56b1-a401-c9766714822a.html | |||||
7959 | dbpedia | 2 | 1 | https://medium.fandom.com/wiki/Glenn_Gordon_Caron | en | Glenn Gordon Caron | https://static.wikia.nocookie.net/medium/images/8/8b/GlennCaronGordon_01.jpg/revision/latest?cb=20091203221232 | https://static.wikia.nocookie.net/medium/images/8/8b/GlennCaronGordon_01.jpg/revision/latest?cb=20091203221232 | [
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"Contributors to Medium Wiki"
] | 2024-07-29T22:27:06+00:00 | Glenn Gordon Caron (born 1954), sometimes credited as Glenn Caron, is an American television writer, director and producer, best known for creating the series Moonlighting (starring Bruce Willis and Cybill Shepherd). He lives in Los Angeles, CA. Caron graduated from the State University of New... | en | /skins-ucp/mw139/common/favicon.ico | Medium Wiki | https://medium.fandom.com/wiki/Glenn_Gordon_Caron | Glenn Gordon Caron Role(s) Writer; Director; Executive Producer Date of Birth 1954 Origin Los Angeles, California IMDb profile
Glenn Gordon Caron (born 1954), sometimes credited as Glenn Caron, is an American television writer, director and producer, best known for creating the series Moonlighting (starring Bruce Willis and Cybill Shepherd). He lives in Los Angeles, CA.
Life and Career
Caron graduated from the State University of New York at Geneseo in 1975. After his graduation he studied with Del Close and The Second City, before starting a career at an advertising agency. While working here he was invited by NBC to write a pilot for the network. While the pilot would not receive a series order his work impressed writer and producer James L. Brooks who invited him to join the writing staff of Taxi.
He subsequently wrote and produced the first ten episodes of Remington Steele before leaving to form his own company Picturemaker Productions. His 1985 show Moonlighting was a worldwide hit, it revitalized the career of Cybill Shepherd and launched the career of Bruce Willis. He made his feature directorial debut with 1988's Clean and Sober, starring Michael Keaton and Morgan Freeman.
Caron returned to television in 1999 creating and producing the short-lived series Now and Again (1999–2000). In 2001 Fox ordered 13 episodes of the Caron created Fling. The network became unhappy with the direction of the series and cancelled the show during the production of the seventh episode. As a result none of the completed episodes have ever been aired.
In 2005 Caron created Medium for NBC. As well as creator Caron is executive producer of the show and has written several episodes and directed the series pilot. The series ran for five seasons on NBC before it was cancelled. It was later renewed and picked up by CBS and ran for two more seasons (Season Six and Season Seven) before it was cancelled January.
In 2008 Caron developed a pilot for the CBS Network titled The Meant to Be's, about a woman who dies only to find herself sent back to earth to help people get their life back on track. It was not developed any further than the pilot stage. He is married to Tina DiJoseph (who played Deputy Mayor, Lynn DiNovi on Medium) with three children, and is the owner of Picturemaker Productions.
Filmography
The Meant to Be's (2008) TV Pilot (creator, writer and director)
Medium (2005) TV Series (creator)
1.01 Pilot (writer and director)
1.02 Suspicions and Certainties (writer)
1.03 A Couple of Choices (with Michael Angeli) (writer)
2.01 When Push Comes to Shove Part 2 (writer)
2.19 Knowing Her (writer)
3.01 Four Dreams Part 1 (with Javier Grillo-Marxuach) (writer)
3.02 Four Dreams Part 2 (with Javier Grillo-Marxuach) (writer)
4.01 And Then (writer)
Fling (2001) TV Series (creator) (writer)
Now and Again (1999) TV Series (creator)
1.01 Origins (writer and director)
1.02 On the Town (writer)
1.03 Over Easy (writer)
Picture Perfect (1997) (co-writer of screenplay and director)
Love Affair (1994)
Wilder Napalm (1993)
The Making of Me (1989) — a short film created for Walt Disney World's Epcot Center
Clean and Sober (1988)
Long Time Gone (1986) (TV)
Moonlighting (1985) TV Series (creator)
1.01 Pilot (writer)
2.01 Brother, Can You Spare a Blonde (writer)
2.10 Twas the Episode Before Christmas (writer)
3.09 The Straight Poop (writer)
3.10 I Am Curious Maddie (writer)
4.01 A Trip to the Moon (writer)
5.01 A Womb with a View (with Charles H. Eglee) (writer)
Concrete Beat (1984) (TV)
Remington Steele (1982) TV Series
1.04 Signed, Steeled, & Delivered (writer)
1.07 Etched in Steele (writer)
1.14 Hearts of Steele (writer)
1.15 To Stop a Steele (writer)
Fame (1982) TV Series
1.04 Alone in a Crowd (writer)
Breaking Away (1980) TV Series
1.06 La Strada (with Steve Tesich) (writer)
Taxi (1978) TV Series
2.08 The Great Race (writer) | ||
7959 | dbpedia | 3 | 47 | https://drrandifredricks.com/psychologist/film-recommendations/ | en | San Jose Counseling and Psychotherapy | [
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] | null | [] | 2019-02-11T13:50:46-08:00 | San Jose Therapist and Counselor Dr. Randi Fredricks' Cinema Therapy Film Recommendations, Using Films in Therapy - DrRandiFredricks.com. | en | San Jose Counseling and Psychotherapy | Counseling and Therapy in San Jose, California | https://drrandifredricks.com/psychologist/film-recommendations/ | Film therapy recommendations
In my counseling sessions, I often provide Cinema Therapy film recommendations as an adjunct to our work together in therapy. My clients have commented that they find that the work they do outside of psychotherapy is a catalyst for further exploration during our therapy sessions.
As a counselor, I am always trying to provide homework that is interesting and entertaining as well as therapuetic. Of course, my film recommendations movies are intended to be in addition to psychotherapy, not instead of it. Although I’m familiar with the films listed, I am not necessarily in agreement with all aspects of them. Whether you are a layperson or a therapist you will probably find a number of these films of interest.
The following films can be purchased online at Amazon.com or from local San Jose and San Francisco area book and video stores. Most of them can also be rented at Amazon.com of Netflix. The films are listed according to issue to make searching for them easier.
Films about relationships
About Last Night. Rob Lowe, Demi Moore, James Belushi. Director: Edward Zwick, 1986.
Gaslight. Charles Boyer, Ingrid Bergman, Joseph Cotton. Director: Thorold Dickinson, 1944.
In America. Samantha Morton, Paddy Considine. Director: Jim Sheridan, 2002.
Life Is Beautiful. Roberto Benigni, Nicoletta Braschi. Director: Roberto Benigni, 1998.
Mirror Has Two Faces, The. Barbra Streisand, Jeff Bridges. Director: Barbra Streisand, 1996.
My Big Fat Greek Wedding. Nia Vardalos, John Corbett, Lainie Kazan. Director: Joel Zwick, 2001.
Ordinary People. Donald Sutherland, Mary Tyler Moore, Timothy Hutton. Director: Robert Redford, 1980.
Films about anxiety
As Good As It Gets. Jack Nicholson, Helen Hunt, Greg Kinnear. Director: James L. Brooks, 1997.
Copy Cat. Sigourney Weaver, Holly Hunter, Dermot Mulroney. Director: Jon Amiel, 1995.
House Of Games. Lindsay Crouse, Joe Mantegna. Director: David Mamet, 1987.
The Odd Couple. Jack Lemmon, Walter Matthau. Director: Gene Saks, 1968.
Pelican Brief. Julia Roberts, Denzel Washington. Director: Alan J. Pakula, 1993.
Films about depression
Country Girl, The. Bing Crosby, Grace Kelly, William Holden. Director: George Seaton, 1954.
Dark Victory. Bette Davis, George Brent, Humphrey Bogart, Ronald Reagan. Director: Edmund Goulding, 1939.
Eraserhead. Jack Nance, Charlotte Stewart, Allen Joseph. Director: David Lynch, 1977.
Girl, Interrupted. Winona Ryder, Angelina Jolie. Director: James Mangold, 1999.
Ordinary People. Donald Sutherland, Mary Tyler Moore. Director: Robert Redford, 1980.
The Last Picture Show. Timothy Bottoms, Jeff Bridges, Ellen Burstyn. Director: Peter Bogdanovich, 1971.
Films about Addiction
28 Days. Sandra Bullock, Viggo Mortensen. Director: Betty Thomas, 2000.
Clean and Sober. Michael Keaton, Morgan Freeman. Director: Glenn Gordon Caron, 1988.
My Name Is Bill W. James Woods, JoBeth Williams. Director: Daniel Petrie, 1989.
St. Elmo’s Fire. Emilio Estevez, Demi Moore. Director: Joel Schumacher, 1985.
Tender Mercies. Robert Duvall, Ellen Barkin. Director: Bruce Beresford, 1983.
Films about codependency and ACAs
Affliction. Nick Nolte, James Coburn, Sissy Spacek. Director: Paul Schrader, 1998.
Blue Sky. Jessica Lange, Tommy Lee Jones. Director: Tony Richardson, 1992.
Days of Wine and Roses. Jack Lemmon, Lee Remick. Director: Blake Edwards, 1962.
Mommy Dearest. Faye Dunaway, Diana Scarwid. Director: Frank Perry, 1981.
When A Man Loves A Woman. Andy Garcia, Meg Ryan. Director: Luis Mandoki, 1994.
Films about trauma and abuse
Antwone Fisher. Denzel Washington, Derek Luke. Director: Denzel Washington, 2002.
Bastard Out of Carolina. Jennifer Jason Leigh, Jena Malone. Director: Angelica Huston, 1996.
Nuts. Barbra Streisand, Richard Dreyfuss. Director: Martin Ritt, 1987.
Prince of Tides. Barbra Streisand, Nick Nolte. Director: Barbra Streisand, 1991.
Thousand Acres, A. Michelle Pfeiffer, Jessica Lange, Jennifer Jason Leigh, Jason Robards. Director: Jocelyn Moorhouse, 1997.
Films about eating disorders | |||||
7959 | dbpedia | 3 | 51 | https://www.blackchateauenterprises.com/pop-culture-storyteller-and-television-historian-scott-ryan-shares-the-best-kept-secrets-of-moonlighting-the-iconic-tv-series-in-his-new-book/ | en | Pop Culture Storyteller and Television Historian, Scott Ryan, Shares the Best Kept Secrets of Moonlighting, the Iconic Tv Series, in His New Book | [
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"Bree"
] | 2021-04-22T14:12:53+00:00 | Moonlighting: An Oral History, Releasing June 1st, 2021, Reveals Never-Before-Told Amazing Facts about the Making of the Show | en | /apple-touch-icon.png | Black Chateau Enterprises | https://www.blackchateauenterprises.com/pop-culture-storyteller-and-television-historian-scott-ryan-shares-the-best-kept-secrets-of-moonlighting-the-iconic-tv-series-in-his-new-book/ | Moonlighting: An Oral History, Releasing June 1st, 2021, Reveals Never-Before-Told Amazing Facts about the Making of the Show
“I was totally hooked by the first chapters. I was all in.”
—Glenn Gordon Caron, creator of Moonlighting TV Series
New York, NY – Actress Cybill Shepherd speaks openly for the first time about her time on Moonlighting, the pioneering television series broadcast by ABC in the 80s, in Scott Ryan’s new book, Moonlighting: An Oral History. Published by Fayetteville Mafia Press and releasing on June 1st, 2021 the book also includes the memories of the creator, other stars, and the many key collaborators responsible for this benchmark of television history.
To give the juiciest, most interesting details about the five-season saga, Ryan interviewed over twenty crew members, many of them now dispersed to the four corners of the world. Among them are Glenn Gordon Caron, creator of Moonlighting, as well as the actors, writers, directors, and producers who made the TV series such a dynamic and unforgettable comedy-drama. Actors Cybill Shepherd, Allyce Beasley and Curtis Armstrong are among those who speak openly to him about their time on the show. The fourteen chapters capture the initial excitement, often amounting to delirium, of the people making the incandescent series, and the pain and sorrow of the creative and personal discord that tore it apart and doomed it.
Ryan promises the readers that, “Anyone who has any passing knowledge of how television is made, or who wants to know the truth about one of the most popular TV shows of all time, is going to be blown away by the stories of how Moonlighting was made.”
Aired from 1985 to 1989 on ABC, Moonlighting helped pave the way for today’s era of prestige television. Among the most buzzed-about shows in the country, it won three Golden Globe Awards, thanks largely to the bravado of creator Glenn Gordon Caron, who never met a TV-storytelling convention he didn’t want to break, and the sizzling on-screen chemistry between its unforgettable main characters: glamorous erstwhile film star Maddie Hayes (played by Cybill Shepherd) and irreverent private eye David Addison (played by an unknown New Jersey bartender named Bruce Willis). Their ceaseless bickering and flirting onscreen, and their epic battles off-screen, remain the stuff of Hollywood legend.
Praised by Martha Nochimson, Film Critic and Writer, “I will trust you to get this wonderful book, and delve into its pages to discover from multiple perspectives the ironic details of the behind the scenes machismo of this onscreen feminist fantasy.”
The book is available for purchase on Amazon or at Fayettevillemafiapress.com.
ISBN 978-1949024265
Price: $29.99
About the Author:
Scott Ryan is the managing editor of The Blue Rose Magazine, and the author of thirtysomething at thirty: an oral history and The Last Days of Letterman. He also wrote about his bad luck in twenty comic short stories, Scott Luck Stories—as luck would have it, no one cared. Ryan is also the director of A Voyage to Twin Peaks and the host of The Red Room Podcast. Find out more about Scott Ryan here. | ||||
7959 | dbpedia | 0 | 90 | https://www.loc.gov/item/jots.200025701/ | en | CLEAN AND SOBER | [
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] | null | [] | null | motion picture | Feature film (over 60 minutes). "Singing down the road" by Raymond Scott. (Songs). Inc: Gary Grant, trumpet; Alan Kaplan, trombone. (Soundtrack Personnel). Motion Picture (Form). | en | The Library of Congress | https://www.loc.gov/item/jots.200025701/ | The Library of Congress is providing access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes. The written permission of the copyright owner and/or other rights holder (such as holder of publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemptions.
The content of Jazz on the Screen: a Jazz and Blues Filmography by David Meeker is copyrighted by David Meeker and used here by permission of the author.
Jazz on the Screen reflects the opinions of its author, David Meeker, and not the views of the Library of Congress.
Suggested credit line: Library of Congress, Music Division. | |||||
7959 | dbpedia | 0 | 3 | https://www.latimes.com/archives/la-xpm-1994-10-10-ca-48716-story.html | en | Whose Labor of Love Is ‘Love Affair’? : Movies: Glenn Gordon Caron is the director, but Warren Beatty got the final cut. Hollywood gossips are asking who really did the directing. | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | [
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"ROBERT W. WELKOS"
] | 1994-10-10T00:00:00 | Glenn Gordon Caron, the director of the soon-to-be-released Warren BeattyAnnette Bening movie "Love Affair," has heard the buzz going around Hollywood, and it bothers him. | en | /apple-touch-icon.png | Los Angeles Times | https://www.latimes.com/archives/la-xpm-1994-10-10-ca-48716-story.html | Glenn Gordon Caron, the director of the soon-to-be-released Warren BeattyAnnette Bening movie “Love Affair,” has heard the buzz going around Hollywood, and it bothers him. The rumor for weeks has been that Beatty--not Caron--really directed the film.
“I’m the director of this film,” Caron insisted in an interview. “Under scrutiny, the rumors fall apart.”
Yet as the Warner Bros.’ release heads toward its Oct. 21 opening, it has become increasingly clear that “Love Affair” is not quite Caron’s movie.
Not only did Beatty produce, co-write (with Robert Towne) and star in the movie (with his actress wife Bening), he was given the “final cut” over the director in the editing room--a rare contractual guarantee given to only a handful of powerful producers and stars.
That means that Beatty--not Caron or Warner Bros.--has the ultimate say over which version of the film will go to the theaters.
Beatty is an accomplished director in his own right, having won an Academy Award for best director for his 1981 film “Reds,” but industry observers agree it is a sensitive and potentially tension-provoking situation when a producer or star has final say over a director. The director is generally considered the creative force behind a movie.
Beatty, asked Friday in a telephone interview about the arrangement, told The Times: “I don’t believe in participating in that kind of analysis before a movie opens. ‘Love Affair’ is a picture that I like very much, made by the collaboration of extremely gifted people. I’m happy with it, and the director is happy with it. I don’t see the point in elaborating.”
Caron is perhaps best known as the creator and producer of the hit 1980s TV series “Moonlighting,” which starred Bruce Willis and Cybill Shepherd. Caron made his feature-film directing debut with the powerful 1988 drama “Clean and Sober,” starring Michael Keaton and released by Warner Bros. Last year, he directed “Wilder Napalm,” a critical and box office flop.
In a telephone interview, Caron said he did not object to Beatty having final cut on “Love Affair,” although he did not deny that there were times when the two did not see eye to eye. He explained: “I had my cut. We sat down together, looked at my cut, and there were a number of things he wanted to do. At a certain point, he pressed on. It became clear there were things we didn’t agree on, that we were never going to come together on. He exercised his prerogatives to do those things he wanted. It was totally fair.”
Caron added that, given Beatty’s accomplishments, “it would be foolish not to at least listen. As the process continued, he had things he wanted to do.”
Caron would not elaborate on what the disagreements were about, but he added that they were “nothing of consequence, nothing of substance.”
Beatty said: “It was my impression we didn’t disagree on anything. . . . I’ve never wound up in a disagreement with any director I’ve produced a picture for.”
Some Hollywood insiders, however, say Beatty’s signature is all over the movie.
“The director wasn’t even allowed in the editing room,” said one high-profile agent, “and there’s some question about who really directed this movie.”
Asked if Caron did in fact direct the movie, Beatty responded: “Of course; he’s the director.”
Had Beatty usurped his role as director, Caron said, people on the set would have noticed and “it would have become public very fast.”
When it comes to determining whether a producer will get final cut, “a lot depends on the particular success of a director,” the source said. For instance, Beatty did not have final cut on “Bugsy,” in which he starred and was a producer, given Barry Levinson’s stature as a director.
According to one prominent Hollywood lawyer: “There are a handful of powerful producers who have a contractual final cut behind a director of a certain level.” Over the years, that select group has included such hyphenate filmmakers as Steven Spielberg, Sydney Pollack, Jim Brooks and Oliver Stone, who sometimes take off their director hats to produce other filmmaker’s movies.
In addition, a few A-list actors such as Kevin Costner and Clint Eastwood can sometimes negotiate final-cut deals on movies they star in and produce.
“It’s different with every deal, and it really depends on who and what you’re talking about,” said one agent who represents top talent. As for producers getting final cut, he said that although it’s not unprecedented, “it’s not usual.”
A spokesman for the Directors Guild of America said that there is no blanket rule against allowing producers the final cut but that the DGA would not like to see it become a common practice.
DGA spokesman Chuck Warn said of Beatty: “He’s a multiply talented individual who won an Oscar as a director and is one of the major movie stars of all time. In this situation, it’s not a problem. If it became a practice where producers were attempting to go around the terms of the collective bargaining agreement and we saw it as a virus in the creative process, then the DGA would be on the scene.”
Beatty has been in the forefront of efforts to strengthen the hand of directors. In 1985, for example, he won a significant artists’ rights battle after ABC wanted to cut his “Reds” for a network showing, so that it would end in time for the late evening news.
The final-cut issue has stirred the passions of filmmakers for years. Only a dozen or so filmmakers have final-cut privileges written in their contracts; however, all directors are guaranteed cuts under the Directors Guild bargaining agreement.
“As part of the contract, the director is allowed to cut his movie after it has been screened or previewed somewhere, and then, based on the audience reaction, he can make a second cut,” one source said. “As a practical matter, what is happening is most directors are taking about three cuts to fine-tune their movies.”
The studios usually retain the right to final cut, and directors fume if some studio executive steps in and invokes it.
“Love Affair” is a remake of the 1939 Leo McCarey movie starring Irene Dunne and Charles Boyer; it was followed by the 1957 classic “An Affair to Remember,” starring Cary Grant and Deborah Kerr.
The Beatty-Bening film involves a man and woman who fall unexpectedly and deeply in love while they’re on a trip in the South Pacific, though both are engaged to others. When they return to the United States, they agree to have no contact with each other for three months, and then meet at the top of the Empire State Building. But Bening’s character is injured on her way to the rendezvous and Beatty’s character, not knowing what happened, assumes she chose not to honor her commitment.
Beatty wrote the script with Towne before Caron came on board in February of 1993. According to published reports, Beatty originally wanted to direct the picture himself but opted for Caron so that he could work on “developing the characters to their potential” and his performance.
Still, the big question in Hollywood circles remains: Why didn’t Beatty just direct the movie to begin with?
Beatty, who is in New York on a press junket for “Love Affair,” sidestepped the question Friday, saying he was dashing off to tape “Late Show With David Letterman.” | ||
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"Michaela",
"Visit profile"
] | 2018-03-21T19:45:00-04:00 | Moonlighting , a mixture of romantic comedy, sincere drama, and intriguing mystery, has become one of my favorite TV shows. I haven't b... | en | http://loveletterstooldhollywood.blogspot.com/favicon.ico | http://loveletterstooldhollywood.blogspot.com/2018/03/moonlighting-dream-sequence-always.html | Moonlighting, a mixture of romantic comedy, sincere drama, and intriguing mystery, has become one of my favorite TV shows. I haven't been able to see the last two seasons yet (curse you, high DVD prices!), but the first three seasons are indelible, with season 2's "The Dream Sequence Rings Twice" proving to be especially brilliant and unforgettable. But first, a quick primer on Moonlighting...
Created by Glenn Gordon Caron, the show is about former model Maddie Hayes (Cybill Shepherd), who has to take over the Blue Moon Detective Agency when her accountant swindles her. Blue Moon's top detective is wisecracking David Addison (Bruce Willis), whose views and ideas completely oppose Maddie's. Basically, if you enjoy screwball comedies, you'd like Moonlighting. The dialogue is fast and furious, the situations are usually nutty, and the hesitant romance between Maddie and David is exquisite. For a more in-depth look at the show in general, check out a previous post I wrote here.
One of the things I admire most about this show is its love for old movies. Not an episode goes by that there isn't some kind of reference or homage. This is most apparent in "The Dream Sequence Always Rings Twice," which finds David and Maddie playing characters in the 1940s. Glenn Gordon Caron called the episode "a valentine to a style of filmmaking that really had gone out of vogue," and what a perfect valentine it is. Writers Carl Sautter and Debra Frank came up with the episode's basic idea and shopped it around to various TV shows, but they found themselves laughed out of every meeting and told that they didn't know how TV works. When the duo presented the idea to Caron, they were amazed at how thoroughly he understood it.
All Sautter and Frank needed to do was tailor their script to fit Moonlighting. Since the show often illustrated David and Maddie at odds over something, the writers and Caron decided to do two dream sequences that demonstrated the characters' different viewpoints. In addition to the contrasting perspectives, the sequences would have distinctive styles. To accomplish this, Caron had Sautter and Frank watch Mildred Pierce for Maddie's dream to get the feel of a sleek women's picture and a grittier Warner Bros. film noir for David's dream.
The '40s sequences were shot on actual black-and-white film stock, with each dream put on different stock so they would look like they were from the period. ABC, of course, hated the idea of doing a black-and-white episode. They proposed the show be filmed in color and then decolorized later to make it cheaper. Suspecting that the network would pull a fast one and air it in color, Caron said no. ABC was also convinced that people would think something was wrong with their TV sets, so to assuage them, Caron asked Orson Welles to do an introduction that told audiences the episode was supposed to be in black-and-white. Caron never thought Welles would actually agree to it, but he did and it's a marvelous scene. Sadly, a week after he filmed it, he passed away. The episode, which aired a few days later, is dedicated to Welles.
Moonlighting had an exceptional director of photography in Gerald Finnerman. The show was consistently beautiful to look at, particularly the gauzy close-ups of Shepherd. (One episode actually poked fun at these infamous close-ups by having Maddie hold up a piece of cheesecloth over her face when she finds herself on live TV.) Part of what made Finnerman so good at his job was that he employed black-and-white lighting techniques to color film. "The Dream Sequence..." was perfect for him, and the compositions and images are just breathtaking. I have rarely seen an episode of TV look so gorgeous. Credit for this must also be given to director Peter Werner, who really captured the mood and the style of film noir without making it too gimmicky or obvious.
At this time, most TV shows had episode costs of about $900,000 -- Moonlighting was doing double that due to long filming periods and high production values. Whereas another TV show would have done an episode in one week for under $1 million, "The Dream Sequence..." was filmed for the princely sum of $2 million in 16 days. Totally worth it, if you ask me!
The episode begins with Maddie and David walking into a dilapidated nightclub and fighting about whether or not they should take on infidelity cases like the one they're currently working. Maddie feels uncomfortable dealing with them, but David argues that they're a steady and reliable source of income. Their fight is put on hold as they meet with their client, Mr. Bigelow (Phil Rubenstein), who is considering buying the building they're in. When he finds out that his wife isn't cheating on him, however, he grumbles that he won't be able to divorce her and thus can't afford the building.
After he storms out, Maddie and David talk to the owner (Jack Bannon), who wishes that someone would restore the old club to its former glory. He ruminates on all of the old acts and famous people who used to come through its doors, including Ella Fitzgerald and Judy Garland. "And of course there was the famous Flamingo Cove murder," he says, which happened when a singer and a trumpet player killed the singer's husband, each swearing the other did it until the day they died.
It's an intriguing story, so much so that David and Maddie debate during their car ride back to the office who the murderer really was. Maddie believes that the singer was innocent and truly loved her husband, forcing the ruthless trumpet player to kill him. David chides Maddie for immediately assuming it was the boyfriend, arguing that the singer had just as much to gain from her husband's death. Their disagreement devolves into a screaming match with both of them accusing each other of being sexist.
Angry, Maddie goes home and has a drink while listening to a record. As she falls asleep, the camera zooms in on the record and everything turns to black and white. The camera zooms back out to reveal the spectacular interior of Flamingo Cove in its heyday. Playing along to the record is clarinetist Jerry Adams (Bannon); his wife Rita (Shepherd) devotedly listens and snaps her fingers along to the music. Jerry is a gifted and dedicated musician, but he bemoans to Rita that their boss, bandleader Mr. Sloan (Rubenstein), hasn't given him a big break yet. Rita encourages her husband to be patient as they make their way downstairs to rehearsal.
The band begins to practice "Blue Moon" when a loud trumpet suddenly cuts in. We see that the sound is coming from the new trumpet player (Willis), who introduces himself by saying, "Name's Chance. Chance Cash Johnny Brick Lonesome Shane McCoy. But you can call me Zach." Right away the man can't take his eyes off of Rita.
That night, Rita is performing "Blue Moon" and finds herself in a duet with Zach's trumpet. (Side note: Shepherd really did sing in this episode, and she has a lovely voice. Over the years, she has
released many albums, her first one being 1974's Cybill Does It...To Cole Porter.) The new band member is clearly a hit with the audience, and maybe with Rita, too. After the song is over and the curtain closes, Rita scolds Zach for the impromptu way he butted in to her song, commenting that they should have practiced it in rehearsal first. "Why practice? We're perfect together," he replies. Just then, Jerry appears and invites Zach to his and Rita's private rehearsals, believing that the three of them could come up with music arrangements to present to Sloan. Zach enthusiastically accepts, making Rita very uneasy.
The next day, Rita runs into Zach outside of the club and demands that he not rehearse with her and Jerry. When Zach blames this on her growing attraction for him, she quickly denies any feelings. However, as Zach comes closer, Rita gives in and they passionately kiss. Two weeks later, the couple are having a full-blown affair. Rita admits that she has loved and hated these past weeks. Unable to deceive her husband anymore, she decides to end things. As she and Zach argue about it on their way to rehearsal, Rita turns and gets her heel caught in the catwalk, almost falling from a great height. "Hell of a fall from up here," Zach notes, the wheels slowly turning in his head.
After that night's performance, Zach cryptically tells Rita "Tomorrow. It'll be alright, trust me." The next evening, Rita, Jerry, and Zach are rehearsing together. Jerry has felt invigorated by playing alongside Zach, believing that he and Rita have never performed better. It's all very sweet and clueless, which makes the next few moments rather sad. Circling around Jerry, Zach talks about destiny and how some things are just meant to be. Realizing what is about to happen, Rita embraces her husband and tells him she loves him before turning her back as Zach and Jerry's shadows struggle on the wall. Struck on the head with his own clarinet, Jerry dies and is put on the catwalk, where Zach loosens a few
screws.
The couple then hurries to the stage for that night's show. The camerawork and editing is flawless here as it cuts between a distraught Rita singing, a smirking Zach, and a pair of stagehands trying to lift a giant Flamingo Cove sign that is caught on the catwalk. When the men finally get the sign free, they tip over the catwalk's loose boards, which sends Jerry's body crashing to the ground to the club's horror.
Some time later, Rita is at her home being comforted by Myrna (Allyce Beasley, who played Blue Moon's endearingly odd receptionist Agnes). A knock at the door reveals Lt. Matthews (Frank McCarthy). He reports that they believe Jerry's death was an accident -- he was clearly walking on the catwalk to get to the bandstand when he lost his balance from the sign and fell. It appears that the detective is still suspicious of Rita, though, when he asks about Jerry's $20,000 life insurance policy. He is also curious as to how the clarinet became dented when it wasn't involved in the fall.
Lt. Matthews visits Rita again a few days later in her dressing room. In a great piece of staging, Matthews stands in the doorway and as he announces that he is there to arrest her, we see a large puff of smoke appear, the result of someone smoking offscreen. That someone is Zach, who steps into the doorway and says "I had to tell them." A devastated Rita is taken through the rain to a police car, where Zach kisses her off with "Sorry, dollface," before shutting the car door, leaving Rita to her doom.
At this point, Maddie wakes up and calls a sleeping David to yell "I told you he did it!" before hanging up. Slightly dazed, David goes back to bed and we return to Flamingo Cove. Right away we can tell the differences between David and Maddie's dream, our first clue being David's, or rather Zach's, voiceover narration. While still a smooth-talking trumpet player, this Zach is more goofy than coldblooded. Upon entering the club, he becomes mesmerized by Rita. This Rita, of course, is different than Maddie's -- she has all the makings of a femme fatale, or as Zach says, "She's the kind of dame that makes a man grateful he's a man."
Differentiating the women even more is their performance style. Whereas Maddie's Rita stayed stationary and crooned, David's Rita wiggles her hips, dances around with Sloan, and flirts with her audience while singing "I Told Ya I Loved Ya (Now Get Out)." (Fun fact: since Maddie and David worked at Blue Moon Detective Agency, Caron wanted Shepherd to sing Rodgers and Hart's "Blue Moon." She agreed to do it, but only if she was also able to sing "I Told Ya I Loved Ya" in the second sequence.)
It is also clear with this Rita that the writers were influenced by Gilda -- as if her name wasn't obvious enough, she also wears a
black dress and gloves and does Hayworth's iconic hair flip. Anyway, backstage, Zach overhears Jerry being rude to Rita, marking another change from the previous sequence. When Zach comforts her, things take a turn for the romantic: "That night was the beginning. We would see more of each other, then all of each other. But this is television, so we won't get into that."
As you can tell, David's dream is sillier than Maddie's, which is a reflection of the characters' own personalities. Maddie tends to take things more seriously while David likes to have fun and can be crude. This is on full display in the next scene. Wearing a tank top
while playing the trumpet late at night, the narration gives us this gem: "I always play my horn with my shirt off. Late at night. By an open window, next to a flashing neon light. I know I look good that way." But then Rita walks in and the two share some incredibly steamy kisses. The people at Moonlighting knew what they were doing here. Since the beginning, fans had been dying for David and Maddie to get together, but everyone also knew that what made the show so special was the tension between them. With this episode, Shepherd and Willis could do love scenes without making Maddie and David consummate their relationship.
But back to the story. While sitting in bed together, Zach asks Rita why she even married Jerry. She reveals that she wanted to leave her small town, so when traveling musician Jerry popped up at her father's diner one day, she knew she found her way out. Zach then asks why she doesn't just leave him, causing Rita to explain that it's hard for a woman to get a divorce. However, that doesn't mean they couldn't get rid of Jerry by some other means, wink wink hint hint.
Zach isn't thrilled with this turn of events, so he is relieved when the next two weeks go by without any more talk about it. During one particularly hot day, though, the lovers are shacked up in Zach's apartment when Rita once again brings up the murderous idea. She even tries to sweeten the deal by mentioning Jerry's $20,000 insurance policy, but Zach refuses to do it, causing Rita to break things off.
For days, she ignores him. Zach admits to the audience that he misses her, "but I wasn't interested in killing Jerry, and that was that." Or it would have been if Rita hadn't shown up to rehearsal
one day with a black eye. When she implies that it came from her husband, Zach changes his mind and the two start to make their plans.
On the fateful night, Zach asks Jerry if he can join his and Rita's private rehearsal. Then, when Jerry's back is turned, Rita hands a nervous Zach the clarinet and he hesitantly hits Jerry on the head. Zach is horrified, especially when he looks at Rita and finds her smiling. (Out of the Past reference!) The couple drag Jerry to the catwalk and Rita places the clarinet next to his body.
The editing jars us as we quickly cut to an extreme close-up of Rita happily performing. If you somehow didn't think she was unscrupulous before, this shot proves it. Again, there is cross-cutting between Rita, Zach, and the stagehands as the immobile sign exposes Jerry, only this time Zach is visibly sweating. When the body eventually falls, there is a cool rhyme with Maddie's dream as Zach plays a high, sustained note, mirroring Rita's screams in the earlier sequence.
Freaked out by Jerry's murder, Zach becomes restless. As he walks around with giant neon signs passing by him, he wonders "How long was I supposed to walk the streets? How much guilt was I supposed to be feeling? How long would those signs float over my head?" The answer? Not long, because he is quickly arrested after Rita sells him out. His last hope is a pardon from the governor, but when that doesn't come, he is led to the electric chair... with Rita as the one pulling the lever. It's understandable when David wakes up screaming.
That morning, David and Maddie arrive at the office, both of them pretending that they hadn't given the Flamingo Cove murder a second thought. Outwardly, the two of them smile and act polite, but as we hear from their thoughts in voiceover, neither has changed their mind about who the real culprit was.
During its second season, Moonlighting was nominated for 16 Emmys; two of those were for the remarkable cinematography and editing in "The Dream Sequence..." Amazingly, the show lost in every category except Best Editing. Caron has said that this episode and season 3's "Atomic Shakespeare" are the Moonlighting episodes he is asked about the most. They're certainly the two most ambitious, artistically creative episodes the show ever did -- I would even venture to say that they are two of the best episodes of television out there. Luckily, you can find some episodes of Moonlighting on YouTube, including "The Dream Sequence Always Rings Twice!" Just click here and you'll spend the next 50 minutes in total bliss.
__________________
This is my entry to the Favorite TV Show Episode Blogathon, hosted by A Shroud of Thoughts. Check out the other fabulous entries here! | |||||
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"ERIKA D. PETERMAN"
] | 1997-08-01T00:00:00 | Visitation by aliens aside, it appears that this movie season will go down in history as the summer of beautiful, ambitious women who can't get their man _ at least, not without lots of scheming. | en | /pf/favicon.ico | Tampa Bay Times | https://www.tampabay.com/archive/1997/08/01/charmed-i-m-sure/ | Visitation by aliens aside, it appears that this movie season will go down in history as the summer of beautiful, ambitious women who can't get their man _ at least, not without lots of scheming.
First, My Best Friend's Wedding offered us Julia Roberts desperately trying to win a scruffy sportswriter. Now, the otherwise charming Picture Perfect asks us to believe that Jennifer Aniston can't land Kevin Bacon, of all people, without a trick up her sleeve.
But that's a minor sin in this engaging romantic comedy, a successful first outing for Aniston (TV's Friends) in a dominant film role. Light, funny and a little predictable around the edges, Picture Perfect offers a scaled-down but pleasant alternative to summer's blockbusters.
Kate (Aniston) may have a great job at an advertising agency, but her personal life is another story. Her mother, played with hilarious shrillness by Olympia Dukakis, wants her to get married. Her co-worker Sam (Bacon) won't give her the time of day because she's "a good girl." And guess who's the only person qualified to catch the bouquet at a wedding reception?
The ultimate insult is that her boss won't promote Kate because she's unattached and unmortgaged, leading him to believe that she could pull up stakes at any time.
"You're the only person I know who lives like they're still in college," he tells her.
So with a friend's help, Kate simply invents a fiance in the form of Nick (Jay Mohr), a videographer she bumps into at a wedding. And Nick couldn't be further from the two-faced sports agent Mohr portrayed in Jerry Maguire. Nick is earnest. He considers it an honor to videotape people's weddings, bar mitzvahs and baptisms for a living. He rescues small children in his spare time.
His presence also jump-starts Kate's career and gets Sam's attention. But of course, Nick really will fall for Kate. And of course, the plan will go painfully awry.
Picture Perfect may get lost in the big-name bombast of summer, and that's too bad. Because whatever it lacks in star power or surprising plot twists, it compensates with a rare and pure charm.
MOVIE REVIEW: B
Picture Perfect
Director: Glenn Gordon Caron
Cast: Jennifer Aniston, Jay Mohr, Kevin Bacon, Olympia Dukakis, Illeana Douglas, Kevin Dunn
Screenplay: Arleen Sorkin, Paul Slansky and Glenn Gordon Caron
Rating: PG-13 (profanity, sexual situations)
Studio: Twentieth Century Fox | ||||
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"Contributors to Wikimedia projects"
] | 2005-07-18T15:19:11+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Glenn_Gordon_Caron | American television director, producer and writer (born 1954)
Glenn Gordon Caron (born April 3, 1954), sometimes credited as Glenn Caron, is an American writer, director, and producer, best known for the television series Moonlighting in the 1980s and Medium in the 2000s. He lives in Los Angeles, California.
Biography
[edit]
Caron was born to a Jewish family[1] in Oceanside, New York. After graduating from the State University of New York at Geneseo in 1975, Caron studied with Del Close and The Second City in Chicago before working at an advertising agency.[2]
While at the ad agency he was invited by NBC to write a pilot for the network. The pilot did not receive a series order, but Caron's work impressed writer-producer James L. Brooks, who invited him to join the writing staff of Taxi, although he only worked on one episode.
Caron subsequently coproduced the first 12 episodes of Remington Steele (NBC, 1982-'87) before leaving to form his own company, Picturemaker Productions. Caron created Moonlighting (ABC, 1985-'89), a worldwide hit that revitalized the career of Cybill Shepherd and launched the career of Bruce Willis. Between its third and fourth seasons, Caron directed his first feature film, Clean and Sober (1988), starring Michael Keaton. He was fired by ABC from Moonlighting before the start of its fifth (and final) season, reportedly because Shepherd demanded it.[3] Caron then directed three more feature films — Wilder Napalm (1993), starring Dennis Quaid and Debra Winger, and written by Vince Gilligan, who later created the AMC series Breaking Bad; the Warren Beatty-Annette Bening vehicle Love Affair (1994), a remake of the 1939 film of the same name; and Picture Perfect (1997), starring Jennifer Aniston — before returning to television in 1999 as the creator of the short-lived series Now and Again (CBS, 1999-2000).[4]
In 2001 Fox ordered 13 episodes of the Caron-created romantic comedy Fling. Seven episodes were shot, but the network became unhappy with the direction of the series during production and canceled it before any of those episodes could be broadcast.[5] Four years later Caron created Medium for NBC. He also served as executive producer of the show, wrote several episodes and directed the series's pilot episode. It ran for seven seasons, with the last two airing on CBS.[6]
In 2008 Caron wrote a pilot for CBS titled The Meant to Be's,[7] about a woman who dies only to find herself sent back to Earth to help people get their life back on track. However, it wasn't given a series order.
In 2013 Caron wrote a pilot for a proposed Fox series titled The Middle Man. Set in the 1960s, a Boston FBI agent and his Irish-American informant take on the Italian-American mafia. Ben Affleck was attached to direct the pilot episode,[8] but it was never filmed. The following year Fox ordered a pilot for The Cure, a medical drama to be cowritten and coproduced by Caron and New Yorker writer Malcolm Gladwell,[9] but it too was never filmed. Caron was also attached to write a pilot for ITV Studios in 2016 based on Alan Glynn's novel Paradime.[10]
Caron wrote and produced episodes of the first and second seasons of the FX series Tyrant, and in the spring of 2017 he joined CBS's Bull as a consulting producer before becoming the series's showrunner at the beginning of season two.[11] In May 2021, it was announced that Caron would be departing Bull, as well as ending his deal with CBS Studios.[12][13][14]
Awards
[edit]
Caron received the 2007 Outstanding Television Writer Award at the Austin Film Festival.[15] He also won a Writers Guild of America award for his 1985 pilot script for Moonlighting and was nominated for four Primetime Emmy Awards for Moonlighting between 1986 and 1987.[16]
Personal life
[edit]
Caron has been married to his second wife, Tina DiJoseph, since 2006; they have one child. Caron has three children from his first marriage. He is the founder-owner of Picturemaker Productions.[17]
Sexual harassment controversy
[edit]
On December 19, 2018, The Boston Globe published an op-ed by actress Eliza Dushku in which she claimed she was fired by Caron from the CBS series Bull in 2017 after she confronted its star, Michael Weatherly, about sexually charged remarks he had made to her while filming the final three episodes of the show's first season.[18] Caron had been hired as a consulting producer for those three episodes, prior to becoming Bull's showrunner and an executive producer for season two. Dushku had been expected to join the series full-time in season two. CBS paid her $9.5 million to settle her claims of wrongful dismissal and sexual harassment.[19] Dushku signed a nondisclosure agreement as part of her settlement, but after news of the settlement leaked and Weatherly and Caron gave statements to The New York Times — "The idea that our not exercising her option to join the series was in any way punitive just couldn't be further from the truth," said Caron — Dushku said she felt compelled to respond, writing, "The narrative propagated by CBS, actor Michael Weatherly, and writer-producer Glenn Gordon Caron is deceptive and in no way fits with how they treated me on the set of the television show Bull and retaliated against me for simply asking to do my job without relentless sexual harassment."[20] Prior to his exit from Bull in 2021, CBS launched an investigation regarding the departures of multiple writers from the show and whether or not Caron allegedly "fostered a disrespectful work environment during his four-year tenure."[21]
Filmography
[edit]
Television
[edit]
as Writer
[edit]
Year Title Notes 1979 Taxi (ABC) Episode: "The Great Race" 1980 Good Time Harry (NBC) Episode: "Harry Kisses Death on the Mouth" (cowritten by Steve Gordon) 1980–1981 Breaking Away (ABC) Episodes (3):
— "Knowing Her" (1980) (story by Joel Clark)
— "Grand Illusion" (1980) (story by John Steven Owen)
— "La Strada" (1981) (story by Caron and Steve Tesich) 1982 Fame (NBC) Episode: "Alone in a Crowd" 1982–1983 Remington Steele (NBC) Episodes (4):
— "Signed, Steeled and Delivered" (1982)
— "Etched in Steele" (1982)
— "Hearts of Steele" (1983) (story by Charles Rosin)
— "To Stop a Steele" (1983) 1984 Concrete Beat (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1985–1988 Moonlighting (ABC) (created by Caron; 66 episodes) Episodes (7):
– two-hour pilot episode (1985)
– "Brother, Can You Spare a Blonde?" (1985)
– "Twas the Episode Before Christmas" (1985)
– "The Bride of Tupperman" (1986)
– "The Straight Poop" (1987)
– "I Am Curious ... Maddie" (1987) (cowritten by Jeff Reno; story by Roger Director, Charles H. Eglee, Karen Hall, and Ron Osborn)
– "A Trip to the Moon" (1987)
– "A Womb with a View" (1988) (cowritten by Charles H. Eglee)
Writers Guild of America Award for Episodic Comedy (1986)
Nominated — Primetime Emmy Award for Outstanding Writing in a Drama Series (1986, 1987) 1986 Long Time Gone (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1999–2000 Now and Again (CBS) (created by Caron; 22 episodes) Episodes (3):
— "Origins" (1999)
— "On the Town" (1999)
— "Over Easy" (1999) 2001 Fling (Fox) (created by Caron) Seven episodes were shot, but the series was canceled before it ever aired. 2008 The Meant to Be's (CBS) pilot episode not picked up as a series; unaired 2005–2011 Medium (NBC, 2005-'09; CBS, '09-'11) (created by Caron; 130 episodes) Episodes (10):
— pilot episode (2005)
— "Suspicions and Certainties" (2005)
— "A Couple of Choices" (2005) (cowritten by Michael Angeli)
— "When Push Comes to Shove: Part 2" (2005)
— "Knowing Her" (2006)
— "Four Dreams: Part 1" (2006) (cowritten by Javier Grillo-Marxuach)
— "Four Dreams: Part 2" (cowritten by Javier Grillo-Marxuach)
— "And Then" (2008)
— "It's a Wonderful Death" (2010) (cowritten by Robert Doherty and Craig Sweeny; story by Shaun Kasser, Samir Mehta, and Sweeny)
— "Me Without You" (2011) (cowritten by Robert Doherty and Craig Sweeny) 2014–2015 Tyrant (FX) Episodes (4):
— "My Brother's Keeper (2014)
— "What the World Needs Now " (2014) (story by Arika Lisanne Mittman)
— "Enter the Fates" (2015)
— "Inside Men and Outside Women" (2015) 2017–2021 Bull (CBS) Episodes (11):
— "How to Dodge a Bullet" (2017) (cowritten by John A. Norris; story by Norris)
— "Dirty Little Secrets" (2017) (cowritten by David Hoselton; story by Hoselton)
— "Benevolent Deception" (2017) (cowritten by Mark Goffman; story by Goffman)
— "School for Scandal" (2017)
— "Reckless" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "Death Sentence" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "The Ground Beneath Their Feet" (2018)
— "Pillar of Salt" (2019) (cowritten by Nichole Millard and Kathryn Price)
— "Labor Days" (2019)
— "My Corona" (2020)
— "The Ex Factor" (2020) (cowritten by Marissa Matteo)
as Producer
[edit]
Year Title Notes 1980–1981 Breaking Away Supervising Producer (7 episodes) 1982–1983 Remington Steele Supervising Producer (12 episodes) 1984 Concrete Beat Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1985–1988 Moonlighting Executive Producer (53 episodes)
Nominated — Primetime Emmy Award for Outstanding Drama Series (1986, 1987) 1986 Long Time Gone Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1999–2000 Now and Again Executive Producer (22 episodes) 2001 Fling Executive Producer (7 episodes) 2005–2011 Medium Executive Producer (130 episodes) 2008 The Meant to Be's Executive Producer (pilot episode not picked up as a series; unaired) 2014–2015 Tyrant Executive Producer (21 episodes) 2017–2021 Bull Consulting Producer (3 episodes, May 2017)
Executive Producer (80 episodes)
as Director
[edit]
Year Title Notes 1999 Now and Again Episode: "Origins" 2001 Fling unknown episodes 2005 Medium pilot episode 2018–2020 Bull Episodes: "Death Sentence," "Pillar of Salt," "Safe and Sound," "My Corona"
Film
[edit]
as Writer
[edit]
Year Title Notes 1989 The Making of Me short film created for Disney World's Epcot Center 1997 Picture Perfect cowritten by Paul Slansky and Arleen Sorkin; story by May Quigley, Slansky, and Sorkin
as Director
[edit]
Year Title Notes 1988 Clean and Sober 1989 The Making of Me short film created for Disney World's Epcot Center 1993 Wilder Napalm 1994 Love Affair 1997 Picture Perfect
References
[edit] | ||||
7959 | dbpedia | 3 | 46 | https://www.allmovie.com/movie/love-affair-am29743 | en | Music Search, Recommendations, Videos and Reviews | [
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7959 | dbpedia | 3 | 66 | https://geekwithclipons.com/filmmakers/barry-levinson/ | en | Barry Levinson | [
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] | null | [] | 2023-04-06T22:13:54+00:00 | Filmmakers Barry Lee Levinson (born April 6, 1942) is an American film director, screenwriter, producer, comedy writer, comedian and actor. His first writing work was for variety shows such as The Marty Feldman Comedy Machine, The Lohman and Barkley Show, The Tim Conway Show, and The Carol Burnett Show. His early screenwriting credits include the… | en | https://s1.wp.com/i/favicon.ico | I Review Stuff | https://geekwithclipons.com/filmmakers/barry-levinson/ | Filmmakers
Barry Lee Levinson (born April 6, 1942) is an American film director, screenwriter, producer, comedy writer, comedian and actor. His first writing work was for variety shows such as The Marty Feldman Comedy Machine, The Lohman and Barkley Show, The Tim Conway Show, and The Carol Burnett Show. His early screenwriting credits include the Mel Brooks comedies Silent Movie (1976), with Brooks, Dom DeLuise, Marty Feldman, Bernadette Peters, and Sid Caesar; and High Anxiety (1977), with Brooks, Madeline Kahn, Cloris Leachman, Harvey Korman, Dick Van Patten, Ron Carey, and Howard Morris. Levinson had small roles in both films.
He received his first Academy Award nomination for Best Original Screenplay fox Norman Jewison’s …And Justice for All (1979), with Al Pacino, Jack Warden, John Forsythe, Lee Strasberg, Jeffrey Tambor, Christine Lahti, Craig T. Nelson and Thomas Waites. It was one of a few screenplays co-written with his first wife, Valerie Curtin. The two also co-wrote Richard Donner’s Inside Moves (1980), with John Savage, David Morse, Diana Scarwid, and Amy Wright; Best Friends (1982), with Burt Reynolds, Goldie Hawn, Jessica Tandy, Barnard Hughes, Audra Lindley, Keenan Wynn, and Ron Silver; and Howard Zieff’s Unfaithfully Yours (1984), with Dudley Moore, Nastassja Kinski, Armand Assante, Cassie Yates, Richard Libertini, and Albert Brooks.
He received a second Academy Award nomination for Best Original Screenplay for his directorial debut Diner (1982), with Steve Guttenberg, Daniel Stern, Mickey Rourke, Paul Reiser, Kevin Bacon, Tim Daly, and Ellen Barkin. He won the Academy Award for Best Director for Rain Man (1988), with Dustin Hoffman, Tom Cruise, and Valeria Golino.
Other films in the 1980s include The Natural (1984), with Robert Redford, Robert Duvall, Glenn Close, Kim Basinger, Wilford Brimley, Barbara Hershey, Robert Prosky, and Richard Farnsworth; Young Sherlock Holmes (1985), with Nicholas Rowe, Alan Cox, Anthony Higgins, Sophie Ward, Roger Ashton-Griffiths, Freddie Jones, Nigel Stock, Brian Oulton, and Susan Fleetwood; Tin Men (1987), with Richard Dreyfuss, Danny DeVito, Hershey, John Mahoney, Jackie Gayle, Seymour Cassel, Bruno Kirby, Michael Tucker, J.T. Walsh, and Deirdre O’Connell; and Good Morning, Vietnam (1987), with Robin Williams, Forest Whitaker, Kirby, Robert Wuhl, Walsh, Noble Willingham, and Richard Edson.
Levinson received a third Academy Award nomination for Best Original Screenplay for Avalon (1990), with Armin Mueller-Stahl, Aidan Quinn, Elizabeth Perkins, Joan Plowright, and Elijah Wood; as well as a second Academy Award nomination for Best Director for Bugsy (1991), with Warren Beatty, Annette Bening, Harvey Keitel, Ben Kingsley, Elliott Gould, Bebe Neuwirth, and Joe Mantegna.
Other films in the 1990s include Toys (1992), with Williams, Michael Gambon, Joan Cusack, Robin Wright, LL Cool J, Jamie Foxx, and Donald O’Connor; Jimmy Hollywood (1994), with Joe Pesci and Christian Slater; Disclosure (1994), with Michael Douglas, Demi Moore, Donald Sutherland, Caroline Goodall, and Dennis Miller; Sleepers (1996), with Bacon, Jason Patric, Brad Pitt, Robert De Niro, Hoffman, Minnie Driver, Vittorio Gassman, Brad Renfro, Jeffrey Donovan, Terry Kinney, Joe Perrino, Geoffrey Wigdor, Jonathan Tucker, and Billy Crudup; Wag the Dog (1997), with Hoffman, De Niro, Anne Heche, Denis Leary, Willie Nelson, Andrea Martin, Woody Harrelson, Kirsten Dunst, and William H. Macy; Sphere (1998), with Hoffman, Sharon Stone, Samuel L. Jackson, Peter Coyote, Liev Schreiber, and Queen Latifah; and Liberty Heights (1999), with Adrian Brody, Ben Foster, Neuwirth, Mantegna, David Krumholtz, and Orlando Jones.
Films in the 2000s include An Everlasting Piece (2000), with Barry McEvoy, Brían F. O’Byrne, Anna Friel, and Billy Connolly; Bandits (2001), with Bruce Willis, Billy Bob Thornton, and Cate Blanchett; Envy (2004), with Ben Stiller, Jack Black, Rachel Weisz, Amy Poehler, and Christopher Walken; Man of the Year (2006), with Williams, Walken, Laura Linney, Lewis Black, and Jeff Goldblum; and What Just Happened (2008), with De Niro, Catherine Keener, Wright, Stanley Tucci, Moon Bloodgood, John Turturro, Sean Penn, and Willis.
Films in the 2010s include The Bay (2012), with Kether Donohue, Nansi Aluka, Christopher Denham, Frank Deal, and Kristen Connolly; The Humbling (2015), with Pacino, Greta Gerwig, Dianne Wiest, Nina Arianda, Dylan Baker, Charles Grodin, Dan Hedaya, Billy Porter, Kyra Sedgwick, and Mary Louise Wilson; and Rock the Kasbah (2015), with Bill Murray, Kate Hudson, Beejan Land, Zooey Deschanel, Danny McBride, Scott Caan, Leem Lubany, Arian Moayed, and Willis.
Levinson also directed the TV movies You Don’t Know Jack (2010), with Pacino, John Goodman, Danny Huston, Susan Sarandon, and Brenda Vaccaro; The Wizard of Lies (2017), with De Niro, Michelle Pfeiffer, Alessandro Nivola, Hank Azaria, Nathan Darrow, Connolly, Kathrine Narducci, and Diana B. Henriques; Paterno (2018), with Pacino, Riley Keough, Kathy Baker, Greg Grunberg and Annie Parisse; and The Survivor (2022), with Foster, Vicky Krieps, Billy Magnussen, Peter Sarsgaard, John Leguizamo, and DeVito.
Each review will be linked to the title below.
(*seen originally in theaters)
(**seen rereleased in theaters) | ||||
7959 | dbpedia | 3 | 89 | https://www.sporcle.com/reference/clue/glenn-gordon-caronmichael-keaton-kathy-baker-morgan-freeman | en | Glenn Gordon Caronmichael Keaton Kathy Baker Morgan Freeman Crossword Clue | [
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] | null | [] | null | The most likely crossword and word puzzle answers for the clue of Glenn Gordon Caronmichael Keaton Kathy Baker Morgan Freeman | en | /images/favicon-32x32.png | https://www.sporcle.com/reference/clue/glenn-gordon-caronmichael-keaton-kathy-baker-morgan-freeman | ||||||
7959 | dbpedia | 3 | 70 | https://fanfare.pub/the-triumph-of-bruce-willis-b2c7d0a718ac | en | The Triumph Of Bruce Willis | [
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] | 2024-03-19T15:02:31.164000+00:00 | Recently there was a photo of Bruce Willis online that really bothered me, and it took me a minute to figure out why. Willis is wearing a sweater and a piece of paper with his name written on it in… | en | Medium | https://fanfare.pub/the-triumph-of-bruce-willis-b2c7d0a718ac | Not only are Bruce Willis’ family members and friends preparing for a sad goodbye as the actor battles frontotemporal dementia, but they are “extremely anxious” about his weight loss and decreased appetite.
The alarming update of Bruce’s condition comes amid news that his disease has “progressed quickly,” and that wife Emma Heming, Bruce’s five daughters and ex-wife Demi Moore are doing everything they can to spend time with him and keep him comfortable. Bruce – who will turn 69 on March 19 – is already living life in a deteriorated state.
“He’s not totally verbal; he used to be a voracious reader — he didn’t want anyone to know that — and he’s not reading now,” the action film star’s good friend Glenn Gordon Caron revealed about his condition in October 2023, as he tries to see Bruce at least once a month. “All those language skills are no… | |||||
7959 | dbpedia | 3 | 27 | http://itsabadmovie.blogspot.com/2013/07/picture-perfect-1997.html | en | It's a Bad, Bad, Bad, Bad Movie | [
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Film Score: Carter Burwell Cinematography: Paul Sarossy
Starring: Jennifer Aniston, Jay Mohr, Kevin Bacon and Olympia Dukakis I had, of course, seen Jennifer Aniston on Friends, but had never ventured into her feature films. Apparently I haven’t missed much. And in this case, I wish I had. Picture Perfect is far from it: flawed in concept, flawed in execution it is really the definition of a bad film. As the credits flashed by I saw the name Sorkin, which has carried a lot of weight in Hollywood ever since Arron Sorkin’s incredible first screenplay, the smash hit A Few Good Men. But this film was scripted by Arleen Sorkin, a soap opera actress married to Christopher Lloyd the writer, and that makes sense. The screenplay is full of the unprincipled characters that populate daytime television, and not the sort of thing that most people want to see in a feature film, especially a romantic comedy.
Director Glenn Gordon Caron has a little bit more credibility. Having written for romcom TV shows like Remington Steele and Moonlighting he then moved into directing films, including Warren Beaty and Annete Benning’s remake of An Affair to Remember, which was probably why he was given the helm of this film. But his directing career never really recovered after this and he has only directed three TV episodes since while returning to writing. Add to that a score by Carter Burwell, whose music I have never really enjoyed, and the whole thing adds up to much less than the sum of its parts.
Aniston plays a minor advertising executive in a big, New York firm. She comes up with a great idea that lands the firm a big account, and yet she is not put on the team to work the account. Before she can quit in a fit of rage, her boss, Illeana Douglas, tells her to go to the wedding she is attending that weekend and they will iron things out on Monday. At the wedding Aniston meets Jay Mohr, a friend of the groom who is filming the occasion for the couple. At one point she is also caught with him by one of the numerous Polaroids at the reception. When she has her meeting with the boss, he claims the reason she’s not being promoted is that she’s single, she doesn’t need the job and therefore he can’t depend on her not to quit. So Douglas takes it upon herself to show the Polaroid to the boss claiming that Mohr is her fiancé, and suddenly she’s on the team. Another reason Aniston goes along with the deception is because the slimy guy she wants to be with at work, Kevin Bacon, only becomes attracted to her when he thinks she’s cheating on her fiancé. | |||||
7959 | dbpedia | 1 | 7 | https://letterboxd.com/film/love-affair-1994/ | en | Love Affair (1994) | [
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] | null | [] | null | Ex-football star Mike Gambril meets Terry McKay on a flight to Sydney, which is forced to land on a small atoll. They become romantic on board a ship sent to take them to a larger island. They agree to meet in New York three months later to see if the attraction is real. One shows up but the other doesn't. However, a chance meeting brings them together again. | en | https://letterboxd.com/film/love-affair-1994/ | Close to being a note-for-note imitation of the original from way back in the '30s, making it simultaneously throwback-adorable, pointless, lazy, and a curiosity. Helping redeem the refusal to modernize this tale beyond a few minor surface adjustments is the real-life couple in the spotlight. You could boil this entire movie down to "The Warren and Annette Honeymoon", the only movie they worked on together after meeting on "Bugsy", a comfortably old-fashioned romance made directly after they married in 1992. It's one of the most open and self-justifying celebrations of off-screen couplehood that a fictional Hollywood movie has ever indulged in, and good for them. Two great stars funneling their love into their shared profession as entertainers. And they're still…
I must have known this film was made. I was seeing a lot of movies in 1994. This has a cast full of big actors and familiar faces. It just completely left my head that it existed, so it was quite a surprise to be reminded of its existence then to watch it and see so many actors I love starring in it.
Alas, this ends up being a great example of a remake gone wrong. Sure, the bulk of the story and plot remains unchanged from An Affair to Remember. It's all the small stuff. The characters. The beats. Even the performances. Everything just rings less authentic. It's even hard to buy Annette Bening and Warren Beatty – real… | ||||||
7959 | dbpedia | 3 | 32 | http://www.thecinessential.com/reds/filmography-warren-beatty | en | REDS: Filmography Warren Beatty | https://images.squarespace-cdn.com/content/v1/574f0b9a37013b939ab0b866/1464806296219-OPOR5FXDYQ4VGZCRWQQN/favicon.ico?format=100w | https://images.squarespace-cdn.com/content/v1/574f0b9a37013b939ab0b866/1464806296219-OPOR5FXDYQ4VGZCRWQQN/favicon.ico?format=100w | [
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] | null | [] | null | en | https://images.squarespace-cdn.com/content/v1/574f0b9a37013b939ab0b866/1464806296219-OPOR5FXDYQ4VGZCRWQQN/favicon.ico?format=100w | The Cinessential | http://www.thecinessential.com/reds/filmography-warren-beatty | I don’t think my generation has the proper appreciation of Warren Beatty’s career and contribution to cinema—speaking for myself, he has never been a major figure in my relationship to film, with the landmark Bonnie and Clyde being the notable exception. Given his reputation, he hasn’t been incredibly prolific, with only 32 acting credits and almost complete inactivity following Bulworth in 1998.
Another reason why he may not be properly championed is because his crowning achievement, this week’s film Reds, for one reason or another, has seen its acclaim soften over the decades. The film took home three Academy Awards, including Warren Beatty winning Best Director, besting, among others, Steven Spielberg for Raiders of the Lost Ark—a film ripe with nostalgic love by those who haven’t remembered Reds. Of course, comparing Reds and Raiders of the Lost Ark directly isn’t exactly fair as the intended audiences for each is quite different.
Reds showcases the writer and director’s filmmaking and narrative style that can be seen throughout his career. His camerawork isn’t fancy but the cinematography is beautifully classic with a hazy look. Thematically, politics are important even when the films aren’t overtly political, with Reds obviously among his most political work. Narratively, at the center of most of his films is a sweet romance that harkens back to the classic era of Hollywood. Whether or not Beatty is part of the romance, he is always able to generate great chemistry between the stars.
Watching most of his work for the first time to put together this Filmography was a very fun experience. While I still wouldn’t consider Warren Beatty one of the great American auteurs, seeing his diverse body of work together really helped his pet themes gel.
Shampoo [Hal Ashby, 1975]
Beatty’s first screenwriting credit came in veteran auteur Hal Ashby’s sophomore film, the slapstick sex comedy Shampoo. By 1975, Beatty was already a known commodity as an actor, with Bonnie and Clyde, McCabe & Mrs. Miller, and The Parallax View making him one of the major faces of the New Hollywood era and as I previously mentioned, Beatty had extensive work behind the camera as a producer, but a screenwriting credit for someone most notable in front of the camera is always noteworthy. I don’t know the extent of Beatty’s work on Shampoo’s screenplay, though he was co-credited with longtime collaborator Robert Towne, as the film feels so much in line with Ashby’s style. If I wasn’t familiar with Hal Ashby I wouldn’t have known what to expect and probably wouldn’t have had much interest, but Shampoo definitely fits in with his brand of odd, almost indescribable comedic sense. Shampoo is a fairly rambling film, one that doesn’t necessarily feel dialogue heavy despite being all character and situation. That said, there are certainly elements of Beatty here, too, especially the film’s political backdrop that adds an interesting but not intrusive layer to an otherwise non-political sex comedy. As a first script, Shampoo is just fine, but I’d give a lot more of the credit to Ashby’s direction and Beatty’s strong central performance.
Heaven Can Wait [1978]
Warren Beatty made his directorial debut with writer [of The Graduate, among others] and comedian Buck Henry in a pretty simple transition behind the camera. Heaven Can Wait is an adaptation of a popular play of the same name and film remake [of Here Comes Mr. Jordan, not the other Heaven Can Wait, confusingly] that stars Beatty as an NFL quarterback who, after being hit by a car, is prematurely taken by a novice angel [played by Henry] to the afterlife. In order to rectify the mistake, he is given the opportunity to take the body of another poor soul who is in the transition to death. And, of course, hilarity ensues. As a first feature, Beatty doesn’t bring much verve to the filmmaking but Heaven Can Wait is an incredibly enjoyable comedy. Similarly to Shampoo, I’m probably never going to associate the film as being directed by Warren Beatty, instead the film’s sharp screenplay [co-written by Beatty and Elaine May] and an incredible cast of comedic performers like Jack Warden, Charles Grodin, and Beatty’s sweet doofus lead. The film isn’t as bawdy as contemporary comedies like Shampoo, The Bad News Bears, and the like, but it has that carefree 70s quality and complete confidence in its comedy and crazy premise. The film was incredibly popular, the recipient of nine Academy Award nominations and a box office success—a necessity for Beatty to raise money and get distribution for his passion project, a certain 3-hour epic drama about the Russian Revolution and creation of the American Communist political party.
Dick Tracy [1990]
For his first film after the disastrous Ishtar, Beatty may not have had a lot of personal freedom to choose his next project. Perhaps Ishtar kept Beatty aware from making his next true Reds-level passion project but a fun and distinctive genre film turned out to be a fine consolation. Of all his work, Dick Tracy definitely and immediately seems like the outlier. Known for its cartoonish character designs meant to match the popular comic strip noir, the most cynical viewer would point to the film as little more than a cash grab on the coattails of the expressionistic noir comic book film Batman, released the previous year. So, what did Beatty see in Dick Tracy to make his first film in a dozen years, and more importantly, what did he bring to it? Most clearly, Beatty has always been interested in period genre, with Bonnie and Clyde, Reds, and Rules Don’t Apply all recreating the past with a classic style of filmmaking. Dick Tracy is certainly more heightened than those other films, but Beatty plays it with the same dramatic sincerity. Perhaps I’ve just become used to comic book film genre where each new entry has to become the biggest possible film ever made, but Dick Tracy is satisfyingly small, with more attention paid to character and relationships than spectacle. Sure, the film is defined by over-the-top make-up and performance [Al Pacino as baddie Big Boy Caprice is the most Al Pacino possible] and still it is a character like Tess Trueheart [Glenne Headly], the quietest character in the film, who is the most memorable. Warren Beatty's script and direction definitely is a major reason for that.
Love Affair [Glenn Gordon Caron, 1994]
For Beatty’s second screenwriting venture on a film he didn’t direct, he chose to adapt classic romantic melodrama Love Affair for a modern audience. He plays a sensitive ex-quarterback [probably not the same character from Heaven Can Wait though perhaps this is part of a larger Warren Beatty-verse] stuck in a gossip rag relationship who falls in love with a woman during a disastrous vacation—real life wife Annette Bening plays his counterpart. Love Affair’s pacing and construction is the antithesis of Beatty’s first screenplay, a light drama taking its time opposing the scattered hijinks of Shampoo. I haven’t seen Leo McCarey’s 1939 version of the film [that’s something I have to rectify], so I don’t know how much work Beatty put into adapting the story, though it seems like a broad and classic plot that is more interested in character and chemistry. Not surprisingly, as one of Hollywood’s brightest pairs, Beatty and Bening are absolutely stunning together and their comfort with each other propels an otherwise slow plot.
Bulworth [1998]
Oh boy, where to start with this movie? If you’re unaware of Bulworth, Beatty plays a Senator from California who on his re-election campaign trial experiences a mental breakdown. He pays a hitman to kill him and begins speaking his mind about race relations, police brutality, campaign finance, the influence of multinational corporations and the like, all topics that are still as important today as they were in 1998. Oh yeah, he also starts freestyle rapping his new platform. Bulworth is a fascinating mix of corny and politically prescient. To say that Beatty gives it his all is an understatement—it is often embarrassingly difficult to see the character spiral out of control while knowing that these actions were made, words were said by an actual human being, let alone one of Beatty’s stature. Stranger still, but to the benefit of the film, there is absolutely no reason given to why the character begins acting this way, no indication of what the man and politician was really like before the film begins. Bulworth is filled with righteous anger over how our political system has completely rotted because of the control of special interests. Coming from a longstanding member of the Democratic party, Beatty’s frustrations are genuine and will likely ring with many people with differing ideological beliefs who share the same frustrations with the system. On the other hand, though, Beatty’s portrayal of a white, wealthy, middle-aged man who takes on African American slang and style is a tough look. Comically, you can see where he is going with it and the political intentions make sense. But there are definitely moments where the aesthetic is pretty rough. Still, when you cut through the appearance and focus on what Beatty is trying to say, Bulworth is one of the writer and director’s crowning achievements. This is definitely a divisive one, though.
Rules Don't Apply [2016]
Nearly two decades following Bulworth, Beatty returned to his classically styled roots for his most recent film, Rules Don’t Apply. Part Howard Hughes biopic, part Hollywood-set romance, the film feels like something made decades ago. The setting, the look, the tone of the romance all are part of Warren Beatty’s oeuvre even if they feel a bit old fashioned today. Rising Hollywood stars Alden Ehrenreich and Lily Collins star as a young couple who both become employed by the secretive billionaire and their relationship builds nicely over the course of the film—particular elements of the plot keep them from fully consummating their romantic feelings, but this actually works in the romance’s favor as the young leads simmer together on screen. Beatty’s famous presence also plays well into his appearance as Hughes, who needs to be both a mysterious figure but one we completely understand the genius and importance of. His performance is especially understated, working against the showier elements of the character’s crumbling psyche, which works to give him real humanity. Though it was set up with a release to garner awards acclaim, Rules Don’t Apply came and went quickly and without too much buzz. It did find a following among a handful of critics who have sung its praises, though, and hopefully it can build a larger appreciation over time—of course you can say this of Beatty’s masterpiece, Reds, too. If Rules Don’t Apply ends up being Warren Beatty’s final film as a director it would be a fine encapsulation of his work, true to his filmmaking style and interests, even if it isn’t his best or most accomplished film. | |||
7959 | dbpedia | 3 | 65 | https://www.rogerebert.com/reviews/rules-dont-apply-2016 | en | Rules Don't Apply movie review (2016) | [
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"Matt Zoller Seitz"
] | null | Not only do they not make them like this anymore, I'm not convinced they ever did, unless Beatty was involved. | en | /assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png | https://www.rogerebert.com/ | https://www.rogerebert.com/reviews/rules-dont-apply-2016 | All the work is not only meticulous and passionate but unique and often peculiar. Only a temperament as odd as Beatty's would use his final option in a multi-picture studio deal to make a film as problematic, bizarre and wonderful as "Bulworth," about a suicidally depressed Senator who re-creates himself as a rapping political philosopher. Or "Love Affair," ostensibly directed by Glenn Gordon Caron (TV's "Moonlighting") but pretty clearly a Beatty film, right down to its wordless, choppy music montages, sumptuous scenery, and glamour filters so oppressively smeary that they make Beatty look like an extraterrestrial haloed by heavenly light.
Beatty's latest is another proud entry in a strange filmography—not a movie about aviation billionaire and filmmaker Howard Hughes, exactly, although he's in it, and certainly not a Howard Hughes biopic, but a movie that just happens to have Howard Hughes in it. It's a romantic comedy starring a couple of attractive young people (played by Alden Ehrenrich and Lily Collins) who carry themselves like bland ingenues but who quickly reveal themselves as very odd ducks. And it's a historical drama about Hollywood during a period of deep change, the early 1960s, when Beatty was about the same age as Ehrenreich's character, a driver for Howard Hughes, and the major studios were beginning a decline that would ultimately allow a figure as unusual as Beatty to emerge.
Hughes, then 59 but played by a twenty-years-too-old Beatty, doesn't appear until fairly deep into the movie. Like Col. Kurtz in "Apocalypse Now," he's constantly talked about but never seen. In fact he's rarely seen by the people he employs. Like Beatty a couple of years ago, Hughes is described as a filmmaker but hasn't made a new film in ages, and he is increasingly defined by his eccentric behavior. Ehrenreich's character Frank Forbes is a driver for Beatty, shuttling a coterie of approximately 28 beautiful young women to and from various classes designed to transform them into viable movie stars for some unknown project Hughes is preparing to direct. Marla Mabrey (Lily Collins) is a wannabe-starlet who arrives in Los Angeles with her mother (Annette Bening) from a small town, moves into a spectacular apartment paid for by Hughes that overlooks the Hollywood bowl, and starts attending classes designed to make her more elegant, sophisticated and accomplished.
There's a budding love story between Marla and Frank that's complicated by their upbringing: Marla was raised Baptist and lives with her mom, who's peppy and friendly but extremely judgmental, while Frank is nearly as strict a Methodist. It's also complicated by the looming attentions of Hughes, who treats all his young starlets like members of a sheik's harem but doesn't have sex with any of them. In fact the one thing the actresses have in common with Hughes employees is that they've never met Hughes. Hughes communicates with them mainly by phone. Sometimes he calls them up out of nowhere and launches into a very long monologue or starts berating them over some breach of protocol or perceived slight. On payday he has a clipboard lowered from a window of his office while actresses stand down on the street and sign for their paychecks.
Nobody knows what kind of movie Hughes is making or what kind of talent would allow a young actress to win the lead role. And nobody dares ask Hughes for additional details. Everyone who works for Hughes speaks of him the way acolytes speak of a religious figure or cult leader—he's always "Mr. Hughes" even in conversations that occur in complete privacy. Most of the film's characters are distinguished by this mix of slightly bland innocence and eerie fervor.
Marla and Frank keep circling each other, and soon Frank is pretty clearly in love with her. As for Marla, well, it's hard to say; she's tough to read. Eventually Marla does get to meet Mr. Hughes and something like a romance begins; the extreme difference in their ages gives the affair a creepiness that's exacerbated only by Marla's startling ruthlessness (she's genuinely smitten by Hughes but also trying to gain advantage over the competition) and by Hughes' desperate, often heartbreaking loneliness. He's locked himself up inside a vault of his own devising, and it's hard to tell if his obvious mental illness was always this bad or if it was amplified by the strange dictatorial behavior that his money and success allowed him to indulge.
Shot by Beatty's regular cinematographer Caleb Deschanel and co-written by Beatty, "Rules Don't Apply" is a big production that carries itself with the nonchalance of a much smaller one. There are signature, dialogue-free Warren Beatty music montages that cut off abruptly, a soundtrack of vintage pop and swing tunes and classical cues (including a snippet of Mahler's Ninth,which you'd think would be way too heavy for a film this light) and a wild ride in Hughes's wooden airplane The Spruce Goose. The movie runs more than two hours but has about as much plot as one of those inconsequential "programmers" that used to run on the second half of a double bill in the 1930s, and the tone is at once extremely cynical (mainly about how Hollywood entices and exploits starry-eyed young people from other places) and nostalgic for the way things used to be. The cars, the skirts, the heels, the fedoras, the cigarettes and cocktails, the vintage prewar architecture (some of it recreated digitally) all bespeak a longing to go back a specific period in the industry that forged Beatty as a young man, and that his innovative work as both writer and producer (especially on 1967's "Bonnie and Clyde") would help dismantle.
The title song is performed twice, at full length, on solo piano with Marla on vocals, and the movie just sits there and lets you listen. Many scenes are so short that when Beatty cuts out of them you wonder if there's a glitch in the projection. Others go on for five to eight minutes and have the polish and shape of a scene in a play. The film meanders and dead-ends, regroups and starts over. It's a mess, but a glorious one, and it's so clearly the expression of one artist's vision, seemingly immune to studio notes, that when you find yourself wondering "Who on earth could this possibly be for?" you realize that it's a compliment. As an entertainment, "Rules Don't Apply" is iffy, but it deserves an extra half-star for audacity. Not only do they not make them like this anymore, I'm not convinced they ever did, unless Beatty was involved. After the screening I heard a fellow critic say, "I have no idea what to say about that movie." I'd like to think that if Beatty could've heard that, he would have thought, "Victory." | ||||
7959 | dbpedia | 3 | 6 | https://www.wikidata.org/wiki/Q3108798 | en | Glenn Gordon Caron | https://www.wikidata.org/static/favicon/wikidata.ico | https://www.wikidata.org/static/favicon/wikidata.ico | [
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Glenn Caron
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7959 | dbpedia | 3 | 73 | https://www.carycomeshome.co.uk/archive/love-affair-1994 | en | Love Affair (1994) – CARY COMES HOME FESTIVAL | [
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Crowdcast, Saturday 21 November 2020, 2pm GMT
Running time: 1hr 48
Rating: 12
Tickets: Pay what you feel
THIS EVENT HAS ALREADY HAPPENED
Join us for this watch-along of Love Affair (1994) introduced by festival director Charlotte Crofts joined by Ross Wilcock and Fern Dunne.
English Captions made with the help of UWE Filmmaking student Charlotte Butler Blondel. Timed transcript available here.
Warren Beatty (Mike Gambrill, the Nickie Ferrante character) stars and produces this third iteration of the Love Affairs to Remember films, opposite Annette Bening (Terry McKay) and Katharine Hepburn (Ginny/Ginou), in her last screen performance, and an amazing, underrated score by the late Ennio Moriccone.
Part of the Love Affairs to Remember Marathon
You can also catch-up or watch again on our Crowdcast Channel where you can see the full live chat.
What is a “watch-along screening”?
Sadly we can’t actually stream films due to distribution rights, but we aim to create a sense of togetherness in isolation through sharing our love of Cary Grant. Before the start of the screening you need to source your own copy of the film and cue it up ready to play. After a brief 5-10 minute introduction on CrowdCast we will count down and all press play at the same time. The CrowdCast will end and we’ll watch-along together using the #CaryStaysHome hashtag on Twitter and Instagram @carycomeshome.
Viewing options:
Amazon Prime UK £3.49
Amazon Prime USA $3.99
What is “Pay what you feel”?
We want to make our events accessible whatever your budget, but for those that can afford it, we’d really appreciate it if you can give generously to keep the festival afloat in these difficult times.
We rely on ticket sales as our main source of income, but Covid-19 has made this impossible this year, creating a huge shortfall in our finances. We’re a biennial festival so we’re hoping by 2022 we’ll be able to return to live events, but in the meantime we’re determined to celebrate Cary Grant as best we can virtually. If you’ve enjoyed watching this event, please consider donating.
You might also be interested in….
Celebrating Bristol’s status as a UNESCO City of Film, in recognition of the city’s vibrant screen heritage, of which Cary Grant is one of our brightest stars. | |||||||
7959 | dbpedia | 1 | 4 | https://www.rogerebert.com/reviews/love-affair-1994 | en | Love Affair movie review & film summary (1994) | [
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] | null | "Love Affair" depends on grace and style to make its effect, and that's just as well, because most of the people seeing this movie are going to know how it turns out. If they haven't seen the original "Love Affair" (1939) with Irene Dunne and Charles Boyer, or the remake "An Affair to Remember" (1957) with Deborah Kerr and Cary Grant, they've seen "Sleepless In Seattle" (1993), which was about people who loved the earlier films. | en | /assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png | https://www.rogerebert.com/ | https://www.rogerebert.com/reviews/love-affair-1994 | "Love Affair" depends on grace and style to make its effect, and that's just as well, because most of the people seeing this movie are going to know how it turns out. If they haven't seen the original "Love Affair" (1939) with Irene Dunne and Charles Boyer, or the remake "An Affair to Remember" (1957) with Deborah Kerr and Cary Grant, they've seen "Sleepless In Seattle" (1993), which was about people who loved the earlier films.
No, there aren't going to be many people in the audience who don't know what's supposed to happen on May 8 on top of the Empire State Building. When Warren Beatty is pacing around up there, indeed, we almost expect him to be part of a crowd, with Boyer, Grant and Tom Hanks, all partners in misery. That's why it's kind of surprising that this new "Love Affair" works as well as it does.
Part of the effect may be the teasing parallels with real life. When Warren Beatty tells Annette Bening, "You know, I've never been faithful to anyone in my whole life," you have the strangest feeling these words might have passed between them on an earlier occasion. And when the chemistry between them really seems to be working, no wonder: This is one of the most famously happy couples in Hollywood.
The story stars Beatty as Mike Gambril, a playboy sportscaster who is engaged to a millionaire talk show hostess.
Bening plays Terry McKay, who is working as an interior designer for a zillionaire (Pierce Brosnan). They Meet Cute on a flight across the Pacific, and when their plane develops engine trouble and makes an emergency landing on a tiny atoll, they continue their journey aboard a screwy Russian cruise ship, before landing in Tahiti, where Beatty's legendary aunt (Katharine Hepburn) lives in a magnificent house on the side of the hill. To say that these are the sorts of things that only happen in the movies would be an understatement.
What's interesting about the screenplay, written by Robert Towne and Beatty, is that the movie's key turning point takes place, not between Beatty and Bening, but between Bening and Hepburn. Sure, Bening likes the guy, but she distrusts him, and it's not until she sees the real Mike through the eyes of his aunt that she can take him seriously as a potential partner.
Hepburn's scenes steal, and almost stop, the show. She has been old for a long time (she is in her 80s) but this is the first time she has also looked small and frail. Yet the magnificent spirit is still there, and the romantic fire, and she's right for this eccentric old woman, living alone in unimaginable splendor, and feeling an instant connection with the young woman her nephew has brought home.
Part of the magic of the Hepburn scenes is set up by the location, and Conrad Hall's cinematography. There are scenes in the movie - including Beatty and Bening walking across a vast, lush green meadow - that are so radiant your jaw drops open. It's as if nature itself is a co-conspirator in the romance.
The director, Glenn Gordon Caron, is better known for hard-edged material like "Clean and Sober," but maybe that's because there's not much work in Hollywood these days for filmmakers who still believe in the Semi-Obligatory Lyrical Interlude.
The rest of the movie is a slow edging up to the big final scene, the emotionally fraught meeting between Mike and Terry.
Watching it, I realized it was a classic example of what Ebert's Little Movie Glossary identifies as the Idiot Plot; that's a plot that works only because everybody in it behaves like an idiot. One word, and all the misunderstanding would be at an end, so of course that one word is never spoken.
Funny thing. This is one of the few Idiot Plots that works.
Yes, there is a monumental and tragic misunderstanding between Mike and Terry. Yes, their happiness stands to be destroyed because both of them are pussy-footing around, and not saying what needs to be said. But the movie toys with that, and with us, in delicately written dialogue that allows them to say, and not say, everything that needs to be said, and needs not to be said.
Until recently the love story seemed to be a threatened genre in Hollywood. Women characters in movies were more likely to stab you than kiss you. Then came "Sleepless in Seattle" and "Only You" and now "Love Affair," all movies about nice people getting into goofy misunderstandings because they love one another so much. You have to be in the right mood to enjoy movies like this. Or maybe they put you in the mood. | ||||
7959 | dbpedia | 3 | 49 | https://erenow.org/biographies/cybill-disobedience/10.php | en | “TV’S SEXIEST SPITFIRE” | [
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] | null | [] | null | “TV’S SEXIEST SPITFIRE” - Cybill Disobedience: How I Survived Beauty Pageants, Elvis, Sex, Bruce Willis, Lies, Marriage, Motherhood, Hollywood, and the Irrepressible Urge to Say What I Think - by Cybill Shepherd | en | /favicon.png | https://erenow.org/biographies/cybill-disobedience/10.php | GLENN GORDON CARON SAYS THAT HALFWAY THOUGH THE pilot of Moonlighting he realized he was writing the character Maddie Hayes as Cybill Shepherd. He asked if there was any way he could get a meeting with me. When my agent sent me those fifty pages, I immediately recognized the part I’d been hankering to do for a long time. For years I’d studied the screwball comedies directed by Howard Hawks, especially Twentieth Century (1934), Bringing Up Baby (1938), and His Girl Friday(1940). These films glorified Carole Lombard, Katharine Hepburn, and Rosalind Russell—they talked fast and acted sexy, smart, and funny.
Glenn was only thirty but no wunderkind. He’d done a couple of failed pilots, and his main credit was for Remington Steele. I was invited to meet him and his colleague Jay Daniel at a restaurant in the San Fernando Valley. Glenn was boyish, charming, portly, clearly excited by the presence of Maddie Hayes incarnate and not afraid to show it--he later said that his negotiating strength had been hampered when his chin hit the table and his tongue hit the floor. He remarked that he’d seen me in a movie wearing “that dress” (the bias-cut satin from The Lady Vanishes). The first thing I said to Glenn after hello was “I know what this is--it’s a Hawksian comedy.” He had no idea what I was talking about, so I suggested we screen my three favorites to see how overlapping dialogue was handled by the “masters,” and he agreed. We talked about the way the Moonlighting script played with my image as a spoiled bitch, although Glenn claimed to have been largely unaware of my reputation as the most clobbered actress in Hollywood.” There wasn’t an actor in the world who hadn’t been in an ill-suited movie, he said. I’d just had more than my share.
City of Angels is run, none too efficiently, by a character named David Addison, whose creed is “Live fast, die young, leave clean underwear,” and who convinces Maddie to become his partner, renaming the agency Blue Moon after the shampoo for which she was a well-known spokeswoman in her modeling days. Addison is described as an emotional adolescent, cocky and sexually aggressive, whose humor puerile charm ameliorate his obnoxious behavior and language. Apparently there were three thousand men who saw themselves with those attributes because that’s how many actors answered the casting call. Chemistry between actors is either there or it isn’t. I’m not sure you can act chemistry on-screen any more than you can in real life when your well-intentioned cousin sets you up on a blind date with a troglodyte. I thought it was imperative that the chemistry between Maddie and David be genuine, since the show was driven by snappy, overlapping banter and palpable sexual tension. I had casting approval, and when the pile of resumes from David-wannabes was winnowed down to a lean half-dozen, I went to meet them.
ABC’s offices were located in a tall glass tower in Century City, and the casting sessions took place in a long conference room with a wall of shuttered windows. Several candidates came and went, but nothing especially magical was happening. By mid-afternoon, I was weary, picking at bits of tuna arid lettuce from the salads that had been brought in for lunch, when Bruce Willis entered the room.
He was, I would later learn, five years younger than I, wearing an army fatigue jacket, several earrings, and what looked to be the compensatory three-day beard of a man with a receding hairline, the rest of his hair punkishly cut and moussed. There was a careless, desultory way he walked around the perimeter of the big table, keeping his distance from me and sauntering over to Glenn and Jay. His eyes were crinkled and his lips pressed into a mocking smile, a composite that was to become the signature David Addison smirk.
Bruce had been earning a living as a bartender in New York, sharing a walk-up in Hell’s Kitchen with large rats while playing mostly uncredited bit parts, like “courtroom observer” in Paul Newman’s legal drama The Verdict or “diner customer” in a Frank Sinatra movie, The First Deadly Sin, and he had just been turned down for a role in Desperately Seeking Susan that went to Aidan Quinn. Unlike the other actors who’d auditioned, he didn’t especially flatter me; in fact, he actually avoided eye contact, directing most of his vaguely smart-ass male-bonding comments to Glenn, like “Just got off my shift at the bar.” But there was definite chemistry between us, and it escaped no one--the temperature in the room jumped about twenty degrees. After he’d left, I leaned over and murmured, as much to myself as to Glenn, “He’s the one.”
“Are you sure?” he responded. Glenn knew it would require Herculean effort to convince the ABC brass that this quirky, attitudinous guy with negligible professional experience and rather unconventional looks was perfectly cast for a prime-time hit on their network, which was then third place in the ratings. The suits saw him playing “heavies,” declared he was “not leading man material” and asked me to read with better-known actors. The part was actually offered to a clean-cut actor named Robert Hayes, who turned it down in favor of I don’t know what. The only way Bruce Willis would be considered was if I agreed to do a screen test with him. With the camera rolling just as we were about to do the scene, he looked at me with perfect satisfaction and said, “I can’t concentrate. You’re too beautiful.” The suits were convinced.
The week before we shot the pilot, Glenn, Bruce, and I watched His Girl Friday and Bringing Up Baby, as I had suggested. They were the gold standard for the overlapping dialogue we were going to use in Moonlighting. When we showed up on Stage 20 at 20th Century-Fox for the first time, it felt as if both of us were playing roles that were custom-fit by a meticulous tailor. The first time my face is seen is in a montage of photographs on the wall: real Vogue and Glamor magazines, Cover Girl and Clairol ads fm my modeling days. Maddie Hayes would be the ultimate bitch goddess who gets her comeuppance, with a nemesis who engenders conflicting feelings of outrage and attraction. The character of David Addison was bearable, even likable, precisely because he just loved being a jerk, as, I was to discover, did Bruce Willis.
In the pilot’s climactic scene, we were being chased by a diamond thief onto the roof of the historic Eastern building in downtown Los Angeles, where I was suspended from the minute hand of a clock face twenty-five feet above the fourteenth floor. I’m a gung-ho girl, and I declared that I wanted to do enough of the stunt so the audience believed it was really me. Half a dozen crew members were lined up single file on the narrow plywood platform of a steel scaffold that was swaying in the Santa Ana winds. The hairdresser was terrified of heights and had declared in the lobby, “I’m going to have to do your hair down here,” but my makeup man, Norman Leavitt, gamely came up to the roof, passing powder puffs and lip stick stuck into a Kleenex box out to me from his precarious perch. The director of photography, Michael Margulies, was communicating via miked headphones to the four camera crews. Suddenly I panicked, and grabbing two handfuls of Michael’s brown leather jacket from behind, I screamed, “I can’t do this! I can’t do this!” But he couldn’t hear me. When he felt the tug, he turned around and said, “Did you say something?”
“No, I’m okay.” And, having momentarily vented, I was.
For two weeks of shooting, Bruce was upbeat, lighthearted, fun. But it wasn’t long before his mood darkened, particularly during visits from his girlfriend, the former wife of Geraldo Rivera, who sat in the wings with her arms crossed, looking as if she had smelled something bad. (“She disapproves of me doing television,” he confided one day.) Her visits became less frequent, eventually ending altogether, but he remained cranky and aloof. Almost automatically, we had off-camera spats just before our scripted ones, but they seemed like a harmless way of working up to the emotion of the scene. It did not escape me that the growing attraction between Maddie and David mirrored what was developing between the actors who portrayed them. After one particularly heated rehearsal, I walked off the set with him and said, “Are we going to do something about this or what?”
He looked startled but not unpleasantly so, and then squinted his familiar half smile. “Why don’t I come over to your place tonight?” he said.
There was a bottle of Gentleman Jim in his hand when he knocked on the door of my apartment, and it wasn’t long before we were passionately sucking face. “Maybe we shouldn’t do this,” I said, feeling ambivalent and aware of the potential complications. “We might be working together a long time.” But we were quickly too far gone in a lusty, missionary embrace, leaning halfway back on a La-Z-Boy lounger that tilted almost to the point of toppling over.
Suddenly he stopped, arched his back, and looked at me with lines creasing his forehead. “Maybe you’re right,” he said, grabbing the wide arm of the chair for support as he pushed off and stood up. Rearranging himself as well as his remaining clothes, he announced, “I think I’ll go to the bathroom.” When he returned, he picked his jacket up from the floor where it had landed, mumbled something about getting a good night’s sleep, and was gone. Maybe Bruce liked the chase better than the catch. Maybe he preferred the character to the real woman. We never did finish what we started in private, but anytime we had a kissing scene, he stuck a big camel tongue halfway down my throat.
For the pilot of Moonlighting, my hair was sleek and unteased. Before every scene, I’d bend forward and brush it out, but Glenn and Jay said that took too long, so for some of the later episodes, my hair was teased and sprayed into an effusive helmet that looked like a wig. Unsolicited, Bruce commented that my hair was “dippy,” which I assumed to be a derisive colloquialism from his New Jersey boyhood. No one had taken such an interest in my hair since my mother obsessed about my darkening blonde tresses. Certainly L’Oreal thought enough of me for all those commercials in which I purred, “I’m worth it.” And Bruce was on thin ice: his own bare scalp was filled in with greasy dark cosmetic pencils for the camera. After one too many sarcastic remarks, I snapped, “At least I have some hair.” Turns out he did too, just not on his head. Bruce liked to moon the crew, and I got so tired of seeing his hairy ass that I finally said, “Could you give me some warning so I don’t have to look at it every time?”
I averted my eyes from the lively procession of young women in and out of Bruce’s motor home, until he met Demi Moore and settled into some version of monogamy. (I can attest to the fact that she taught him how to kiss.) But I was hardly in a position to judge anyone else’s personal life. A cousin was getting married in Memphis, and I had no prospects of an interesting escort for the wedding. (If the tabloids had only known the headline they were missing: FORMER BEAUTY QUEEN DATELESS.) I asked a friend to set me up with a warm male body, and her suggestion turned out to be a broad-shouldered, six-foot-four cycling champ who’d missed qualifying for the Olympics by a millisecond. He picked me up wearing Clark Kent glasses and a tailored tuxedo jacket over a tartan kilt, complete with sporran, the furry-pouch that substitutes for a pants pocket. (What are men supposed to be carrying around in there anyway?) He had impeccable manners, spoke with ease about a variety of subjects from sports to feminism, and it wasn’t long before I discovered that real Scotsmen don’t wear anything under their kilts. But I was thirty-five and he was eighteen.
If the ages had been reversed, our romance wouldn’t have caused so much as a ripple of censure. As it was, we were a perfect sexual match. We ignored public opinion and defied our families by continuing to see each other for the duration of my stay and on subsequent visits. When he picked me up at my mother’s house for a bike ride wearing the kind of cyclist shorts that hug the thighs and leave little to the imagination, Mother took me aside and chided, “Cybill, he’s nasty in those pants.” After a few months of long-distance romance, he left his job in the family business and followed me to Los Angeles. He rented his own apartment, but I couldn’t prevent Clementine from developing a five-year-old’s crush on him, getting into my makeup and doing a pretty good imitation of a mini-femme fatale when she knew he was coming over. His affluent father stepped up the campaign to separate us by implying that I was a gold digger, even offering to retire if his son came back to run the company, and finally issued an ultimatum: the business or the blonde. It was up to me to decide my young lover said, and I couldn’t ask him to stay. I didn’t want to get into another situation where I was supporting a man, I had no interest in marriage, I couldn’t even promise fidelity. I suppose I was really waiting for some grand gesture from him, something along the lines of “I don’t care what my family says, you’re the only woman in the world for me.” Asking me what to do was tantamount to telling me he wasn’t ready to commit. I relinquished any hold.
I left home at 5 A.M. each day. Moonlighting scripts were close to a hundred pages, half again as long as the average one-hour television series. Almost from the moment the cameras started rolling, we were behind schedule, sometimes completing as few as sixteen episodes per season and never achieviming ove standard twenty-two. It became customary to make up time with a “tow shot”: loading a car onto a trailer and pulling it. Since we were just sitting in the car, there was no need to rehearse or “block” our places during the scene. We literally cut up the pages of script and taped the scraps to the dashboard--no time to memorize. The only respite was when the writers gave long speeches of “exposition” to guest stars, but Bruce and I were so exhausted that while we listened we often looked as if we were sleeping with our eyes open. Some of our highly touted innovations--like “breaking the fourth wall” and speaking directly to the camera in a prologue or a postscript--were born of necessity, to fill time, since we spoke the dialogue so quickly.
At $1.5 million per episode, Moonlighting was reportedly the most expensive show on television at the time. But it was one of the first in-house productions at a network, one of the rare hits for ABC (still in third place), and nobody was going to tell Glenn Caron how to run his show. His reputation, an image that he enjoyed and cultivated, was that he thrived on deadlines. In a Time magazine article that called the show “ABC’s classiest hit and biggest headache,” he blustered, “It sounds pompous, but maybe it’s irresponsible to bring a television show in on time and on budget every week and have it be on nothing.” (There was a private joke in an episode that featured a tabloid parody called The National Pit with a headline claiming: “Dr. Caron Discovers Antidote for Stress.”) He often went to the studio before dawn to write a new scene, handing us pages of dialogue when we showed up later that morning. The writing was inspired and edgy, and I’ll take last-minute changes that good any day. But the routine was grueling. We’d start on Monday at 7 A.M. and work until 9 P.M. Union rules stipulated the length of time actors need to break before reporting back to work, and we had to be paid an extra $1,000 if we didn’t get a twelve-hour turnaround--it’s called a “forced call.” To avoid that expensive penalty to the producers, we’d start on Tuesday at 9 A.M. and go until 11 P.M. Then on Wednesday we’d start at 11 A.M. and go until 1 or 2 in the morning. And I’m not a night person. Plus there was a different director every week because the previous week’s director was in the editing room. It took me ten long years to make my comeback and only one to feel trapped by my success.
As soon as I found out we were to do a mammoth food fight, I went directly to Glenn’s office and asked him if Bruce and I could get hit in the face with pies. Glenn laughed and told me that if I wanted to be hit in the face with a pie I would have to ask Bruce myself, which I did. Bruce chuckled for a minute and then asked, “Who’s going to throw the pie?” I suggested someone neutral like our stunt coordinator, Chris Howel, and Bruce agreed. He and I clocked in a twenty-two-hour day for that food fight with the reward at the end being a refreshing pie in the face, accurately heaved by Chris. It was one of the finest moments for all involved.
BURNOUT IS A GIVEN IN SERIES TELEVISION, BUT IT doesn’t come with a warning label, and my experience is that it doesn’t bring out the best in people. I’d recover a little less each weekend until finally I never recovered, feeling the kind of fatigue that depletes every resource, including civility. Once when we were filming at the Ambassador Hotel, a woman in the lobby approached me for an autograph at just the wrong moment and I snapped. “Leave me alone,” I said dismissively, and when she looked rightfully aghast, I countered, “I have a right to be a bitch.” I really lost it at the end of one fourteen-hour day when I was called down to a basement on the old 20th Century-Fox lot for looping: redoing dialogue that hasn’t been recorded clearly or doesn’t have the right inflection of voice. The sound engineer was late, and I finally said, “Get another sound man.” Then for an hour the bucktoothed associate producer gave me line readings on how to improve my performance (“Do it faster, now do it slower, really be angry, now a little less angry”). It was a manipulative power trip to make me jump through hoops. I was furious, and thrashing my arms in lieu of tearing out my hair, my hand came smashing down on the script stand, sending it crumpling to the floor.
I was almost sleepwalking. Once you reach that level of fatigue, it doesn’t matter how much money you’re making. The whole crew is affected, but they don’t have expectations of physical perfection imposed on them as the on-camera people do, and it’s worse for women. The face that stares back from the mirror at 5 A.M. under that kind of strain is not a pretty sight. I developed the clenched look of a soldier with post-traumatic stress disorder. But I was held to a much more stringent standard of beauty than Bruce, with two or three hours in hair and makeup every day compared to his fifteen minutes. I was blamed if I looked exhausted, whereas squinty eyes and a two-day stubble only added to David Addison’s rakish allure. I insisted on wearing outfits with cinched waists: I have an old-fashioned hourglass figure, with broad shoulders and a big butt, and if my waist isn’t accentuated, I tend to look like a Green Bay Packer. Our characters often wore sunglasses to look cool--a special design with flat rather than curved lenses that didn’t reflect the set lights--that had the added benefit of covering dark circles. Gerald Finnerman, the director of photograph., very kindly had a special sliding filter made for the lens of the camera, so when it panned from Bruce to me, the heavier diffusion was slid into place to make me look “prettier.”
Angela Lansbury, my esteemed colleague from The Lady Vanishes, was starring in Murder, She Wrote, and I asked her to dinner, seeking wise counsel from someone with a similar daily grind. “There’s no way to survive an hour television format unless there are some ground rules,” she said. “I come in at six A.M. and I leave at six P.M. Period. And I never start the season with fewer than eight scripts.” But when I went to Glenn with this supplication, he just laughed.
“You might as well forget that,” he said, “because it’ll never happen.”
At the beginning of our second season, Orson Welles agreed to introduce an episode called “‘The Dream Sequence Always Rings Twice”—an astonishing favor to me, rarer than a returned phone call in Hollywood. Standing on a set rigged to look like his office, he cautioned viewers not to be alarmed (an homage to his 1938 Mercury Theater broadcast of The War of the Worlds when, as a Halloween prank, he described a Martian invasion so vividly that thousands of listeners panicked). Approximately twelve minutes later, he explained, the picture would change from color to black and white. I was working at another location the day the scene was shot, and I kept thinking: I have to go see Orson, but I waited too long, eerily like Marlene Dietrich’s character in Orson’s classic film Touch of Evil: Marlene runs after Orson to say good-bye but arrives too late and finds him floating face up, dead in the water. Two weeks after he did his Moonlighting bit, Orson died in his own office, slumped over a typewriter, and was buried in a Spanish bullfighters’ graveyard. The episode, which was dedicated to him, unfolded from conflicting points of view like Rashomon (also reflecting what was happening on the set), switching between bad-David-good-Maddie and good-David-bad-Maddie, giving Bruce vintage ribald innuendo (“We would see more of each other, then all of each other”) and me variations on Mae West’s signature “When I’m good, I’m good, but when I’m bad, I’m better.”
After a long professional drought, I reveled in the reviews and ratings for Moonlighting, lapping up my new designation as “TV’s sexiest spitfire” in an “ouch-she’s-hot comeback.” (Perhaps most satisfying was Peter’s report of a call from Cary Grant saying, “You were right about her all along.”) But our first year on the air, the Emmy nominating committee lumped the show into the comedy category with sitcoms, which are, by definition, joke-driven. The competition was Family Ties, Cheers, Kate & Allie, Night Court, and The Cosby Show (which won). Moonlighting didn’t get any nominations until 1986, when we were reclassified as a drama, “leading the pack” with sixteen nominations. It was a huge disappointment that we only won one--for editing.
You can get pushed over the edge of exhaustion on a crappy job too, but when the material is good and the people are passionate about it, everyone tends to be in even more denial, making excuses for their bad behavior. You tell yourself: This is so clever, so classy, so valuable, that it’s worth the sacrifice, and meanwhile a little voice inside your head is screaming for sleep, sanity, salvation. In scientific studies, too many rats in a cage will attack and eat one another alive, even if they have enough food. It’s an apt metaphor for the Moonlighting set, and we were all under pressure. Bruce Willis had never experienced anything close to this kind of success, and his reaction to it exacerbated the situation. The man whose high school yearbook recorded that his ambition was “to become deliriously happy, or a professional harp player was suddenly rich beyond imagination. He bought a black Mercedes and a 1966 Corvette. I understood the heady mix of fame, money, groupies, and feel-good treats. I’d already been there and back, but Bruce was on his maiden voyage. The first time I experienced sudden success, I had my insufferable moments too.
There was a real cultural difference between a guy from “Joisey” and a girl from Memphis. In the South, what is considered acceptable behavior has at least a patina of courtesy and formality. That kind of ingrained etiquette has both positive and negative aspects: you may not know what someone really thinks of you and there’s a lot of “Honey child this” and “Darlin’ that” covering up savage feelings, but on the surface it’s Sunday school gracious. The roots of my steel-magnolia temperament run deep, and I always try to alleviate tension with humor. I had my fan photo made into a dartboard and sent one to Bruce and one to Glenn, complete with darts and a poem: “I’m giving you my picture, I hope you’ll treat it nice, you can hang it in the attic to scare away mice.”
I indulged in regular therapeutic massage to help cope with the stress of the shooting schedule, during which I could feel body and soul coming back together. One day my masseuse opened her big canvas bag and pulled out a tape called Woman’s Spirit, a guided meditation with one’s female ancestors. Lying on the backseat of my limousine on the way to the studio, I would listen to the tape and imagine myself in a field, holding my mother’s hand, who was holding her mother’s hand, who was holding her mother’s and going back to a time of safety and peace. I was searching for a spiritual anchor, I needed to make God a holy and forgiving mother.
Despite massage, I developed debilitating headaches and a back stiff enough to build condominiums. A friend recommended a chiropractor who was known to make house calls and “set calls” for actors. When Bruce Oppenheim came to treat me during a late shoot, it was close to midnight and there was hardly room for his table in my trailer. I’d never had chiropractic work, but he had such strong hands and worked so quickly that I didn’t have time to get nervous. The disappearance of my headaches made me an instant believer, and his twisted sense of humor made me laugh. I started having “adjustments” about once a month, and with my skewed sense of boundaries, it didn’t seem to matter if I was dating a health-care professional who was treating me. He didn’t seem to be troubled by it either.
With the first serious money of my life, I bought a house at the end of a cul-de-sac in the Encino hills, framed by two stone lions. I removed the previous owner’s expensive bad taste, and replaced it with my own expensive bad taste. Mother always said, “All your taste is in your mouth, girl.” Behind sliding glass doors was a pool lined with small gold tiles that made me feel like I was swimming in liquid gold. Bruce brought me tea and melon in bed at the crack of dawn, then biked with me a dozen miles to the studio. Right before we left, I’d have a can of Mountain Dew plus a cup of coffee, so I felt like I had been shot out of a cannon. A teamster would drive me and the bike back at the end of the day, and Bruce often cooked dinner while I spent a little time with my daughter. He let me know that he’d never really considered having children of his own, but his relationship with seven-year-old Clementine was warm and affectionate. We already felt like a family.
Even though I was bone weary, I well knew the lesson about striking while the iron was hot--and I had lived through some cool-iron times--so I spent a springtime hiatus from Moonlighting doing a television remake of The Long Hot Summer, based on a short story called “‘The Hamlet” by William Faulkner. I wanted to play the role originated by Joanne Woodward but was pronounced “too pretty” (although hardly prettier than Don Johnson, the hot star of Miami Vice, who was playing the Paul Newman role). Such distinctions seemed unfathomable anyway when they gave the part to Judith Ivey, a lovely-looking actress who was deemed more serious, after making her do four screen tests and telling her she wasn’t pretty enough. I was cast as the libidinous daughter-in-law originally played by Lee Remick.
The opulent homestead of the fictitious Varner family in “Frenchman’s Bend, Mississippi” was replicated by the Oak Alley Plantation in Thibodaux, Louisiana. It had an unpaved road lined by stately two-hundred-year-old live oaks draped with Spanish moss, leading up to the white-columned mansion. Its several caretaker cabins with screened porches had been converted to guest houses. A high levee with a gravel road on top separated the house and the river, and I walked there every chance I got.
On a job with such a large ensemble cast, there’s lots of time to sit around, which means more time to read. One afternoon while waiting on the screen porch of one of the converted caretakers’ cabins, the book I chose would have an enormous impact on the direction of my life. It was Outrageous Acts & Everyday Rebellion by Gloria Steinem. Although I had called myself a feminist for fifteen years, I realized I had not committed a single Outrageous Act in any public way to support women’s reproductive freedom or any other civil rights issue. It was also around this time I became aware that Congress had disallowed funding for abortions for poor women. Pregnancy as punishment because you’re poor? It was one of those big moments in life when you say, “Hold on a minute missy, that ain’t right!” Determined finally to become part of the solution, I called Ms. magazine and asked to speak to Gloria Steinem, the magazine’s founder, whom I had met briefly at a party in Manhattan a few years earlier. She took my call immediately and without wasting time. I asked what I could do to help the cause.
There’s a political action committee I’m involved with called Voters for Choice, she began. “They’re in need of a strong morally committed spokesperson. Would you consider that?”
“Yes,” I said without hesitation. I was finally on my way toward exorcising the demon of political inaction and apathy that had been brewing since my childhood when I had been surrounded by the racism of the segregated south. But once I started speaking out there was no stopping me. I marched on Washington for reproductive freedom and women’s equality, I spoke at fund-raisers for pro-choice candidates like Ann Richards (governor of Texas), Barbara Boxer (senator from California), and Bill Clinton (president of the United States of America). I marched again on Washington for gay and lesbian rights, I helped dedicate the Civil Rights Museum in Memphis, and was called to testify before a House subcommittee on the U.S. approval for RU-486. To this day, I believe that any excuse to discriminate against any group of human beings violates their civil rights. Regardless of their skin color, religion, sex, or sexual preference, all people must be treated equally. To do otherwise is un-American. Because of my advocacy for these basic civil rights, Gloria Allred, my longtime friend and fighter for feminist issues, asked me to seriously consider running for president of the United States in the year 2000.
But let’s go back to the fun and games on the set of The Long Hot Summer. Don Johnson and I were aware of an intense attraction the minute we met. When ten journalists arrived for a press junket wanting to photograph the steamy scenes between us, they were astonished to hear that in the four-hour miniseries, there were none. I told the director and the producer, both separately and together, “You’re crazy if you don’t write at least one scene for Don and me.” Unfortunately, it was assumed that I was trying to pad my part. Just because we were forbidden to explore our flirtation on-screen didn’t mean we couldn’t follow up on it in private. One night, as I relaxed on the screen porch of my little cabin, I heard a man’s voice purr, “Ohhh, Miss Eula” (my character’s name).
I responded, “Why, Mr. Ben Quick” (Don’s character’s name). “What are you doing here?”
“I’d just like to pay my respects, ma’am.”
I opened the screen door a wedge. ‘’Why don’t you come on in and sit a spell.”
We lasted a nanosecond on the porch and then rapidly progressed to my bed. It was like wolfing down a candy bar when you’re starving--fast, furious, intense--and it was all over in five minutes. Somehow we never got around to another five minutes, since “Mr. Quick” moved on to one of the hairdressers, who thereafter acted as if I had bad breath.
The gracious and genial Jason Robards, who was playing the family patriarch, was well loved by the crew, but Don was not a favorite. He told too many of them too often how they could do their jobs better. A palpable tension seemed to arise when he walked on the set and disappeared when he left. Everyone was in awe of Ava Gardner, who was playing the mistress of the domineering Will Varner. We hadn’t done our one scene together yet and nobody, had bothered to introduce us. One night while we were shooting out in the middle of a swamp, the air-conditioning in my tiny trailer kept breaking down, and I decided to walk over to her trailer to say hi and introduce myself, I had just raised my hand to knock when the door flew open and slammed against the side of her trailer. Fortunately, I had leaped back into the darkness in the nick of time. I froze and watched, unseen in the shadows. Her hair was in rollers, and she was swaying, holding a bottle of white wine by the neck. Suddenly, she began screaming, “JASONNNNNNNNN!” I hightailed it out of there, but later that five mithe crew was setting up the dramatic fire finale and we were taking our places, I dared to approach her again.
“Ms. Gardner, I am thrilled to be working with you.” It took her a while to focus on me. Then she belched out a slurpy, “SHADDDUPP!”
The next day around the motel pool, she seemed alert and agreeable, throwing her glorious neck back with a rich and lustful laugh I. took one more risk. “Ms. Gardner,” I said, extending a tentative handshake, “I’m Cybill Shepherd.”
“Oh, hello!” She beamed, flashing that profoundly sexy Ava Gardner smile. “It’s so nice to meet you.” The previous night had never happened.
Almost immediately I could tell that The Long Hot Summer was going to be a stinker. In one scene I actually begged not to have a close-up, and they agreed. The miniseries was so bad it was appropriately dismissed as “irredeemable, paltry and barren” by the Washington Post TV critic Tom Shales, who noted of my performance, “She seems playfully aware that the movie is garbage.” It was shown on CBS opposite Moonlighting. Moonlighting won the time slot.
IN JANUARY 1987 I WAS GETTING DRESSED FOR THE Golden Globe Awards, and my dress didn’t fit. There was no mistaking the reason. The stomach pooches out more quickly in a second pregnancy because the muscles have been pregnant before. By the time I scheduled a doctor’s appointment, a test was a formality--I was so violently nauseated I couldn’t eat.
When the obstetrician got the results back from the lab, she called me. “Either you’re further along in your pregnancy than you thought,” she said, “or you’re having twins.”
I dismissed this possibility, even though my grandmother’s sister and their grandmother had had twins.
It was recommended that I see a specialist for an early ultrasound. Two hours before the time of my appointment I was supposed to drink eight glasses of water (a full bladder lifts the uterus into a good position for a sonogram). I forgot and didn’t start chugging on a big bottle of water until I was in the car on the way to the appointment, so when the doctor moved the probe over my abdomen, his face registered concern: he saw two amniotic sacs but he could detect only one heartbeat. I tried not to panic as I lay on the table in an ungainly position, pushing images of dead babies out of my head, while we waited for the water to do its thing. When the doctor came back to make another pass, his face brightened. A second heart was beating in syncopated rhythm with its sibling.
When I called Bruce at his office, I started with, “Honey, I want you to sit down.”
“Why?” he said.
“Just do it,” I insisted. “We’re having twins.” There was no response at first, then a slow “Whaaaaaaaaaaaaaa-”
“It could be worse,” I interrupted. “It could be triplets.”
A twin pregnancy is considered high risk for any woman, let alone one closing in on forty, and I had to see three different OB-GYNs before I found one who didn’t make me feel doomed, reading me a riot act list of all the horrible things that could happen. I called Peg Burke, one of the midwives who had attended Clementine’s birth eight years earlier.
“The rate of cesareans in Southern California is twenty-five percent,” she said sympathetically. “Lotsa luck.”
“There’s got to be one doctor in Los Angeles who’ll give me a chance for a natural delivery,” I said. “Isn’t there a nurse-midwife I can call?”
She suggested Nancy Boles, head of the midwifery program at the University of Southern California Medical School. I told her I understood that I needed to have a doctor present, but I wanted the same kind of midwife ntment rt I’d had when my first child was born.
“Yeah, I know,” she said, the voice of resignation, “even though I’ve delivered two thousand sets of twins myself.” I asked her to recommended a doctor, and she mentioned Jeffrey Phelan, who had recently published an article about a technique called “version,” in which the doctor turns the unborn child into the proper position for birth. He had won Nancy’s heart when she heard that he made his male medical students get up in the stirrups to see how their female patients felt during a pelvic exam.
People can be really dumb about a twin pregnancy. No woman who’s given birth would ever say chirpily, “That’s the way to do it: get it over with all at once.” Dr. Phelan had a more experienced take. “I wish twin pregnancies on my enemies,” he told me sympathetically, acknowledging the difficulty of dealing with twice the hormones, twice the heartburn, twice the discomfort, twice the nausea, twice the risk. I was not going to be a radiant bride.
I have a photograph of my mother and stepfather, Mondo (they had married eight years earlier), holding a shotgun at my wedding to Bruce, who made a happy adjustment in his thinking about parenthood. A rabbi pronounced us man and wife in the shortest ceremony possible that was still legal. My gown was an antique ceremonial silk kimono, cream-colored with gold and orange fans. It was a wedding gift from my friend Kaori Turner (her mother had worn it), who also procured a black kimono for Bruce and a pink one for Clementine. The dining room of our house had been made into a Japanese tearoom, with rice-paper walls and tatami flooring. No shoes, which have always seemed a form of bondage to me, and no rings--I’ve never been big on jewelry.
Helicopters were circling over the house, trying to get a shot of us or celebrity guests. (There were none, just twenty close friends. My father couldn’t be in the same room as my mother, my sister didn’t want to travel, and my brother and I weren’t talking to each other because we had a dispute about money. The photo exclusive went to David Hume Kennerly, who was one of Bruce’s friends and had won a Pulitzer for his Vietnam War coverage and had been the White House photographer during the Ford administration. A tiered white cake with a porcelain bride and groom and two baby carriages followed a steak dinner--ironic, since I had been fired as a spokesperson for the Beef Council because a journalist wrote that I was trying to eat less red meat. My mother, who knew me to lick the steak platter before I washed it, had exclaimed. “Are they crazy?” and threatened to write the council a letter. But my attorney later told me that the real reason was because I was pregnant before I was married, a highly publicized fact.) I was asleep by seven o’clock. The next morning, I reported back to the set, and Bruce went into his office, working underneath an eight-by-ten glossy of me from my days as his patient, inscribed, “Dear Bruce, I’ve seldom had such a laying on of hands. Love and thanks, Cybill.”
My pregnancy further widened the chasm between me and the producers, who reacted as if the news was a thoughtless inconvenience. Other television actresses had been allowed to work real-life pregnancies into plotlines and production schedules. When I suggested a similar approach to Glenn Caron, his response was a tepid, “Well, you don’t leave me much choice.” Despite the fact that I developed gestational diabetes and was forbidden to work during my last trimester, I occasionally went to the studio against doctor’s orders. But Glenn continued to act as if I were personally, purposefully screwing him over (and would later claim that my pregnancy had destroyed Moonlighting). He attempted to accommodate the situation by having Maddie meet a short, stocky man on a train and marry him three days later. When I strongly voicd my objection that the character we had created in Maddie would never do such a thing, Glenn said words to the effect of “Just shut up and do your job, you’re not producing this show.”
I had doctor appointments every few days to ensure that the twins, whose welfare was compromised by the diabetes, were healthy and developing on schedule.
Eight-year-old Clementine, who had been begging for siblings, announced that she wanted to be present for their arrival. My midwife put together a slide show of some of her other births to prepare Clem for the noises Mommy would make, the presence of blood, and the fact that I would be in pain. After only two slides, Clementine put up her hand and said, “I don’t want to see anymore, Mommy. Just call me when the babies are cleaned up.’’
Soon thereafter, she announced, “I’ve changed my mind. I’ve decided I don’t really want a brother and sister.”
“Well, what should we do when they’re born?” I asked calmly. “Should we throw them out the window?”
She frowned. “Nobody ever asked me about this, you know,” she said.
A few weeks later, she came to me with a proud plan. “When we get home from the hospital,” she said brightly, “I’d like to put the babies in the washing machine.”
“Really, honey?” I asked. “Why?”
“Because,” she said, “I’d like to see them go around and around and around.”
By my third trimester, I was so huge I began to resemble Marlon Brando. I could no longer get up off my futon on the floor, so I had a large platform built at the height of a normal bed. I still had to crawl to the edge and then push myself up. One early morning, I was awakened by an earthquake and in terror I stood straight up and jumped off the platform, running to see if Clementine was okay. She was, but my groin was not. I felt like I was walking around carrying two bowling balls between my legs. Every night I prayed, “Please God, let me get over this pain before I go into labor.”
A few weeks before my October due date, Mother and Mondo drove out to California in a motor home. Every night, we’d sit in the yard taking a moon bath, soaking up the beams and watching the waxing crescent get fatter and brighter. The moon affects all bodies of water, I figured, and my babies were floating in their own private pool. On October 6, 1987, the moon went full at 12:03 A.M. My water broke at 12:08. I listened to a tape of Kathleen Battle singing “Ave Maria” as Mother, Mondo, Bruce, and I drove to the brand-new California Medical Center downtown..
Molly Ariel and Cyrus Zachariah were born thirteen hours later, both named for their great-grandparents but known by their middle names, with a hyphenated Shepherd-Oppenheim. But those thirteen hours were harrowing.
In transit down the birth canal, Ariel had pushed Zach out of the way (a very determined female from the get-go), and he turned sideways. Something, probably his foot, lodged up under my ribs and felt like it was pulling me apart one bone at a time. At this point, I began begging for drugs and screaming, “Kill me! Kill me! Cut the babies out!” A few moments later, and before any drugs could be given, Ariel was born (five pounds, eleven ounces) followed by Zachariah (seven pounds, two ounces).
My entourage took over almost a whole floor of the hospital—Bruce, Mother, Mondo, Clementine, Myrtle, the midwife, three nurses, and a bodyguard. (I had forgotten to include the doctor’s name on a list of people to be allowed admittance, and he had trouble getting in to see me.) I guess this was the most famous I’ve ever been. There were two photos on the front page of the New York Daily News, accompanying the headline: “ROBERT BORK LOSES/CYBILL’S TWINS DOING GREAT.” This was great news all around. Not only were he twins healthy and happy, but the anti-choice Supreme Court nominee had been defeated. The paparazzi had been waiting at the front door of the hospital since before the babies were born, and everyday the guard caught someone who managed to sneak through with a camera. I knew that the best way to get photographers to stop swarming around me was not to try to run from them, but Bruce was afraid of flashes going off in the sensitive eyes of our newborns. We arranged for his brother to leave the hospital with a nurse in a blond wig, holding two Cabbage Patch dolls, while we attempted a more private exit out back. No one was fooled, and Bruce and I almost crashed into a lamppost when one photographer jumped on the hood of our car--a small risk, he probably considered, since photos of the babies were said to fetch up to $100,000.
Going from one to three children felt like going from one to ten; the effort and responsibility involved in parenthood increases exponentially. Before going back to work, I bought a forty-foot motor home, with plenty of room for the twins and their paraphernalia, including Bruce Willis’ gift of a teeter-totter and Glenn Caron’s two giant pandas. Beloved Myrtle kept insisting that she could handle the nannying single-handedly (she’d had thirteen children herself), but I didn’t want to put that much of a burden on her, and finding capable, trustworthy people for child care is the challenge of every working mother. I hired one woman who seemed to have impeccable credentials, only to discover that she kept a bottle of rum in her purse. Another simply disappeared and was apprehended a few weeks later in Scottsdale, Arizona, wandering nude with pictures of Ariel and Zack in her hand, saying she was looking for her babies.
THE YEAR 1988 BEGAN PROPITIOUSLY WITH A ceremony in which I was given a star on the Hollywood Walk of Fame, and it only cost me $4,322. Bruce Willis sent a telegram saying, “Sorry I can’t be there, but one of us has to work.” During this season of Moonlighting my dissatisfaction grew with the inimical atmosphere and changes in the way my character was written. Not only was she a virago, but she was starting to act bipolar. In an episode called “Yours Very Deadly,” Maddie urges a female client to continue a correspondence with someone who has been sending the woman threatening letters. Maddie actually goes to this man’s apartment, unarmed, pounding on the door, even though she knows him to be deaf and believes him to be a murderer. “No sane person would encourage a woman to engage with a harasser,” I told Glenn, “and people who have experienced some fame are particularly sensitive to the dangers. I know that, and as a former model, Maddie Hayes would know it too.” But Glenn was adamant that we keep to the story, and I gave it my best shot: the character acts bipolar, but with conviction. The next episode, “All Creatures Great and Small,” dropped the little bomb that Maddie is an atheist. So. not only is she a cold bitch but she doesn’t believe in God. My character could go no lower: a feminist atheist.
Or so I thought. When Glenn came to talk to me about his idea for an episode called “Atomic Shakespeare” that would satirize The Taming of the Shrew, my first question was “Who’s going to play the shrew?” I was serious when I suggested some contemporary gender bending, making David Addison the termagant. Glenn was not amused. When I read the script, I found that my Elizabethan character was to be bound, gagged, and married off against her will while a whole town cheered, as part of her husband’s bet with her father. Kate aka Maddie aka Cybill was made to be an impossibly unsympathetic character so that Petruchio aka David aka Bruce could score. I was certainly aware that Moonlighting was entertainment, not a political treatise, as I was aware that some women are aroused by bondage is shedie was definitely not turned on. In this case, binding and gagging was a symbol of violence against women--even Shakespeare didn’t tame his shrew with ropes.
“Atomic Shakespeare” won more awards than any other episode, including Emmys for directing, editing, and costume design. I wore a sleeveless black velvet evening gown and Day-Glo orange high-tops to the ceremony, fully intending to change into pumps. It’s a long ride to the Pasadena Civic Auditorium, and I had time to consider the prospect of an evening in pain. As my limousine pulled up to the curb, the driver said, “I’ll wait for you to change your shoes.”
“You can open the door now,” I said. “I’m ready.” I knew what I was doing--it was my personal rebellion against the tyranny of high heels--but people reacted as if I were naked. Actually, I felt that half the women there were cheering “Right on, sister,” and half were muttering “You bitch.” To this day, people are always checking out what I’ve got on my feet and seem disappointed if I’m in anything fancier than sneakers.
Bruce Willis was nominated again that year, but I was not. I went to the ceremony thinking: I’ll be okay as long as he doesn’t win. (Nice team spirit.) He won. I smiled and applauded. I understand that many actors have done good work for years and not gotten awards for it, but this felt like a slap in the face, as if he were the motor that drove the show, as if I were dispensable.
In the episode “Big Man on Mulberry Street,” when David Addison’s former brother-in-law dies, he goes to New York, and Maddie, in a show of support, crashes the funeral. In a moving scene, David recalls marrying his pregnant girlfriend and hoping that he won’t end up in a blue Sunoco uniform with DAVE stitched over the pocket, then trying to keep the marriage going after his wife miscarries, only to come home one day to find the census taker on top of her, “getting all kinds of pertinent information that isn’t on the form.” When David’s ex-wife admits that this infidelity was not with another man but with a woman, Maddie’s reaction to this jaw-dropping news was cut. Even if the intent was to showcase Bruce, it would not have lessened the impact of his performance to see Maddie’s reaction, and it hurt my character because it didn’t show her humanity. The mutual sovereignty of the characters, the conflict between fully realized equals, was compromised. When I registered my complaint, Glenn told me I hadn’t played the scene very well. The unspoken message was that I was a bitch; the salt in the wound was the news that I was a bad actress.
“Big Man on Mulberry Street” also had a musical number beautifully choreographed by Stanley Donen, the legendary director of Singing in the Rain, with a soundtrack by Billy Joel. It was supposed to be Maddie’s dream, but to me it looked a lot more like David’s fantasy. Glenn said that he wasn’t interested in my opinion, and when I approached Donen with my reservations, I saw him go absolutely cold, almost as if he’d been prepared for my being impossible. As I left the set after a rehearsal, I was so frustrated that I picked up a director’s chair and threw it at the wall. The tabloids reported that I had heaved the chair at Glenn. (If I had wanted to hit him, I wouldn’t have missed.)
The distinctive door slamming that became a leitmotif of the show was something I learned from Ernst Lubitsch movies, and studio carpenters had to rebuild the Blue Moon Agency doors every season because we slammed them so hard. But one of my most painful memories revolved around the door slamming in “Symphony in Knocked Flat.” The script called for Maddie to arrive at work and slam her way through the office in a rage because she had a boring date the night before. I didn’t think that a boring dt befohe night before was enough motivation for a hysterical tirade, and I ignored the stage direction, playing the scene more thoughtfully. I got away with it that time, but my next scene that required rage brought Glenn and Jay down to the set. We did it over and over, each time Glenn repeating, “That’s not angry enough. Do it again.” I felt so humiliated and upset that I began forgetting the lines I had known perfectly well when we started.
I watched the “Symphony” episode again recently and came away proud that I had followed my instincts and underplayed those two scenes. Though I still cringe at the thought of Glenn’s and Jay’s bullying, I’m so glad I defended the integrity of my character, Maddie, in the face of public embarrassment. That episode represents truly wonderful work on everyone’s part. And besides, how many people get to work with The Temptations and perform “Psychedelic Shack,” like I did in the prologue to that episode?
Bruce became disenchanted with the classic David Addison smarminess, sometimes throwing a script across the room and calling it shit. Actors make a mistake when they act superior to the material. Good acting is like a tennis match. But somewhere along the way it felt like Bruce disconnected from what I was doing. It seemed as if he had already figured out all the moves, and it was far less exciting when the match between us was over.
One April day in 1988, I arrived for work fifteen minutes late to find an all points bulletin out for me. An assistant director approached my car as I drove onto the lot and said, “Cybill, don’t bother getting out.” Then he told the driver, “Take her right to Glenn’s office.” I felt like an intractable student summoned to the principal after sliding down the school banister--a bad acid flashback, and I’d never even taken acid. Jay Daniel and several people I didn’t recognize were sitting in Glenn’s office; Glenn was standing in front of his pinball machine and his jukebox loaded with 1960s rock and roll and every song by Tammy Wynette.
“You don’t give a fuck about your work,” he screamed the moment I walked in the door. “Your standards are down, and your ideas are crap.” I could hardly respond, his rage was so vehement. And while he screamed, Jay sat silent, not uttering a word in my defense.
A few weeks later, when we came to the end of the shooting season, I wrote Glenn a letter. “I want to do everything in my control to help the show,” I wrote. “But I need you to know that for me to work effectively, it is absolutely necessary to avoid another performance like the one you gave when I was summoned to your office several weeks ago to hear your diatribe--all in the presence of complete strangers. I have enormous respect for the work you have done and for the show you have created, but I do not respect that behavior and I will not willingly be subjected to the kind of abuse that you unleashed at that meeting. I take my share of responsibility for some of the problems we have had in the past and will do everything I can to correct those problems.”
During the hiatus I made a film called Chances Are, a fantasy about a woman who remains devoted to the memory of her dead husband and falls in love with him again, reincarnated in the form of Robert Downey Jr. The producer was a pal of Ryan O’Neal and lobbied for him to play the family friend who’s really been in love with my character all along. Considering our history, Ryan was the last person I wanted to work with. “Casting him is a great way to ruin this movie,” I warned. But everybody else kept turning down the role, so we got him by default. (Turned out I was wrong. He was terrific.) I had avoided a love scene with him in real life, but I couldn’t stop my nervous laughter when I had to kiss him on-camera. The director, Emile Ardolino, took me aside and whispered, &lquo;Could you please stop giggling? It’s upsetting Ryan.” Not an unreasonable request, and I stopped laughing by thinking of deaths in the family and biting my upper lip.
I thought the script would have been improved by dispensing with the reincarnation storyline and exploring a romance seldom seen on film between an older woman and a younger man, a relationship I’ve often played out in real life. The first day of rehearsal, Downey didn’t show up or respond to phone calls. Somebody from the production office got the manager of his hotel to open the door of his room and found him in bed with a woman, sleeping off a bad night. It was apparent that he had substance abuse problems, and he was told that if he was ever late again, he would be fired. A monitor in the guise of a “trainer” was hired to keep him out of trouble for the remainder of the shooting schedule. I relished the experience of working with Emile Ardolino. As a director he pushed me beyond what I had thought of as my “dramatic limits” as an actor. Some years later, Emile stopped returning my phone calls. This is a common occurrence in Hollywood but hardly what I would have expected from Emile. About six months later, a mutual friend called and told me the sad truth: “Emile died of AIDS today.” Now, whenever I cry as an actor part of my motivation is always the thought of Emile and missing him.
When production started on the new season of Moonlighting, I received a “personal and confidential” letter from the lawyers for Capital Cities/ABC, Inc., as did Bruce Willis. Attached was a list of “guidelines” regarding production, stating the network’s right to cancel episodes or the series if the guidelines were not strictly followed. (Bruce and I would be responsible for the loss of revenue in such an event.) The normal day onstage, the memo stated, was from 7 A.M. to 7 P.M., but night work was at the producer’s discretion. The production company would make every effort to deliver scripts one day in advance of shooting, but the script was nevertheless to be learned. The producers were to maintain a written record of the actors’ work pattern during each day of production, including the time elapsed after being called to the set, which was not to exceed five minutes. Bathroom breaks were also limited to five minutes.
My lawyer responded to this demeaning memo by reminding ABC that I already had a contract governing my services; that nowhere in my agreement was the network given the right to impose additional terms and conditions, particularly those more suitable to a reform school; that I resented any attempt to impute to me responsibility for their cost overruns; and that such insinuations were defamatory, injurious to my reputation, and the cause of severe emotional distress.
One more letter arrived from ABC. Dispensing with the legalese, the gist of it was “Yeah, yeah, yeah.” And with such posturing, the tempest was over.
In the fall of 1988, Glenn Caron left the show, stating that it was him or me and he didn’t think the network would choose him. What had begun as an alliance between Glenn and me, as well as a newcomer named Bruce Willis, had turned into Glenn and Bruce against Cybill. Not only David Addison but Bruce Willis had become Glenn’s alter ego and I became the troublemaker, the difficult one out to get them (whatever part I had in creating this I will forever regret). Recently, the pilot of Moonlighting was released on DVD. The disc includes almost nonstop commentary on the making of the series by the creator, Glenn Caron, and the star, Bruce Willis. Needless to say, I was not thrilled to be excluded, but now there can be no doubt that there had been and still is a boys’ club to which I’m not invited. Glenn describes himself and Bruce as being virtually the same. They have similar backgrounds, the same things disgust them, and the same things make them laugh. The only ng that really matters is that a whole new audience is enjoying Moonlighting on DVD as well as nightly on the Bravo network. And I’m really proud of the good work we did together. In any case, Jay Daniel took over as executive producer, and Roger Director, already working on the show as promoted to head writer. (He later wrote the roman a clef A Place to Fall, about a neurotic, petulant actor, and Bruce Willis threatened to punch him out.) The show lasted for two more years, and Peter Bogdanovich made a memorable guest appearance in an episode about all the men in Maddie’s past. But with the success of the Die Hard movies, it became clear that Bruce was ready to move on, that he had outgrown Moonlighting. He was so disdainful of the material that he often hadn’t bothered to read it before arriving on the set. He was impatient about any time I spent in the trailer with the twins, although he increasingly wanted to leave early himself. I put up a punching bag on the set, suggesting that we hit it instead of each other. One day, when filming threatened to delay his early getaway, the whole set started to vibrate from Bruce’s pummeling. Thank God for that bag.
One day, as nursing time for the twins approached, I asked to be released for a twenty-five-minute break. The first assistant director kept delaying it, so after about an hour, my motor-home driver turned on the walkie-talkie so that the whole set could hear the two screaming infants and announced “Cybill, it’s time!” After that, I was free to go.
The final episode surely echoed the sentiments of viewers. “Can you really blame the audience?” a silhouetted producer asks Maddie and David. “A case of poison ivy is more fun than watching you two lately.”
I was breaking up with two Bruces at once--Bruce Willis and Bruce Oppenheim. I will always regret that I never got to raise kids beyond the age of two with their fathers present. Children don’t know from incompatibility. They only want Mom and Dad to live together in love with each other and with them. When Bruce got angry, he shouted, and when I got angry, I ran away. I’d never heard my parents have an argument. I observed their brawls and mutually cold, silent treatment. I had no sense of two people being able to negotiate conflict and come to a reasonable compromise. Operating under a veil of exhaustion and frustration from work, I gave up on my marriage.
Bruce and I were forced to work with a court-appointed counselor, both of us legitimately afraid that divorce would mean seeing the children a lot less. Our separation was the catalyst for what was surely long overdue therapy for me. I wheeled a big rolling rack of baggage into the therapist’s office and took out one suitcase at a time, asking, “Is this because I’m an asshole?”
Not long after the separation, I was walking on the treadmill and watching MTV. A video came on of a song by Martha Venessa Sharron, Ronald Lee Miller, and Kenny Hirsch called “If I Could.” The lyrics moved me instantly to tears: “If I could. I’d teach you all the things I never learned / And help you cross all those bridges that I burned.” I started weeping so profusely that I had to push the emergency button on the treadmill to keep from falling down. | |||||
7959 | dbpedia | 3 | 86 | https://wjbr.com/2021/07/07/five-movies-you-probably-did-not-know-were-filmed-in-delaware/ | en | Five Movies You Probably Did Not Know Were Filmed in Delaware | [
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"Hollywood Kyle"
] | 2021-07-07T00:00:00 | Who knew that all these blockbusters were filmed in Delaware?! From classics like Dead Poets Society to thrillers like The Village | en | WJBR | https://wjbr.com/2021/07/07/five-movies-you-probably-did-not-know-were-filmed-in-delaware/ | In the late 60s and early 70s, movie theaters, drive-ins, and strip mall cinemas were popping up all over the nation. They were the new craze. Branmar Cinema had just opened their doors, along with Tri State Mall’s old theater. And then came the Cine’Mart Theater on Governor Printz Boulevard in Wilmington, Delaware. The first date of the box office opening at the Cine’Mart was January 20th, 1969.
According to the credited research that Edwin Graf Diemer contributed to Cinema Treasures for this story, “The shopping center [across the street from Cine’Mart] was built just following World War II and quickly became the most popular shopping destination in Wilmington.” The theater seated 984 people and there was only 1 screen, similar to Branmar Theater just a couple miles away. A newspaper released at the time of the closure stated, “The CineMart, Northern Delaware’s largest motion picture theater was closed over the weekend. Employees of the 984-seat theater on the Governor Printz Boulevard said they were notified of the closing just hours before it was shut down.”
The theater was steadily losing “$50,000 to $60,000 a year” and fell behind on rent. The owners did ask the owners of the Merechandise Mart to twin the theater, but they declined. At the same time of the CineMart closure, the Edgemoor Theater, which was only a few hundred yards up the road, would close when their lease expired.
Edwin cited that “The auditorium was completely in gold with wide rocking chair seating. The front was deeply curved to allow for the screen, with curtains that went to the rear of the auditorium.” According to local WJBR listener, Gary Rauso who has been to the Cinemart as well as Branmar Cinema, stated “It was the first theater in the area to have surround sound.” This theater, along with many others across America, actually were booking shows ranging from G-rated to explicit pornographic films. The theater was originally built to operate solely on X-rated pornographic films, but the Budco company acquired the theater from Hallmark Theaters of Massachusetts and started showing all varieties of films. The first film ever shown at the Cinemart was in 1968, titled “The Odd Couple”. The last ever film shown there was “The Exterminator”.
The downfall of the Cine’Mart was actually due to the Concord Mall on Route 202 in Wilmington. The Mall had been built with a theater of its own and sucked the life out of the Cine’Mart. This also resulted in the abandonment of the entire Merchandise Mart. Today, the Cine’Mart is fully abandoned, but remains standing with boards up on every possible entrance. | |||||
7959 | dbpedia | 3 | 69 | https://www.pinterest.com/pin/360076932678982587/ | en | [] | [] | [] | [
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] | null | [] | 2013-12-01T22:00:58+00:00 | When watching television, a beautiful and famous Russian Romantic Movies appears. Here are the Russian Romantic Movies listed below. | en | Pinterest | https://www.pinterest.com/pin/325174035569005718/ | |||||||
7959 | dbpedia | 3 | 90 | https://www.pastemagazine.com/comedy/moonlighting/as-moonlighting-arrives-on-hulu-heres-why-it-remains-such-a-watchable-hot-mess | en | As Moonlighting Arrives on Hulu, Here’s Why It Remains Such a Watchable Hot Mess | [
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"Tara Bennett"
] | 2023-10-10T17:31:43+00:00 | Moonlighting's writers embraced redefining what a dramedy might do in terms of pushing rules and structure. | en | Paste Magazine | https://www.pastemagazine.com/comedy/moonlighting/as-moonlighting-arrives-on-hulu-heres-why-it-remains-such-a-watchable-hot-mess | “Some fly by night….”
If you were an 1980s kid who read their TV Guides cover-to-cover and got excited about ABC promo images for the next episode of Moonlighting, that opening phrase from Al Jarreau’s silky theme song for the ABC dramedy works like a time machine trigger for your brain. That sax line instantly takes me back to the heyday of the Blue Moon Detective Agency, where former model Maddie Hayes (Cybill Shepherd) and wisecracking David Addison (Bruce Willis) solved mysteries, sizzled with sexual tension, and invented meta TV before it got cool two decades later.
Thirty-eight years after it debuted on March 3, 1985, Glenn Gordon Caron’s hit series Moonlighting finally makes its debut on streaming October 10 on Hulu. Having only produced 67 episodes over five production-plagued seasons, Moonlighting never got a “second life” in syndication and only had a limited DVD release in the mid 2000s, which means it’s been out of the modern zeitgeist, pretty much a blind spot show for millennials and Gen Z.
One can already imagine the younger generation’s reception to some of the show’s very 1980s TV detective series banter, and particularly Addison’s relentlessly horny verbal pursuit of Maddie. But there’s also a lot to still appreciate about Moonlighting and how innovative—sometimes out of sheer necessity—the series was in destroying norms for traditional television rom-coms, reliable mysteries and dramas.
A Little History
Before Moonlighting, Caron played with the simmering mystery partner genre with the TV series Remington Steele. Stephanie Zimbalist was Laura Holt, a private eye who can’t get clients because she’s a woman. So, she invents a boss named Remington Steele, only to have a suave guy claiming to be that man (Pierce Brosnan) walk into her office and become her partner.
Caron clearly honed his casting for chemistry and witty dialogue skills on Steele, which he then amped up by a million for Moonlighting. Wanting to do another romantic mystery series, Caron inadvertently created one in the heightening style of Howard Hawk’s His Girl Friday, with Maddie and Addison having very similar vibes to Cary Grant’s Walter Burns and Rosalind Russell’s Hildy Johnson. The pilot debuted as a TV movie that set up how Maddie’s life implosion leads to her Addison and establishes their prickly yet witty partnership as investigators in Los Angeles.
Caron wrote Maddie with Shepherd in mind, as she too was a former model-turned-actress constantly being underestimated or pigeon-holed for her looks. However, David Addison was a different story, with 2,000 auditions dredging up a then-unknown Willis to the top of Caron’s list. ABC didn’t like him and didn’t buy their chemistry, so Caron had to fight to even get him a provisional pass to make the pilot.
As the lore goes, Willis’ debut in Moonlighting earned one of those lighting-in-a-bottle audience reactions of: “Who is that?” Critics and viewers loved his smirk and lighting fast quips, plus his palpable chemistry with Shepherd’s very forthright and independent Maddie. Watching the series today, as much as Addison is guilty of firing out era-common, cringey casual misogyny, Maddie absolutely never lets him get away with it. She’s got plenty of fire in her belly despite her profession making her world-weary and is uninterested in suffering (especially) male fools. As such, she either calls Addison out immediately, or catalogs his sexism for a more pointed inventory of his failings which is remarkably contemporary.
Ahead of Its Time
There are plenty of shows that get continually name-checked for having an inordinate impact on the TV medium, from Twin Peaks to Seinfeld to Lost. Not only did they redefine what could be done in their genres, they also had a huge influence on writers who watched them and then went on to make their own impactful TV shows. Moonlighting also belongs in that list of game changers because Caron and his writers embraced redefining what a drama with comedy (a dramedy) might do in terms of pushing rules and structure.
The pilot for Moonlighting was set up to be a TV movie, but it’s also all over the place in terms of presenting its premise and characters. Opening with the “case of the week,” it defies the structure of the weekly mystery procedural and all but ignores that case for a huge chunk of the episode in favor of introducing Maddie, her financial implosion, and then her meeting of Addison at the business he runs where she’s been a silent investor. The script only comes back to that case when all the business of establishing the show’s dual protagonists and their oil and water vibe is complete. Only then does it circle back to forcibly throwing that case literally at their feet once more.
It set a precedent that the show wasn’t going to adhere to expectations for a procedural mystery, or a rom-com. Caron continued to push that with the introduction of Addison and then others breaking the fourth wall, talking into camera to make asides or meta quips. Moonlighting also embraced leaving the nuts and bolts of the mystery genre behind for concept episodes that came as early as Season 2. The first was the black and white noir musical episode, “The Dream Sequence Always Rings Twice.” Both Maddie and Addison dream about an unsolved murder case from the 1940s and it plays out in their minds. Then, the show got more ambitious with Season 3’s “Big Man on Mulberry Street” which weaves Billy Joel’s song of the same name into the narrative. Right after, “Atomic Shakespeare” was a period piece, meta-telling of The Taming of the Shrew. By Season 4, there was an air of consistent experimentation born of the behind-the-scenes production chaos which led to the claymation episode, “Come Back Little Shiksa,” and the H.M.S Pinafore-inspired, “Cool Hand Dave (Part 2).”
For ABC executives, the amount of Pepto being passed around had to have been epic. But for viewers, the show was like riding a tornado every week. What started with the maelstrom of Maddie and David’s dynamic, then morphed into the writers being given license to break all the rules of structure and form. Not all of it worked, and trying to write a TV show around two protagonists who are not present is a recipe for eventual disaster. But Moonlighting took that comet by the tail and rode it to cancellation like few shows have ever done before or since.
Chaotic Chemistry
To say that audiences fell in love with David and Maddie was an understatement. Moonlighting and Cheers—which both aired in the late 1980s and were partially defined by their “will they/won’t they” character pairings—got a lot of primary press for their fiery, opposites attract couples of Sam (Ted Danson) and Diane (Shelley Long) and Maddie and Addison. With Moonlighting, Caron dangled the consummation carrot for two and a half seasons before he made a definitive call in the Season 3 episode, “I Am Curious… Maddie.” It drew a staggering audience of 60 million.
Some point to this moment as when the audience’s interest in the show began to wane, and in turn the series experienced a ratings slump. But that’s actually too simple for the hot mess Moonlighting was on multiple fronts. Pulling the horizontal mambo trigger certainly contributed, but there were also plenty of creative problems behind the scenes, mixed with life changes and creative exits, that were equally to blame.
Yes, Willis and Shepherd’s acrimony was an actual thing, with Willis’ partying ways and Shepherd’s exacting standards causing a lot of tension, and eventual real feuds that impacted the making of the show. For three seasons, it productively fueled the chemistry between their characters. It also inspired Caron and gave his writers license to address the press and rumors about the show, using its fourth wall-breaking comedic moments to comment on the outside noise about Moonlighting. Addison and Maddie often alluded to bigger picture issues on their comedic cold opens that felt like live-action Looney Tunes-style commentaries to the audience. Their fury also inspired some classic episodes, like the very on-the-nose comedic retelling of The Taming of the Shrew in “Atomic Shakespeare” and the meta gossip show episode, “The Straight Poop.”
And then the fighting started to actively impact the making of the show. Willis wanted to move on to movies and had a skiing accident that kept him off-camera, while Shepherd wanted to have a family and got pregnant with twins, so the fourth season had the writers scurrying to create episodes with one or the other absent from the story. Instead, they’d focus on supporting characters, including the romantic triangle of office employees Agnes DiPesto (Allyce Beasley), Herbert Viola (Curtis Armstrong), and MacGillicudy (Jack Blessing). Per Shepherd’s demand, Caron was fired at the start of Season 5, which resulted in the final 13 episodes of the whole series.
It’s going to be interesting to see how audiences who have no frame of reference for Moonlighting will respond to the show. Some will likely check out quickly due to Addison’s aggressive flirting, and/or the common misogyny towards some women characters that was prevalent in so many scripts and movies of its time. But those who can catalog those flaws to the times in which it was made are going to be pleasantly surprised by the originality, creativity, and broad comedy of Moonlighting. The series remains a TV landmark for a reason, so it’s about time that audiences will finally get to discover, or revisit, how Moonlighting pioneered plenty of what we take for granted in television today. | |||||
7959 | dbpedia | 0 | 1 | https://letterboxd.com/film/love-affair-1994/ | en | Love Affair (1994) | [
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] | null | [] | null | Ex-football star Mike Gambril meets Terry McKay on a flight to Sydney, which is forced to land on a small atoll. They become romantic on board a ship sent to take them to a larger island. They agree to meet in New York three months later to see if the attraction is real. One shows up but the other doesn't. However, a chance meeting brings them together again. | en | https://letterboxd.com/film/love-affair-1994/ | Close to being a note-for-note imitation of the original from way back in the '30s, making it simultaneously throwback-adorable, pointless, lazy, and a curiosity. Helping redeem the refusal to modernize this tale beyond a few minor surface adjustments is the real-life couple in the spotlight. You could boil this entire movie down to "The Warren and Annette Honeymoon", the only movie they worked on together after meeting on "Bugsy", a comfortably old-fashioned romance made directly after they married in 1992. It's one of the most open and self-justifying celebrations of off-screen couplehood that a fictional Hollywood movie has ever indulged in, and good for them. Two great stars funneling their love into their shared profession as entertainers. And they're still…
I must have known this film was made. I was seeing a lot of movies in 1994. This has a cast full of big actors and familiar faces. It just completely left my head that it existed, so it was quite a surprise to be reminded of its existence then to watch it and see so many actors I love starring in it.
Alas, this ends up being a great example of a remake gone wrong. Sure, the bulk of the story and plot remains unchanged from An Affair to Remember. It's all the small stuff. The characters. The beats. Even the performances. Everything just rings less authentic. It's even hard to buy Annette Bening and Warren Beatty – real… | ||||||
7959 | dbpedia | 3 | 53 | https://www.rottentomatoes.com/m/wilder_napalm | en | Rotten Tomatoes | [
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] | null | [] | 1993-08-20T00:00:00 | Two brothers, Wilder (Arliss Howard) and Wallace Foudroyant (Dennis Quaid), are driven apart by a great secret: their shared mysterious ability to start fires. Wilder settles down into a normal life with his wife, Vida (Debra Winger), but things cannot stay ordinary forever. His wayward circus-clown brother soon crashes into town with plans for fame and trouble. Reunited in the most unfortunate of ways, the brothers must now face off against each another. | en | https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico | Rotten Tomatoes | https://www.rottentomatoes.com/m/wilder_napalm | Let's keep in touch!
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7959 | dbpedia | 1 | 8 | https://ideas.fandom.com/wiki/Love_Affair_(1994_film) | en | Love Affair (1994 film) | https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547 | https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547 | [
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] | 2024-07-29T22:27:06+00:00 | Love Affair is a 1994 American romantic drama film and a remake of the 1939 film of the same name. It was directed by Glenn Gordon Caron and produced by Warren Beatty from a screenplay by Robert Towne and Beatty, based on the 1939 screenplay by Delmer Daves and Donald Ogden Stewart, based on the... | en | https://static.wikia.nocookie.net/ideas/images/4/4a/Site-favicon.ico/revision/latest?cb=20210823084823 | Idea Wiki | https://ideas.fandom.com/wiki/Love_Affair_(1994_film) | Love Affair is a 1994 American romantic drama film and a remake of the 1939 film of the same name. It was directed by Glenn Gordon Caron and produced by Warren Beatty from a screenplay by Robert Towne and Beatty, based on the 1939 screenplay by Delmer Daves and Donald Ogden Stewart, based on the story by Mildred Cram and Leo McCarey. The music score was by Ennio Morricone and the cinematography by Conrad L. Hall.
The film stars Beatty, Annette Bening and Katharine Hepburn in her final film role, with Garry Shandling, Chloe Webb, Pierce Brosnan, Kate Capshaw, Paul Mazursky and Brenda Vaccaro.[4]
Plot[]
Ex-football star Mike Gambril (Warren Beatty) and singer Terry McKay (Annette Bening), each of whom is engaged to marry someone else, meet on a flight to Sydney. The plane makes an emergency landing and passengers must wait until a piece of equipment is delivered.
Mike and Terry visit his elderly aunt Ginny (Katharine Hepburn) on the isle of Moorea. They see each other with new eyes and fall in love. When they reach New York City, they agree to reunite at the top of the Empire State Building in three months' time. Terry breaks up with her fiancé Ken Allen (Pierce Brosnan), as does Mike with his, Lynn Weaver (Kate Capshaw).
Terry finds work as a singer, mostly in advertisements. Mike quits his job as a Los Angeles television sports announcer. He finds work as a coach at a small school and also returns to his true vocation as a painter. One of his pieces is of Terry in prayer from their idyllic day on the island.
Come their rendezvous, Terry, in her haste, is struck down by a car while crossing a street. Gravely injured, she is rushed to the hospital. Mike, waiting for her at the observation deck at the top of the building, is unaware of the accident. After many hours, he finally concedes at midnight that she has rejected him.
Now unable to walk, Terry refuses to contact Mike, wanting to conceal her disability. Instead, she finds a job as a music teacher. Six months after the accident, she sees Mike with his former fiancée at a holiday concert featuring Ray Charles (as himself), which Terry is attending with her former boyfriend. Mike does not notice her condition because she is seated. Each can only manage a hello.
Christmas Eve arrives and Mike makes a surprise visit, claiming to have come across her address while looking up another name in a telephone directory. Although he steers the conversation to make her explain her actions, Terry merely dodges the subject, never leaving the couch on which she sits.
About to leave her life for good, Mike mentions the painting that he had done of her, which that very afternoon had been given away to a woman who admired it. He is about to point out that the woman was in a wheelchair when he suddenly pauses. Mike walks into Terry's bedroom and sees his painting hanging on the wall. He now knows why she did not keep their appointment. They embrace.
Cast[]
Warren Beatty as Mike Gambril
Annette Bening as Terry McKay
Katharine Hepburn as Ginny
Garry Shandling as Kip DeMay
Chloe Webb as Tina Wilson
Pierce Brosnan as Ken Allen
Kate Capshaw as Lynn Weaver
Harold Ramis as Sheldon Blumenthal
Ray Charles as Himself
Linda Wallem as Lorraine
Cylk Cozart as Dr. Punch
Meagen Fay as SSA Flight Attendant
Ray Girardin as Wally Tripp
John Hostetter as Ben
Elya Baskin as Ship Captain
Savely Kramarov as Cable Officer
Oleg Vidov as Russian Businessman
Herman Sinitzyn Russian Waiter
Taylor Dayne as Marissa
Background and production[]
The film is a remake of the 1939 film Love Affair with Charles Boyer and Irene Dunne and of the 1957 film An Affair to Remember with Cary Grant and Deborah Kerr, both directed by Leo McCarey. The name of Terry McKay's character remained the same in all three films, while a different one was chosen for each of the three leading men.
Love Affair was Hepburn's first big-screen appearance in nearly 10 years[5](although she had made several TV movies in this time) and marked her last appearance in cinema. It includes the only time that she ever said the word "fuck" on-screen. Beatty personally lobbied 86-year-old Hepburn to appear in the film. He rented a house for her in Los Angeles and had her referred to a special dermatologist, but she did not give a definitive answer until the day of filming. Luise Rainer was also considered for the role.[6]
Filming took place in New York City, Los Angeles and on the islands of Tahitiand Moorea in French Polynesia.
Reception[] | ||
7959 | dbpedia | 0 | 10 | https://www.amazon.com/prime-video/actor/Glenn-Gordon-Caron/amzn1.dv.gti.9b750150-81ea-444f-8cc1-3cf151a3c374/ | en | Glenn Gordon Caron: Movies, TV, and Bio | [
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] | null | [] | null | Browse Glenn Gordon Caron movies and TV shows available on Prime Video and begin streaming right away to your favorite device. | en | https://www.amazon.com/prime-video/actor/Glenn-Gordon-Caron/amzn1.dv.gti.9b750150-81ea-444f-8cc1-3cf151a3c374/ | Glenn Gordon Caron was born in 1954. He is known for Moonlighting (1985), Medium (2005) and Now and Again (1999). He has been married to Tina DiJoseph since November 24, 2006. They have one child. He was previously married to Mary Martin. | ||||||
7959 | dbpedia | 3 | 45 | https://sjmagazine.net/news-features/8-times-south-jersey-hit-the-big-screen | en | 8 times South Jersey hit the big screen | [
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] | 2018-12-28T16:57:56+00:00 | en | SJ Mag Media | https://sjmagazine.net/news-features/8-times-south-jersey-hit-the-big-screen | Sure, the northern half of the Garden State has seen its fair share of love from Hollywood, but Tinsel Town has called the southern half home throughout the years. Here’s a list of eight times South Jersey towns received the big screen treatment.
Jersey Girl (2004)
Director: Kevin Smith
Starring: Ben Affleck, Jennifer Lopez, Liv Tyler
Spotlight: Paulsboro
In this dramatic comedy, Ben Affleck plays a man driven to take care of his daughter after the untimely death of his wife. According to the New York Times, Director Kevin Smith spent several weeks in Paulsboro filming scenes in the town’s municipal building and high school, where he eventually held the movie premiere. A scene that was cut from the film was shot inside St. John’s Church. Berlin and Cherry Hill also served as filming locations.
Fallen (1998)
Director: Gregory Hoblit
Starring: Denzel Washington, John Goodman, Donald Sutherland
Spotlight: the Pine Barrens
This crime drama stars Denzel Washington as a homicide detective who witnesses the execution of a serial killer. However, soon after the execution, the killings start again. According to VisitNJ.org, a crucial scene at the end of the movie was filmed in a cabin within the Pine Barrens.
Clean and Sober (1988)
Director: Glenn Gordon Caron
Starring: Michael Keaton, Morgan Freeman
Spotlight: Gloucester City
Michael Keaton plays a drug addict who finds solace after checking himself into rehab to escape trouble with the law. According to the Gloucester City News, Keaton spent a week filming in Gloucester City, shooting several scenes, including one featuring a home on Morris Street.
12 Monkeys (1995)
Director: Terry Gillium
Starring: Brad Pitt, Bruce Willis, Madeleine Stowe
Spotlight: Camden
The sci-fi flick stars Bruce Willis as a prisoner sent back in time from 2035 to stop a man-made virus from destroying the human population. An early scene in the movie featured the exterior of the Oasis Motel in Camden before it was torn down.
Eddie and the Cruisers (1983)
Director: Martin Davidson
Starring: Tom Berenger, Michael Pare, Joe Pantoliano
Spotlight: Vineland
Rock and roll never dies. Or, does it? The movie centers around the search for a long-lost lead singer of a popular 1960s band. Vineland’s legendary Palace of Depression was depicted in the film. The building was composed of assorted junk, scrapped car parts and According to the Daily Journal, the Palace was once a popular tourist attraction built from scrapped car parts and other junk.
Made in Chinatown (2018)
Directors: James Lew, Robert Samuels
Starring: Raymond J. Barry, Vincent Pastore, Joseph D’Onofrio
Spotlight: Collingswood
In this mobster comedy, a turf war erupts between the Italian and Chinese organized crime syndicates in New York City. Collingswood Italian restaurant The Kitchen Consigliere closed its doors for an entire day to film a scene for this feature film.
Fight Valley (2016)
Director: Rob Hawk
Starring: Susie Celek, Holly Holm, Miesha Tate, Erin O’Brien
Spotlight: Runnemede
This action flick stars three of the top female mixed martial artists in the world brawling in front of the camera. The movie centers on a young women begins training with a respected ex-fighter as she searches for the person who killed her sister who became involved in an underground fighting ring in Camden. According to director Rob Hawk, most of the film was shot in Runnemede and one of the bigger fight scenes was shot in Blackwood.
The Mint (2015)
Director: Raymond Mamrak
Starring: Jenni “JWoww” Farley, Chris Cardillo, Ashlee Keating, Kristinia DeBarge
Spotlight: Washington Township | ||||||
7959 | dbpedia | 3 | 44 | https://tv.apple.com/us/person/tate-donovan/umc.cpc.4ddws3ydsgh3z350kiu2gcyhr | en | Tate Donovan Movies and Shows | [
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] | null | [] | null | Learn about Tate Donovan on Apple TV. Browse shows and movies that feature Tate Donovan including Ghosted, Hercules, and more. | en | /assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png | Apple TV | https://tv.apple.com/us/person/tate-donovan/umc.cpc.4ddws3ydsgh3z350kiu2gcyhr | The One with Rachel's Crush
Chandler has a hard time handling Kathy's new role in a play, in which she pretends to have sex with a handsome man. Rachel is attracted to a customer when she's demoted to personal shopper, and Monica decides that Joey's new, bigger place is built for entertaining. (Original Broadcast: Season 4, Episode 13)
The One with Joey's Dirty Day
After a three-day fishing trip with his dad, Joey is in a jam when he doesn't have time to take a shower before going to the set of Charlton Heston's new movie. Rachel, continuing to fawn over clothing shopper Joshua, sets Ross up with her boss's niece when she is unable to take her to the opera. Ross ends up spending a weekend in Vermont with the niece, Emily. And while Chandler is despondent after his breakup with Kathy, the girls take him to a strip club.
The One with Rachel's New Dress
Phoebe gets to name one of her babies. Rachel's plans to seduce her boyfriend go awry, and Joey accidentally tells Chandler he thinks he has a terrible name. Ross worries about his relationship with Emily. | ||||
7959 | dbpedia | 2 | 2 | https://www.imdb.com/title/tt0110391/ | en | Perfect Love Affair (1994) | [
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7959 | dbpedia | 1 | 9 | https://tv.apple.com/us/movie/love-affair/umc.cmc.4axzpbaxkgh8b960jednofres | en | Love Affair | [
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] | null | [] | 1994-10-21T07:00:00+00:00 | Academy Award and Golden Globe-winner Warren Beatty ("Down to Earth," "Bulworth") and real-life wife and Academy Award-nominee and Golden Globe-winner⦠| en | /assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png | Apple TV | https://tv.apple.com/us/movie/love-affair/umc.cmc.4axzpbaxkgh8b960jednofres | |||||
7959 | dbpedia | 0 | 46 | https://publicdomainmovie.net/movie/love-affair | en | Public Domain Movies | [
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7959 | dbpedia | 3 | 52 | https://www.cineadaffiches.com/en-us/products/affiche-retour-a-la-vie-michael-keaton-glenn-gordon-caron-40x60cm | en | Poster BACK TO LIFE Michael KEATON Glenn GORDON CARON 40x60cm | http://www.cineadaffiches.com/cdn/shop/products/57_e56cdaa7-b7ee-4210-b7bd-b41fafc4a72a_1200x1200.jpg?v=1604541092 | http://www.cineadaffiches.com/cdn/shop/products/57_e56cdaa7-b7ee-4210-b7bd-b41fafc4a72a_1200x1200.jpg?v=1604541092 | [
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] | null | [] | null | Condition: Good condition folded poster ORIGINAL FRENCH POSTER RETURN TO LIFE Director: GLENN GORDON CARON Actors: MICHAEL KEATON... Format: 40x60cm / Size: 15x23 inches | en | //www.cineadaffiches.com/cdn/shop/files/Favicon_32x32.png?v=1707923463 | CINEAD | https://www.cineadaffiches.com/en-us/products/affiche-retour-a-la-vie-michael-keaton-glenn-gordon-caron-40x60cm | |||
7959 | dbpedia | 0 | 0 | https://www.imdb.com/title/tt0110391/ | en | Perfect Love Affair (1994) | [
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7959 | dbpedia | 0 | 93 | https://dvdupc.com/content/9549-love-affair | en | DVDUPC | [
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] | null | [] | null | A Community Driven UPC Barcode Database to for Disc to Digital titles. Generate DVD and Blu-Ray UPCs instantly for use with VUDU's disc to digital service. | en | /apple-touch-icon.png?v=23fwedr | https://dvdupc.com/content/9549-love-affair | Love Affair
Warren Beatty and real-life wife Annette Bening star in this remake of the classic love story "An Affair to Remember." Katharine Hepburn returns to the silver screen, joined by Garry Shandling, Kate Capshaw and Pierce Brosnan. Co-written by Beatty and Robert Towne.
Starring Warren Beatty, Annette Bening, Katharine Hepburn, Garry Shandling, Chloe Webb, Pierce Brosnan, Kate Capshaw, Paul Mazursky, Brenda Vaccaro, Glenn Shadix, Harold Ramis, Rosalind Allen, Elya Baskin, Frank Campanella, Helena Carroll, Dan Castellaneta, Rosalind Chao, Ray Charles, Cylk Cozart, Taylor Dayne, Lisa Edelstein, Ray Girardin, John Hostetter, Savely Kramarov, Boris Lee Krutonog, Irene Olga Lopez, Carey Lowell, Gary McGurk, Ed McMahon, Jeffrey Nordling, Tom Signorelli, Herman Sinitzyn, Wendie Jo Sperber, Manu Tupou, Oleg Vidov, Linda Wallem, Barry Nolan, John Tesh, Marek Probosz, James Pyduck, Meagen Fay, Mary Hart, Jack Johnson, Robert Levine, Rebecca Miller, Barry Miller Genres Drama , Romance Studios Warner Bros. Popular UPC
883316492703 | |||||
7959 | dbpedia | 3 | 87 | https://english.elpais.com/culture/2023-04-29/moonlighting-the-series-that-launched-bruce-willis-on-cybill-shepherds-hunch.html | en | ‘Moonlighting,’ the series that launched Bruce Willis on Cybill Shepherd’s hunch | [
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"Paloma Rando"
] | 2023-04-29T00:00:00 | ‘If the second half of the script is as good as the first, I’m interested in doing it,’ said the actress, who claims she chose Willis, a waiter with little acting experience, as her co-star | en | https://static.elpais.com/dist/resources/images/favicon.ico | EL PAÍS English | https://english.elpais.com/culture/2023-04-29/moonlighting-the-series-that-launched-bruce-willis-on-cybill-shepherds-hunch.html | A retired ex-model enters the private detective agency that she owns, ready to fire her staff. She has just declared bankruptcy after her accountant fled with her money. She is left only with the agency, which the accountant had advised her to buy in order to launder money through it. Thus begins Moonlighting (1985-1989), the ABC series that brought 60 million Americans together in front of their television sets.
Arriving at the agency, protagonist Maddie Hayes, played by Cybill Shepherd, runs into David Addison (Bruce Willis), a private investigator as irreverent as he is impertinent. He thinks he remembers her from a Playboy from 10 years ago and tries to flirt with her. Maddie stops him: “I’m not Miss March, Miss May, nor Miss anything else. For your information, I’m Miss Madeleine Hayes and I own this dump.” The conversation becomes tense, and he again puts his foot in his mouth: “From the TV commercials and posters and billboards and all that stuff, you’d never guess what a cold bitch you are.” Maddie’s response? A slap.
Maddie and David go on to become a detective couple, trying to revitalize the agency in order to survive. There’s no mistaking what’s going on between them: they really like each other. Their sexual tension is the backbone of a series that integrated elements that were extremely innovative for television at the time, such as breaking the fourth wall and other examples of meta-television language. At the same time, it made constant nods to popular culture: one episode is presented by Orson Welles in the manner of The War of the Worlds; in another, a musical fragment is directed by Stanley Donen.
Eight months before American viewers first enjoyed Maddie and David’s meeting, the pair met off-screen. In the middle of writing the first episode of Moonlighting, series creator Glenn Gordon Caron realized that he was writing Maddie Hayes with Cybill Shepherd in mind. He told his agent, and they sent her half of the pilot of just over 40 pages — the scripts were twice as long as normal because the characters spoke so fast — and she agreed to a meeting. At a lunch that took place in July 1984 — the series premiered in March 1985 — Shepherd said: “If the second half of the script is as good as the first, I’m interested in doing it. It’s a Hawksian comedy.”
What the hell does she mean by “a Hawksian comedy”? Gordon Caron wondered, until he realized she meant Howard Hawks.
Shepherd, Peter Bogdanovich’s ex-girlfriend and close friend, had spent years cultivating a broad knowledge of film. She had visited Howard Hawks at his Palm Springs home. She knew what she was talking about. What’s more, as Gordon Caron explained in journalist Scott Ryan’s oral history of Moonlighting: “A lot of what I was doing was out of instinct, not out of any sense of, ‘Oh, there’s an old movie style here.’ She seemed to understand what it was in ways that even I didn’t.” Shepherd went from muse to consultant in a single meal.
Shepherd’s involvement in the series was much greater than her role as a lead actress, however. As she recounts in her memoir, Cybill Disobedience, she was given a say in the choice of her co-star. Gordon Caron had hoped to cast Bill Murray from Ghostbusters, but the actor couldn’t commit to the series. Over 1,000 actors appeared for auditions. Among the six in the final selection, only one caught Shepherd’s eye: a charismatic waiter with no acting experience, wearing earrings and a military jacket. A certain Bruce Willis. “As soon as he left, I leaned over to Glenn and said, ‘It’s him.’”
A week before filming the pilot, Shepherd recounts, she, Willis and Gordon Caron watched Bringing Up Baby and His Girl Friday just as she had suggested. The Hawksian comedy that the actress imagined from the beginning was about to take shape. It was important to review her references. In the series, though, she was not Katharine Hepburn, but Cary Grant. Willis had long speeches, and she specialized in learning to react.
In addition to her presence on screen, Shepherd commanded off-set as well. The sexual tension between Maddie and David was reflected in reality. As she tells it, after a particularly sexy scene between them, she left the set and Willis followed her. “Are we going to do something about this between us or what?,” she asked him. “Why don’t I come over to your house tonight?,” he answered. That night, as they were kissing passionately in her house, she told him, “Maybe we shouldn’t do this.” He complied and left.
Not all of her suggestions were accepted. The exhausting 14-hour days of filming left the actors and crew on the brink of exhaustion. The situation worsened for Shepherd when two years later, at the height of the show’s success, she became pregnant with twins. Her bosses did not take the news well. The solution they found was to marry Maddie off to a guy she had just met, which the actress objected to. Her boss’s response? “Shut up and do your job. You’re not producing the series.”
Tensions grew, both between her and the producers and between the two actors, whose unconsummated affair, Shepherd maintains, was only the beginning of her problems. When the series received a collection of Emmy nominations for its season-three episode “Atomic Shakespeare,” an adaptation of The Taming of the Shrew written in blank verse, the actress confesses to praying that Willis wouldn’t win — she wasn’t even nominated. Her prayers went unanswered. The toxic atmosphere on set was so apparent that the writers decided to incorporate it into the series. In one of Moonlighting’s characteristic meta-television eruptions, a journalist went to the agency’s offices to investigate the rumors about constant fights between its leads.
The situation reached such an extreme that Gordon Caron walked off set in the fall of 1988, declaring that either he would go or Shepherd would. Brandon Stoddard, the president of ABC, interceded to save the series. He spoke to Gordon Caron: “Maybe you can’t run the series, maybe you can’t tell her what to do, but you could keep writing,” hinting to the creator that the dispute had already been settled in favor of the actress. Shepherd’s perspective is different, of course. In her memoirs, she recalls, “What had begun as an alliance between Glenn and me, as well as a newcomer named Bruce Willis, had turned into Glenn and Bruce against Cybill.” Another factor was that in 1988, thanks to the success of Die Hard, Willis had made the leap to Hollywood stardom.
Its creator’s departure was the beginning of the end for Moonlighting, which ended in 1989. In the last minutes of the final episode, while they flee in terror from the destruction of the set in another meta-turn, David and Maddie look for the reasons why the series is over. They end up in a movie theater where a television producer comes to tell them that the viewers fell in love when they saw them fall in love. Now that they are no longer in love, they have lost the audience’s favor. “Love is a very fragile thing,” he says.
After Moonlighting, Willis embarked on a successful film career until his recent retirement.
Shepherd went on to star in Cybill, the hugely successful CBS series that ended almost overnight for no apparent reason. Years later, she would say that the series was cancelled after she turned down the sexual advances of Les Moonves, then-president of CBS. In 2018, Moonves resigned after 12 sexual abuse cases were revealed.
In 2005, Gordon Caron created the show Medium. In 2021, he left another series, Bull, after several writers walked out, citing it as fostering a disrespectful work environment. In 2018, one of the actresses in the series, Eliza Dushku, alleged that she had suffered sexual harassment from the protagonist of the series, Michael Weatherly. In a letter, Dushku stated that Gordon Caron “fired her in silence” 48 hours after her complaints about Weatherly. Gordon Caron, through his representative, denied the claim. It later came to light that Dushku was paid $9.5 million to settle. | ||||
7959 | dbpedia | 3 | 68 | https://www.nytimes.com/1991/11/24/movies/film-seeking-ms-right-in-throngs-of-ms-wrongs.html | en | FILM; Seeking Ms. Right in Throngs of Ms. Wrongs | [
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"Richard Sandomir",
"www.nytimes.com",
"richard-sandomir"
] | 1991-11-24T00:00:00 | en | /vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico | https://www.nytimes.com/1991/11/24/movies/film-seeking-ms-right-in-throngs-of-ms-wrongs.html | On a steamy Summer day in his West 54th Street office, the casting director Louis DiGiaimo is auditioning actresses for the role of Vida, the saucy, ebullient arsonist in "Wilder Napalm." In the movie, Vida is married to Wilder, a Fotokwik clerk and volunteer fireman who loves calling bingo games and is blessed with the ability to set fires with his mind. Wilder's brother, Wallace, to be played by Dennis Quaid, is a carnival clown (also pyrokinetic) whose ambition is to lead his co-workers in an appearance on the "Tonight" show.
Though "Wilder Napalm" is not to begin filming until early November, the summer finds Mr. DiGiaimo deeply involved in the casting process. The job requires him to fly between New York and Los Angeles to audition actors for not only Vida and Wilder but such characters as the Snake Lady; Rex, the chief carny, and a company of volunteer firemen.
In Los Angeles, Daryl Hannah, Mimi Rogers, Molly Ringwald and Linda Hamilton have already read for the role -- and some have been called back to meet the movie's director, Glenn Gordon Caron -- but no one has been offered the part. "Vida is a great role," says the balding, bearded Mr. DiGiaimo (pronounced de-JEYE-mo), who most recently cast "Thelma and Louise." "She has so much heart."
A camcorder is beside Mr. DiGiaimo, who is sitting in a director's chair. Opposite Mr. DiGiaimo is a leather sofa. Sharing wall space with shelves full of books, scripts and videotapes are posters from some of the films he has cast, including "Good Morning, Vietnam," "The Godfather" and "Rain Man." (Mr. DiGiaimo, who is 48 years old, has cast about 100 films, television shows and miniseries.) The office is an amiable mess.
Each actress reads two scenes, one as a warm-up, the other for the video camera. The latter scene shows Vida apologizing to her husband for romancing his brother. It seems that while the toupeed Wilder was out calling bingo numbers, Vida and Wallace were striking up a dalliance that ignites a literal conflagration between the two men.
To each actress, Mr. DiGiaimo gives similar advice: "Remember, she loves Wilder; and just because she lives in a trailer park doesn't mean she's white trash. She's been under house arrest for a year," on an arson charge, "and when she's finally free, Wilder goes to call bingo. Don't forget, you've been up for 36 hours."
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7959 | dbpedia | 3 | 48 | https://variety.com/2023/tv/news/bruce-willis-not-verbal-dementia-moonlighting-creator-1235754040/ | en | ‘Moonlighting’ Creator Told Bruce Willis About the Show’s Streaming Debut Before Actor Became ‘Not Totally Verbal’: ‘I Know It Means a Lot to Him’ | [
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"Zack Sharf"
] | 2023-10-12T20:22:35+00:00 | Bruce Willis' dementia disease has rendered him mostly incommunicative, says "Moonlighting" director. | en | Variety | https://variety.com/2023/tv/news/bruce-willis-not-verbal-dementia-moonlighting-creator-1235754040/ | With “Moonlighting” now available on streaming for the first time thanks to Hulu, series creator Glenn Gordon Caron spoke to the New York Post and confirmed he was able to tell series star Bruce Willis about the show’s streaming resurgence amid the actor’s ongoing frontotemporal dementia (FTP) diagnosis. “Moonlighting,” the Emmy-nominated ABC dramedy that ran for five seasons and 67 episodes in the late-1980s, served as Willis’ acting breakthrough. He plays a wisecracking detective who teams up with a former fashion model (Cybill Shepherd) to solve crimes after she finds herself broke and left with a detective agency as her only asset.
“I know [Bruce is] really happy that the show is going to be available for people, even though he can’t tell me that,” Caron told The Post. “When I got to spend time with him we talked about it and I know he’s excited… The process [to get ‘Moonlighting’ on to Hulu] has taken quite a while and Bruce’s disease is a progressive disease, so I was able to communicate with him, before the disease rendered him as incommunicative as he is now, about hoping to get the show back in front of people. I know it means a lot to him.”
Caron said that he stays in touch with Willis and the actor’s wife, Emma Heming Willis, and he provided a health update on the actor, who retired from the profession after his FTP diagnosis.
“The thing that makes [his disease] so mind-blowing is [that] if you’ve ever spent time with Bruce Willis, there is no one who had any more joie de vivre than he,” Caron said. “He loved life and… just adored waking up every morning and trying to live life to its fullest.”
“My sense is the first one to three minutes he knows who I am,” he added of his visits to Willis. “He’s not totally verbal; he used to be a voracious reader — he didn’t want anyone to know that — and he’s not reading now. All those language skills are no longer available to him, and yet he’s still Bruce… When you’re with him you know that he’s Bruce and you’re grateful that he’s there, but the joie de vivre is gone.”
Emma Heming Willis appeared on “Today” last month to discuss Bruce’s condition and bring awareness to the disease during World Frontotemporal Dementia Awareness week.
“What I’m learning is that dementia is hard,” Emma said. “It’s hard on the person diagnosed. It’s also hard on the family. And that is no different for Bruce, or myself, or our girls. When they say that this is a family disease, it really is.”
When “Today” anchor Hoda Kotb asked Heming Willis “Does he know what’s going on? Is that something that he is aware of?”, she responded, “Hard to know. It’s hard to know.”
“There’s so many beautiful things happening in our lives,” she added. “It’s just really important for me to look up from the grief and the sadness so that I can see what is happening around us. Bruce would really want us to be in the joy of what is. He would really want that for me and our family.”
“Moonlighting” is now available to stream on Hulu. | |||||
7959 | dbpedia | 1 | 5 | https://en.wikipedia.org/wiki/Love_Affair_(1939_film) | en | Love Affair (1939 film) | [
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This article is about the 1939 film. For other films with the title "Love Affair", see Love Affair.
Love AffairDirected byLeo McCareyScreenplay byStory by
Leo McCarey
Mildred Cram
Produced byLeo McCareyStarringCinematographyRudolph MatéEdited byMusic byRoy Webb
Production
company
Distributed byRKO Radio Pictures
Release date
Running time
87 minutesCountryUnited StatesLanguageEnglishBudget$860,000[1]Box office$1.8 million[1]
Love Affair is a 1939 American romance film, co-starring Charles Boyer and Irene Dunne, and featuring Maria Ouspenskaya. It was directed by Leo McCarey and written by Delmer Daves and Donald Ogden Stewart, based on a story by McCarey and Mildred Cram.[2] Controversial on concept, the official screenplay was re-tooled and rewritten to appease Hollywood censorship and relied on actor input and improvisation, causing long delays and budget extensions.
The movie became a surprise hit of 1939, showing McCarey's versatility after a long career of comedic films, and launching the surprising team-up of Dunne and Boyer. Academy Award nominations include Best Actress for Dunne, Best Supporting Actress for Ouspenskaya, Best Original Song, Best Writing (Original), and Best Picture. Its popularity was later dwarfed by McCarey's 1957 remake An Affair to Remember, which spawned its own remakes with 1994's Love Affair and a few Indian adaptations.
Plot
[edit]
One December, French painter (and famed womanizer) Michel Marnet meets American singer Terry McKay aboard a liner crossing the Atlantic Ocean. They are both already engaged, he to heiress Lois Clarke, she to Kenneth Bradley. They begin to flirt and to dine together on the ship, but his worldwide reputation makes them conscious that others are watching. Eventually, they decide that they should dine separately and not associate with each other. At a stop at Madeira, they visit Michel's grandmother Janou, who bonds with Terry and admits wanting Michel to settle down.
As the ship is ready to disembark at New York City, the two make an appointment to meet in the new year, six months later on top of the Empire State Building, giving Michel enough time to decide whether he can start making enough money to support a relationship with Terry. His paintings fail to sell, so he finds work designing advertising billboards around the city, while Terry breaks off her engagement to Kenneth and successfully negotiates a contract with a Philadelphia nightclub to perform through to June.
When the rendezvous date arrives, they both head to the Empire State Building. However, Terry is struck by a car on a nearby street and is told by doctors she may be paralyzed for the rest of her life, though that will not be known for certain for six months. Not wanting to be a burden to Michel, she does not contact him, preferring to let him think the worst. Meanwhile, Michel, who waits until closing time, travels to Madeira to discover his grandmother has recently died, and continues working in New York City. Terry is overheard singing in the garden of her physiotherapy by the owner of a children's orphanage, who hires her as a music teacher.
Six months pass by, and during Terry's first outing since the accident, she and Michel meet by accident at a theater on Christmas Eve, though since she is already seated, Terry is able to conceal her disability. The next morning on Christmas Day, after the children visit Terry at her apartment, Michel makes a surprise visit and finally learns the truth. Terry, delighted Michel proved he had changed his ways, tells him it is her turn to prove she can change hers, but Michel assures her that they will be together no matter what the diagnosis is.
Cast
[edit]
Irene Dunne as Terry McKay
Charles Boyer as Michel Marnet
Maria Ouspenskaya as Grandmother Janou
Lee Bowman as Kenneth Bradley
Astrid Allwyn as Lois Clarke
Maurice Moscovitch as Maurice Cobert, art dealer
Scotty Beckett as Boy on ship (uncredited)
Dell Henderson as Cafe Manager (uncredited)
Lloyd Ingraham as Doctor (uncredited)
Frank McGlynn Sr. as Orphanage Superintendent (uncredited)
Ferike Boros as Terry's landlady (uncredited)[3]
Other uncredited actors include Joan Leslie, Oscar O'Shea, Lloyd Ingraham, Bess Flowers and Harold Miller (as couple on liner), Phyllis Kennedy, and Gerald Mohr.[4]
Irene Dunne
Charles Boyer
Maria Ouspenskaya
Lee Bowman
Development
[edit]
Despite the popularity of his romantic and screwball comedies, Leo McCarey had become tired of directing them.[5] His wife suggested they should go on a cruising vacation around Europe to combat his writer's block, and when they returned to the United States, they watched the Statue of Liberty pass. McCarey immediately told her his idea about two passengers who fall in love on a cruise, but realize they are both "obligated to somebody else."[6] With the premise created, Mildred Cram co-developed the rest of the story under the working title Memory of Love,[Note 1] then later Love Match,[9][10] as Delmer Daves created the screenplay and Donald Ogden Stewart helped McCarey with the comedy.[11] James Anderson stood as assistant director,[4] Edward Dmytryk and George Hively were the movie's editors, and Roy Webb composed the film score.[13] Filming took place in the fall of 1938. The rough cut was screened in January 1939.
Actresses such as Helen Hayes and Greta Garbo developed interest in starring, but the McCarey couple preferred Irene Dunne, who had previously appeared in McCarey's The Awful Truth and was a close family friend; Terry's occupation as nightclub singer intended to display Dunne's singing talents. Charles Boyer's reputation as a romantic actor (from starring in History is Made at Night and Algiers) made him McCarey's first choice. Concurrently, Boyer rejected Harry Cohn's offer of the leading role in Good Girls Go to Paris to do Love Affair, instead. He and McCarey were acquaintances and Boyer believed McCarey was an underestimated director, so he canceled many acting plans for the rest of 1938 to work with McCarey and Dunne. "Any picture that Leo McCarey directs is its own guarantee[;] he can't make a bad picture," he later explained.[20]
Irene Dunne later noted that the dialog changed frequently, and the cast received pieces of paper between filming; McCarey's common directing tactic of improvisation also continued throughout.[21] Both he and Boyer were unimpressed with the final draft, despite Boyer being used to memorizing his dialog very quickly. News columnists visiting the set observed the actors waiting around for their dialog as scenes would be rewritten moments before shooting:[23] "'I've been here doing nothing since 8 o'clock this morning,' [Boyer tells] me (it is now 4 in the afternoon)," reported Sheilah Graham.[24] Delays and rewrites caused the film to go over its budget of $800,000 by about $600,000.[25]
McCarey reused and retooled the line "According to you, everything I like to do is either illegal, immoral or fattening," from his 1934 movie Six of a Kind, and gave it to Terry; W. C. Fields (who ad-libbed the retort in the original film) approved but critics hated the reference, McCarey later revealed.[27] Boyer was allowed input in Michel's characterization; he suggested that Michel visiting his grandmother should have a prominent appearance so Terry's accident would not create a tonal shift. The champagne industry used the film to promote pink champagne to the audience, which caused a sales boost.[28]
McCarey gave Dunne the opportunity to choose the signature song for the movie: she decided upon "Wishing", which became one of the most popular songs of 1939; the orphans were dubbed by Robert Mitchell's Boys Choir. Other songs performed are "Sing My Heart" and "Plaisir d'Amour", performed by Terry in a Philadelphian night-club and at Michel's grandmother's home, respectively.
Maria Ouspenskaya described working on the film as "an atmosphere of work that is inspirational. [...] Actor, electricians, and cameramen loved their work and did not want to break away from that atmosphere."[30] Boyer would later praise McCarey's filmmaking for the movie's success; he was described in an interview years later as "still speak[ing] of Mr. McCarey with sincere awe."[31]
Controversy
[edit]
The initial screenplay was rejected by the Production Code Administration, accusing the story of endorsing adultery.[32] Another related argument believed Terry had not been punished for her kept behavior, while Michel had been given redemption, so this led to Terry's paralysis.[33] "You dissolved to her in a hospital with her realizing that God hadn't wanted her to meet [Michel] until she was sorry for what she had done before," explained Donald Ogden Stewart.[34]
Initially a period piece set in the 1850s about the tragic romance of a French ambassador,[35][25] the final draft of the script was complete and filming was announced to begin September 15,[36] but it was later pushed back a month.[37] Due to concerns of a potential war in Europe, the French embassy wanted stronger allyship with the United States and had concerns about a movie about a French diplomat and an American woman having an affair.[25][35] McCarey and Daves reworked the story as a modern tale,[35] with Terry's characterization now based on a woman Daves met on a cruise who was rumored to be returning to the United States after hiding in Europe for being caught as the mistress of a small-town government official.[35]
Release
[edit]
Film Daily reported that Love Affair's release had the potential to be premiered in late January or early February 1939 at Radio City Music Hall;[38] later issues would give the initial release date as February 17 and March 10.[39][Note 2] The film premiered March 16 at the Music Hall with a pink champagne-themed cocktail party for Dunne, emceed by W. G. Van Schmus; McCarey was on vacation in Santa Monica and could not attend.[41]
Reception
[edit]
The praise for Love Affair among film critics was reflected in Clark Wales' quip: "Recommending a Leo McCarey production is something like recommending a million dollars or beauty or a long and happy life. Any of these is a very fine thing to have and the only trouble is that there are not enough of them."[42] Liberty magazine wrote "a pleasant little seriocomedy,"[43] New York World-Telegram called the film "the most absorbing and delightful entertainment of its kind [in] a long time"[44] and New York Daily News called the film "tender, poignant [and] sentimental without being gooey".[45] "Put this one down among the contenders of the Academy Awards of 1939," declared Associated Press, "and [one] of the most satisfactory movie endings."[46]
"The screenplay is an exceptionally intelligent effort," wrote the Box Office Digest, "[and] McCarey's skill in handling individual scenes with the old [Hal] Roach technique carries through this tough spot and on to a grand climax,"[47] but the review added: "It must be unfortunately recorded that there is a let down in interest for a half reel when [Michel and Terry] are separated."[47] Meanwhile, The Charlotte Observer found the movie refreshing, describing it as "outdoing" other romances that are "slap-happy wherein boy spanks girl or shoves her into the fish pond by way of displaying his affections."[48] Pare Lorentz described the film as "a mood, rather than a story" as McCarey effortlessly balanced the conflicting tones of comedy and melodrama, "[keeping] it alive by expert interpolations."[49] Stage also praised the direction: "McCarey is the man responsible for shifting, with no detectable trickery, from the brittle comedy of the early sequences to the genuine emotionalism of the later. It is superior entertainment all the way through."[50]
On characterization, The New York Times remarked on "the facility with which [Boyer and Dunne] have matched the changes of their script—playing it lightly now, soberly next, but always credibly, always in character, always with a superb utilization of the material at hand."[51] Leo Mishkin added: "Certainly, this Terry McKay of Miss Dunne's is one of the greatest things she has ever done on the screen[.]"[52] Variety described Boyer's performance of Michel as "a particularly effective presentation of the modern Casanova;"[53] "Under no circumstances miss it," said Jesse Zunser, "Mr. Boyer proves beyond the shadow of a cinematic doubt that there are few better players on the American dream[.]"[54] Box Office Digest wrote, "[Boyer and Dunne have] never done more delightful work, and to say that they step along in stride — step for step, is a tribute to either one in red hot competition."[47] The Film Daily described the performances as "gorgeously acted" and "stand[s] out as the best of many months",[55] and Photoplay remarked that Maria Ouspenskaya's "extraordinary" performance "stole" the scenes in Madeira.[56] The only notable criticism of characters came from Dunne herself, who told Silver Screen years later: "If I had been in that girl's place, far from hiding, I would've trundled my wheelchair up and down the sidewalks of New York looking for [Michel]."[57]
Love Affair was RKO Pictures' second-most popular film, after Gunga Din.[58][35] It was colloquially classified as "Mature."[59][60][61]
Legacy
[edit]
Years after its release, Love Affair would continue to receive high praise. Tom Flannery's filmography book 1939: The Year in Movies wrote that Dunne and Boyer "generated [the most] chemistry, charisma [and] sensuality" in Hollywood, despite 1939 producing the best couples in "Clark Gable and Vivien Leigh [in Gone with the Wind], Laurence Olivier and Merle Oberon [in Wuthering Heights], Leslie Howard and Ingrid Bergman [in Intermezzo]." William K. Everson joined the critics of the past that praised McCarey balancing the comedy and drama perfectly, and noted Terry saying goodbye to Grandma Janou was realistically "tender and poignant[;] such moments all too rarely are in film."[63] Rotten Tomatoes gave it a critics' score of 86% based on 7 reviews,[64] and Metacritic gave it a critics' score of 91 on 8 reviews.[65]
However, the release of its remake, An Affair to Remember, spawned comparisons. An Affair to Remember became better-known in popular culture, later placed at number 5 on AFI's 100 Passions list,[66] and was frequently parodied, referenced, and alluded to in other media, causing Love Affair to become lost in time.[Note 3] Screenwriter Nora Ephron, first introduced to the movie when she was a child,[68] referenced it heavily in Sleepless in Seattle,[69][70] allegedly causing rentals of the film to increase.[citation needed] Irene Dunne and Deborah Kerr's Terry performances did not receive as much comparison as Charles Boyer's Michel and Cary Grant's Nicky, whose characters divided critics and analysts per review. Larry Swindell called Boyer's portrayal/performance chaste which overshadows the dialog's frequent references to Michel's womanizing, whereas Megan McGurk argued Grant was too self-conscious and refused to make Nicky appropriately vulnerable, particularly in Nicky and Terry's reunion.[71]
Boyer and Dunne
[edit]
The partnership of Charles Boyer and Irene Dunne would be called the most romantic in Hollywood.[72] With a positive reaction to the pairing, Hollywood developed them as the newest team-up, so the duo starred together twice more in When Tomorrow Comes (1939) and Together Again (1944). Critics judged the rest of the "trilogy" with the praised qualities of Love Affair, with When Tomorrow Comes receiving the least positive reception.[74][75]
The two actors remained family friends after performing together. To promote When Tomorrow Comes, they were asked by Photoplay to describe each other in the style of a parlor game where a player who briefly left the room guesses the secret noun other contestants chose by asking questions like "If I were that person, what kind of car would I be?" Their essays appeared in the October issue under the names "Irene: As Seen by Charles Boyer"[77] and "Charles: As Seen by Irene Dunne" with the editor noting: "Surely, working together as they do and have done, and being analytical, intelligent people, each would give a clear-limned portrait of the other; unbiased, colorful, exciting." Boyer described Dunne in prose,[79] while Dunne described Boyer under topical subtitles, but Wes D. Gehring pointed out both essays' frequent references to fine art, as well as Dunne personifying Boyer through French impressionism.
Dunne called Boyer one of her favorite screen partners, along with Cary Grant, and referred to him as the "perfect gentleman" at the American Film Institute's retrospective screening.
Film remakes and adaptations
[edit]
Lux Radio Theatre aired two versions of Love Affair radio adaptations on April 1, 1940[81] and July 6, 1942.[82] Irene Dunne reprised her role in both,[83] whereas Charles Boyer co-starred in the 1942 version; William Powell starred alongside Dunne in the 1940 version.[83]
Plans for a Love Affair remake were first reported in 1952, which had Fernando Lamas and Arlene Dahl attached to the project.[84] Eventually, McCarey remade it in 1957 as An Affair to Remember[Note 4] with Cary Grant and Deborah Kerr in the lead roles, using a very similar screenplay.[86] Despite agreeing to remake it in response to Hollywood's current romantic offerings, McCarey would still prefer his original work. Glenn Gordon Caron also remade the film in 1994 as Love Affair,[Note 5] starring Warren Beatty, Annette Bening, and in her last feature film, Katharine Hepburn.[90][91] Bollywood cinema made two versions: 1965's Bheegi Raat[citation needed] and 1999's Mann,[92] which were both adaptations of An Affair to Remember.
Accolades
[edit]
12th Academy Awards
[edit]
Award Nominee Outcome[93] Outstanding Production RKO Radio Nominated Best Actress Irene Dunne Nominated Best Supporting Actress Maria Ouspenskaya Nominated Best Writing (Original Story) Mildred Cram, Leo McCarey Nominated Best Art Direction Van Nest Polglase, Al Herman Nominated Best Original Song "Wishing," music and lyrics by Buddy DeSylva[53] Nominated
Availability
[edit]
In 1967, the film entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication.[94] Because of this, the film is widely available on home video and online. The film can be downloaded legally for free on the Internet Archive. However, since the only film prints available were in lower-resolution 16mm (along with poor quality web video) in 2020 the Museum of Modern Art and Lobster Films (Paris) worked on a new 4K version created from film elements that MoMA had in its archives.[95][additional citation(s) needed]
The Criterion Collection released this newly restored version on Blu-ray and DVD in February 2022.[95][96]
Notes
[edit]
References
[edit]
Bibliography
[edit]
Gehring, Wes D. (2005). Leo McCarey: From Marx to McCarthy. Lanham, MD: Scarecrow Press. p. 159. ISBN 0810852632.
Photoplay. Vol. 53. October 1939. pp. 24–25, 87.
Boyer, Charles (1939). "Irene: As Seen by Charles Boyer". Photoplay (Interview). Vol. 53, no. 10. Interviewed by Photoplay staff. pp. 25, 87.
Dunne, Irene (1939). "Charles: As Seen by Irene Dunne". Photoplay (Interview). Vol. 53, no. 10. Interviewed by Photoplay staff. pp. 24, 87.
Flannery, Tom (1990). 1939, The Year in Movies: A Comprehensive Filmography. Jefferson, N.C.: McFarland. ISBN 0899504663.
Gehring, Wes D. (2006). Irene Dunne: First Lady of Hollywood. Lanham, MD: Scarecrow Press. ISBN 978-0810858640.
Swindell, Larry (1983). Charles Boyer: The Reluctant Lover (first ed.). Garden City, N.Y. ISBN 0385170521.
Love Affair at the AFI Catalog of Feature Films
Love Affair at IMDb
Love Affair at Rotten Tomatoes
Love Affair is available for free viewing and download at the Internet Archive
Love Affair at the TCM Movie Database
Love Affair at AllMovie
Streaming audio | ||||||
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] | null | [] | null | When a movie legend's career comes to an end, you wish them to go out with a bang. Deanna Durbin left her career on top - having always pl... | https://javabeanrush.blogspot.com/favicon.ico | https://javabeanrush.blogspot.com/2013/11/is-katharine-hepburn-irrelevant-in-love.html | Is Katharine Hepburn Irrelevant in Love Affair (1994)?
When a movie legend's career comes to an end, you wish them to go out with a bang.
Deanna Durbin left her career on top - having always played the lead after her first film. James Dean's abbreviated career left behind the epic movie Giant.
In the case of movie star Katharine Hepburn, after a ten year absence from theater releases, the 87-year old legend was coaxed onto the big screen again, for a classic movie remake - Love Affair (1994). Though she filmed the occasional TV movie, and would complete another small screen story later that year, Love Affair would be her last role for a major film.
Unfortunately, Ms. Hepburn's role in her cinematic swan song is made irrelevant.
Love Affair (1994) is a remake of two earlier films -Love Affair (1939) and An Affair to Remember (1957). It's the story of two strangers who meet on a trip and flirt, but are engaged to other people.
In all three movies, the couple's budding relationship receives a nod of approval from a matriarchal figure -a grandmother in the first two films, Aunt Ginny (Hepburn) in the latest film. This authoritative figure is in place to engender audience approval, so the heroes won't appear egregiously unfaithful to their fiances (even though they actually are cheating).
But there are two significant differences between Hepburn's role in Love Affair '94 and that of her predecessors.
Because There is Little Scandal, Aunt Ginny's Blessing is Irrelevant in Love Affair '94
In Love Affair '39 and An Affair to Remember, infidelity to a fiance is treated as a battle: societal norms vs. personal feelings. To avoid gossip, the couple takes care not even to be seen dining at the same time in the cruise ship's restaurant. Their reputation in the world means a lot to them.
However, in Love Affair '94, infidelity to a fiance doesn't really bother anyone so there's very little tension. This is not the grand battle between society's expectations and individual desires as it is in the first two films. In this movie, society at large doesn't care what the characters do. Plus, their fiances are perfectly serviceable alternatives who remain friendly throughout and don't give ultimatums.
Thus, in Love Affair '94 there is little at stake (and nothing for Katharine Hepburn to do).
Should our heroine Terry (Annette Benning) chose the attractive guy (Pierce Brosnan) who has loved her for so long, or the new attractive guy (Warren Beatty) who is also willing to devote himself to her exclusively?
Who cares? Do whatever you want. Without broad-based social scandal in the mix, the leads in Love Affair '94 cannot lose with either decision, making their story a completely isolated, internal and insignificant tug-of-war.
Watching them mull over their decisions is like being in line behind someone at Starbucks. Just choose something, already! Your options are all about the same and I'm getting restless enduring your indecisiveness.
In the earlier two films, the decision to throw caution to the wind and finally pursue each other is weighty and dramatic, making the elder woman's "benediction," as the New York Times calls it, a necessary boost to the couple's plans. In Love Affair '94, the fraught drama isn't there, making Ms. Hepburn's role and Aunt Ginny's blessing superfluous.
Does Aunt Ginny Actually Approve?
Since Aunt Ginny mostly serves one function in this story - to approve of her nephew's relationship with this new love interest- the elder relative must make her approval clear (or at least implicit) otherwise there is no point in her existence in the plot.
However, there's a problem with tone in Aunt Ginny's scenes. Since they share only about 10 minutes of movie time, Aunt Ginny and Terry must establish a rapport and a life-long bond quickly.
What do we get instead?
The New York Times critic describes Ms. Benning's Terry as "usually peevish." It's arguable that this character is a part of the times. 1990s movies are overflowing with cynical, biting and no nonsense female leads, which are quite fun to watch. It's just a style.
However, for the scenes of female bonding with Aunt Ginny, it's not necessary to be aggressive. In fact, it's detrimental. Terry is not easy to like in these scenes.
Meanwhile, Aunt Ginny isn't helping. With elbows on knees, she absently slaps her hands together, trying to think of conversation with her guest. It seems she's ready for Terry to leave. (You're burning up precious bonding time, Aunt Ginny.)
No one -not the director, not Ms. Benning, not Ms.Hepburn- allows Terry and Aunt Ginny to like each other. The words are there but the expressions and gestures are that of people enduring each other.
Come on, movie! I want to like you. I want to love you. I want to point to you and say, " See, all you doubters? There is a decent classic movie remake after 1968."
But I can't.
Is Aunt Ginny necessary? No. The script has forced the older woman to become obsolete, a relic left over from the earlier films. Further, the tone of her scenes makes visiting Aunt Ginny unpleasant.
Except for showcasing what a nice guy the nephew is towards women in his family, Aunt Ginny's presence is, at worst, detrimental to the film, at best,superfluous. This is one of the great Katharine Hepburn's last roles; it's a shame that the character is irrelevant. | ||||
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"Contributors to Wookieepedia"
] | 2024-07-12T14:06:28+00:00 | A rebellion built on hope.Tagline Rogue One: A Star Wars Story is a 2016 film directed by Gareth Edwards and produced by Lucasfilm president Kathleen Kennedy, amongst many others. The screenplay, written by Chris Weitz and Tony Gilroy, is based on a story by John Knoll and Gary Whitta. The... | en | https://static.wikia.nocookie.net/starwars/images/4/4a/Site-favicon.ico/revision/latest?cb=20210601202538 | Wookieepedia | https://starwars.fandom.com/wiki/Rogue_One:_A_Star_Wars_Story | For other uses, see Rogue One (disambiguation).
Rogue One: A Star Wars Story is a 2016 film directed by Gareth Edwards and produced by Lucasfilm president Kathleen Kennedy, amongst many others. The screenplay, written by Chris Weitz and Tony Gilroy, is based on a story by John Knoll and Gary Whitta. The film's score is composed by Michael Giacchino, marking the first live-action film in the Star Wars canon to not be scored by John Williams. It is the first installment of the Star Wars Anthology Series.
Rogue One stars Felicity Jones, Diego Luna, Ben Mendelsohn, Riz Ahmed, Donnie Yen, Jiang Wen, Forest Whitaker, Mads Mikkelsen, and Alan Tudyk. Genevieve O'Reilly reprises her role as Mon Mothma, the leader of the Rebel Alliance; O'Reilly portrayed the character for 2005's Star Wars: Episode III Revenge of the Sith, but her scenes were cut. The film also sees two actors from the films reprise their iconic roles: James Earl Jones as the voice of Darth Vader (the character is portrayed by Spencer Wilding and Daniel Naprous); and Anthony Daniels as C-3PO.
The film, which began production in August 2015, is set between Star Wars: Episode III Revenge of the Sith and Star Wars: Episode IV A New Hope. It is set closer to the latter film and focuses on the formation of the Rebel Alliance and their efforts to steal the plans to the Death Star, an event that was referenced in the opening crawl of A New Hope. Jyn Erso, played by Jones, and a group of other characters band together to steal the plans from the Galactic Empire. Edwards has described the film as "a grounded, war-based movie, one in which normal people have to come together to fight the Empire as opposed to relying on the Jedi or the Force".
Official description[]
From Lucasfilm comes the first of the Star Wars standalone films, "Rogue One: A Star Wars Story," an all-new epic adventure. In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire's ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves. In theaters December 2016.[9]
Synopsis[]
Capture of Galen Erso[]
Approximately six years after the formation of the Galactic Empire, Imperial Director Orson Krennic and a squad of death troopers land on the planet Lah'mu and forcibly recruit scientist Galen Erso to complete his work on the Death Star, a space station the empire hopes to be capable of destroying entire planets. Galen's wife, Lyra Erso, is killed when she shoots and injures Krennic to in an attempt to stop him from taking her husband. Their daughter, Jyn Erso, goes into hiding until Saw Gerrera, leader of the Partisans, rescues her and takes her in.
Jyn's imprisonment[]
Thirteen years later, an adult Jyn Erso, under the alias of Liana Halik, has been imprisoned in a Detention center on Wobani, sharing a cell with Oolin Musters.
Mission to the Ring of Kafrene[]
On the Ring of Kafrene trading outpost in section nine, the Rebel Intelligence officer Captain Cassian Andor meets with a contact, a man named Tivik, who reveals that an Imperial cargo pilot defected from the Galactic Empire the day before and is telling people that they are making a weapon with the Kyber crystals from Jedha. After persuasion from Andor, Tivik reveals that the weapon is a "planet killer" and that Rook is telling people that Galen Erso, an old friend of Saw Gerrera's, sent him. Andor escapes before he can be caught by Imperial Stormtroopers.
An urgent message[]
Having defected, Imperial pilot Bodhi Rook seeks out Saw, carrying an important message from Galen concerning the Empire's construction of an ultimate weapon. He finds Gerrera's hideout on Jedha but Gerrera's Partisan soldiers, including Benthic, are distrustful of Rook's intentions and capture him. They bring him before Gerrera and though Bodhi pleads his case to the Partisan leader, Gerrera does not trust him either, fearing that he is being lured into a trap. To discover if Rook is being truthful or not, Gerrera subjects him to the torturous creature Bor Gullet, an experience which leads to a temporary loss of Bodhi's sanity.
Freeing Jyn Erso[]
Jyn is freed from Imperial captivity by Extraction Team Bravo and brought before Rebel leaders including Mon Mothma, Jan Dodonna, Bail Organa, Davits Draven, and Andor. They convince her to help get them an audience with Saw, whom Jyn has not seen since he abandoned her years prior. Though the mission is presented to Jyn as one of extraction, Draven covertly orders Cassian to kill Galen so as to prevent the weapon from being completed. Jyn, along with Cassian and his reprogrammed Imperial droid K-2SO, set off for the moon Jedha in a Rebel U-wing.
When has become now[]
On the bridge of the Executrix, Governor Wilhuff Tarkin monitors construction of the Death Star. As he looks on, the superlaser is being installed. Krennic comes aboard the Star Destroyer and approaches Tarkin on the bridge. Tarkin expresses his concern over the defected cargo pilot, who is spreading rumors on Jedha about the Death Star's existence. He tells Krennic that his time is up as far as completing the battle station goes and that the Emperor would not tolerate any more delays on the project. Suggesting that both problems should be solved together with a test of the weapon, Tarkin makes it clear to Krennic that failure will not be tolerated.
Battle on Jedha[]
Cassian, Jyn and K-2SO arrive on Jedha where Cassian expects to meet up with a Partisan contact. The droid stays on the ship while Jyn and Cassian set out to find his contact, but the duo is caught in the middle of an armed uprising against the Empire led by Gerrera's partisans. Jyn and Cassian find safety only after K-2SO disobeys orders to stay on the U-Wing and comes to their aid. After fighting off the Imperial troopers, the convoy returns to Tythoni Square where the uprising had taken place. Imperial reinforcements arrive and K-2SO is mistaken for an actual Imperial droid transporting prisoners. The droid tries to play along, but the disguise is foiled. They are saved by the intervention of blind warrior Chirrut Îmwe and mercenary Baze Malbus, guardians of the Kyber Temple on Jedha of which the Empire is stripping of its treasures. After the Imperial reinforcements are fought off, the group thinks they are in the clear until a group of Partisans, including Benthic, arrives and takes over the square, kidnapping Andor, Erso, and the two guardians with K2 having gone back to the ship. Benthic feels that Andor was hostile towards the Partisans during the uprising because he shot one of their own who was preparing to throw a grenade at a tank next to which Jyn was hiding. Jyn reveals to the Partisans that she is the daughter of Galen Erso and the partisans take them to their headquarters in the Catacombs of Cadera and imprison them.
Galen's message[]
While Cassian, Chirrut, and Baze are locked in cells, Jyn is brought before Saw. The calm captive Chirrut "prays" to the Force with his mantra "I am one with the Force and the Force is with me" while Baze mocks his partner's mystical ways. Cassian becomes impatient with Chirrut and begins to try and pick the cell lock himself. Gerrera is surprised to see Jyn, having parted ways with her years before. He is still wary that the pilot's message and Jyn's return is simply a trap but when Jyn explains her intentions of finding Galen he becomes more comfortable. He questions what Jyn wants to obtain from this to which Jyn answers that she wants no part of it and that her role is finished. Refusing to believe that Jyn no longer cares about the Rebel cause, Gerrera offers to show her something that he feels will change her mind. Meanwhile, on the Death Star, Tarkin and Krennic prepare to test the weapon on Jedha City, having evacuated all Imperial forces from the moon via Protocol 13. Krennic goes to order the complete destruction of the moon, but Tarkin overrules him and orders that the test-firing be conducted at minimum power. With imminent danger approaching, unbeknownst to those on the moon, Cassian, Chirrut, and Baze linger in their cells. They notice that in the cell next to them is an Imperial pilot, Bodhi Rook, and Cassian begins to question him, curious if he is the cargo pilot that brought the message. Bor Gullet's effects on Bodhi are clear and he does not seem to understand what Cassian is talking about until he mentions Galen's name and Rook's memory is jogged. As the Death Star's superweapon commences primary ignition above the moon, Gerrera begins to show Jyn the message that Bodhi brought. The message is a hologram, in which Jyn's father expresses his love for her and discloses his coerced help on the Death Star project. Galen also reveals that he covertly compromised the Death Star's design by including a subtle vulnerability in its reactor that can be used to destroy it. He tells her that the structural plans are at an Imperial high-security data bank on the planet Scarif. However, before the hologram can finish, the Death Star fires on the moon and chaos ensues.
Destruction of Jedha City[]
As the imminent destruction of Jedha City begins, the Partisans in the Catacombs begin to flee. Cassian quickly hot-wires the cell door and he, Chirrut, and Baze escape captivity. Cassian hurries to the convoy's possessions that were seized when the Partisans kidnapped them and frantically uses his comlink to call K-2SO who describes the destruction ensuing outside. Cassian informs him to locate their position so they can escape. Before they can flee, Cassian goes to find Jyn, telling Chirrut and Baze to flee the pilot, which Baze does by blasting the cell door with his MWC-35c "Staccato Lightning" repeating cannon. Cassian locates Jyn and informs her that Bodhi has told him where her father is. Gerrera urges her to go with Cassian, but when Jyn suggests he comes with them he refuses, electing to remain there and die with the city. The mass exodus of the catacombs begins, and those who exit look on in horror as they see Jedha's surface beginning to peel back destroy everything in its path. As the Catacombs begin to collapse along with everything else, K-2SO pilots the U-wing through the destruction to pick up the convoy. Cassian, Jyn, Chirrut, Baze, and Bodhi hurriedly board the U-wing and the ship begins its escape through the destruction. Gerrera watches from the collapsing Catacombs as the U-wing takes off and the blast wave overtakes the area. Shortly before his impending death, Gerrera tears off his breath mask and accepts his fate. Jyn watches from the U-wing as the wave consumes the Catacombs and kills Gerrera. The convoy looks on in horror at the destruction outside as K-2SO and Cassian pilot the U-wing, fleeing the destruction that threatens to overtake them. Barely escaping the blast wave, Cassian hurriedly punches in the calculations and the U-wing blasts into hyperspace, narrowly escaping Jedha.
As the Death Star's demonstration is carried out, Krennic, Tarkin, and many other Imperials look on. Krennic expresses the "beauty" of the destruction. With the demonstration complete, Tarkin congratulates Krennic but promptly uses Rook's defection from Galen Erso's Imperial facility on Eadu and the security leak on Jedha under Krennic's command as a pretext to take control over the project. Enraged, Krennic openly challenges Tarkin's decision and decides to deal with the defector and the potential Rebel sympathizer on Eadu personally. In the aftermath of the incident on Jedha, Cassian sends a coded message back to the Alliance base to inform them that Jedha has been destroyed and that he has learned that Galen is on Eadu. Receiving the message, General Draven is dumbfounded by the destruction of Jedha City but advises Andor to keep to the plan of killing Galen. Already in hyperspace, Cassian receives Draven's instructions and informs K-2SO to set their course for Eadu. The entire convoy is in shock concerning Jedha's destruction, and a troubled Chirrut begs Baze to describe the extent of the destruction. Baze reluctantly consents. Knowing now that her father is on Eadu, Jyn explains to Bodhi — who mistakenly believes that his message was too late — that Galen has laid a trap in the Death Star. However, with the message having been destroyed in the chaos on Jedha, she has no way of backing up her claims and the group is wary to believe her. With Cassian refusing to send word of Jyn's claim to the Alliance, she resolves to get her father on Eadu and bring him back to the Alliance so that he can tell them himself.
Mission to Eadu[]
With Tarkin having seized control of the Death Star project, Krennic departs the Death Star in his ST 149 shuttle en route for Eadu, where he plans to expose the Rebel sympathizer in Galen Erso's team. Meanwhile, the Rebel convoy, also seeking out Galen Erso on Eadu, approaches the planet in their U-wing. The planet's stormy conditions hinder their approach, and as Bodhi guides them towards the Imperial installation, they crash whilst attempting to avoid Imperial detection.
Jyn tracks her father to an Imperial research facility on the planet Eadu, where Cassian chooses not to kill Galen. When Krennic arrives and threatens to have Galen's main team killed for causing the security leak, Galen confesses he is responsible. Krennic executes the team nevertheless, and Jyn makes her presence known just as a Rebel bombing raid begins, leaving Galen fatally wounded. Jyn's father dies in her arms before she and her group escape in a stolen Imperial cargo shuttle.
Krennic's groveling on Mustafar[]
With Galen Erso silenced, Krennic travels to Mustafar to speak with the mysterious Dark Lord, Darth Vader at his castle. Upon Krennic's arrival, the Dark Lord's servant, Vaneé alerts Vader, who is meditating in a rejuvenation chamber that the Director has arrived. Vader exits his meditation to confront Krennic on a platform overlooking the volcanic landscape of the planet. The Dark Lord expresses his concern that the Death Star has become more of a problem than the solution it was intended to be, citing Krennic's inability to keep the project a secret as the main catalyst for the change in approach. Krennic defends himself and his creation, claiming that he has delivered a remarkable weapon to the Emperor. Because of his self proclaimed success, he petitions that Vader grant him an opportunity to personally meet with the Emperor and advise him of the Death Star's unprecedented potential. Vader, however, is far more concerned about the rumors that had reached the higher levels of the Empire of the destruction of Jedha City and the attack on the Eadu facility by the Rebellion and what these revelations mean as far as the secrecy surrounding the Death Star project. Krennic attempted to shift blame onto Tarkin for ordering the demonstration on Jedha in the first place, but Vader is not impressed by this futile effort and criticizes Krennic's groveling, reminding the Director that the secrecy behind the Death Star project was instituted in order to prevent open defiance from the Senate. Vader suggests that the Jedha incident be disguised as a mining disaster, but seems to imply that Galen Erso's betrayal might have been a bitter blow to the Empire's secrecy. Vader instructs Krennic to ensure that no other leaks occur so that the Emperor would be satisfied that the project had not been compromised. As Vader swiftly departs, Krennic makes a last plea for his continued control over the project, hoping to remain in command of the battle station rather than Tarkin. However, Vader's patience has run thin, and when Krennic requests that Vader speak to the Emperor on his behalf, the Dark Lord chokes the Director using the Force. As Krennic falls to his knees, Vader warns him to temper his aspirations, lest they cause his downfall. He releases Krennic and the conversation is ended.
Rebel council meeting[]
Having returned to the Rebel base on Yavin 4, Jyn and Bodhi are both present at an Alliance Council meeting where Jyn proposes for the rebels to travel to Scarif and steal the Death Star schematics so they will know where to target the flawed reactor module. The Rebel leadership — including Mon Mothma, Jan Dodonna, Bail Organa, Tynnra Pamlo, Nower Jebel, Vasp Vaspar, Davits Draven, Admiral Raddus, and Antoc Merrick — cannot come to a consensus; many of the Senators propose to scatter their fleet because they have no choice but to surrender. Mothma, Organa, and Raddus attempt to defend Jyn's plan. Unfortunately for them, with Galen Erso and Saw Gerrera dead, and their hologram destroyed, the Rebel leadership has no way of verifying Jyn's claims. The fearful opposition of Pamlo, Vaspar, and Jebel outweighs the support, despite an impassioned plea from Jyn, calling for hope. Without the full support of the council, Mothma is forced to play the devil's advocate, declaring the odds too great to commit so much of their forces.
Rogue One departs for Scarif[]
Frustrated at their inaction, Jyn, Cassian, K-2SO, and a number of Rebels volunteer to take matters into their own hands. The party takes the shuttle to raid the databank themselves. Before they take off, however, they are confronted by Rebel command, who asks them to identify themselves. Rook improvises a call sign of "Rogue One" before heading off to Scarif without Alliance permission.
The Battle of Scarif[]
Once Rogue One arrives at Scarif, they begin to transmit a clearance code, praying that it has not been listed as overdue. Fortunately, the code is valid. The team enters the Shield Gate and head to the planet below. Briefly, before starting the mission, Jyn speaks to the squad in an effort to inspire them, emphasizing that despite being clearly outnumbered, anything is possible with the element of surprise on their side. Cassian debriefs the men and orders them to attack the troops as a distraction so they can gain entry to the Citadel and find the plans. As Jyn, Cassian, and K-2SO search the data bank for the design plans, the rest of their team set off explosives and commence firing in the nearby landing area in an attempt to distract the resident stormtroopers.
Arriving at Scarif, Rogue One jumps the inspection team and steals their uniforms. Jyn and Cassian masquerade as the inspection team and gain entrance to the Citadel with K-2SO in tow.
Inside the Citadel, K-2SO hacks into another Imperial droid of the same model to gain intelligence to locate and access the vault. Krennic orders the garrison deployed after the squad sets off the diversionary explosives. Tarkin is alerted that the Scarif installation has been compromised by rebels and is concerned the rebels may be after the Death Star plans. Tarkin has Lord Vader informed of the developments before ordering the Death Star into hyperspace to investigate.
Meanwhile, back at the Rebel headquarters on Yavin 4, the Rebellion learn of the battle from intercepted Imperial transmissions but before the council is notified, Admiral Raddus has already sent his fleet in support of Rogue One's efforts.
While Rogue One is battling the stormtroopers, Bodhi contacts Scarif Imperial headquarters and feeds them false information and create confusion in order to give the squad a better tactical advantage. The garrison deploys AT-ACT walkers to battle the squad.
Once Raddus's fleet arrives, Red and Gold Squadrons are ordered to protect the fleet, while Blue Squadron is ordered to get to the surface to reinforce and provide air support to Rogue One battling on the beaches. Several X-wings, including Blue Leader Antoc Merrick, and a single U-wing gunship make it through the opening before Gate Control closes the gate, killing several pilots. Cassian contacts Bodhi and asks him to contact the fleet to attempt to open the gate so they can transmit the plans. Bohdi asks the ground troops to find a master switch so he can communicate with the fleet by interfacing with the communications tower.
Rebel troops land from the gunship to reinforce Rogue One. The fleet begins to attack the Shield Gate but to no avail. Rebel X-wings engage numerous TIE fighters stationed on the Shield Gate, with both sides suffering substantial casualties. Jyn finds the plans on the Citadel mainframe — codenamed Stardust, in which Jyn immediately recognizes the name as a secret personal message from her father to help her find the Death Star plans. K-2SO closes the vault door moments before stormtroopers arrive to investigate. K-2SO desperately attempts to lure them away, but the stormtroopers become suspicious and he is forced to attack them. Before being destroyed by enemy fire, K-2SO locks the vault door so the stormtroopers could not open it again, allowing time for his comrades to retrieve the plans. Krennic is informed that the vault has had unauthorized access and goes to investigate. Jyn and Cassian climb the data vault and physically remove the data plans. Right after the retrieval of the plans, however, the duo are ambushed by Krennic. He shoots Cassian with his blaster, causing him to fall.
Chirrut is killed after activating the master switch to allow communication with the Rebel fleet from Rook's shuttle. A squadron of Y-wings commanded by Jon Vander launches multiple ion torpedoes at a Star Destroyer, disabling it.
Rook manages to contact the Raddus's flagship, Profundity, and informs them they must to open the deflector shield to allow the Death Star plans to be transmitted to them. Shortly after, a thermal imploder was thrown into his ship, killing him and destroying the shuttle. Having received Rook's transmission, Raddus quickly formulates a plan to break open the shield using the resources he has available.
Raddus orders a Sphyrna-class Hammerhead corvette, Lightmaker, to physically ram into the side of a disabled Star Destroyer, which pushes it into a second Star Destroyer close by, and creates a chain reaction that effectively destroys all three ships. Baze, having been inspired by Îmwe's sacrifice, repeats his comrade's signature phrase — "I am one with the Force, and the Force is with me" — multiple times, but is then killed by a grenade. One of the Star Destroyers then crashes into the shield gate protecting Scarif and disables the planetary shield, allowing full communications to be re-established. Krennic pursues and corners Jyn on the top of the Citadel tower but before he can kill her, Cassian, who had survived the blaster wound, shoots and badly wounds Krennic. Jyn then successfully transmits the schematics to the Rebel command ship, before helping the injured Cassian into a nearby elevator.
Tarkin arrives with the Death Star and fires a single reactor ignition of the superlaser to destroy the compromised base in an attempt to prevent the plans from falling into enemy hands. While the blast overshoots the base — though the fringes of the beam take out the transmitter, and Krennic along with it — and impacts several kilometers away, it nonetheless triggers an explosion powerful enough to guarantee the death of everyone in the vicinity. Jyn and Cassian, knowing they have no means of escape, await the approaching blast on a beach near the base. In their final moments, Cassian assures Jyn that her father would have been proud, and seconds later the blast incinerates them, along with the base.
After paying respects to his fallen comrades, Raddus orders his fleet to jump to hyperspace, but before the entire fleet can escape, most are intercepted by Vader's Star Destroyer, Devastator, which begins to either destroy or disable the blockaded Alliance ships. Vader boards Admiral Raddus's disabled command ship and singlehandedly massacres many Rebel troops in pursuit of the Death Star plans, only to watch as the CR90 Corvette Tantive IV launches from the hanger bay, narrowly escaping Vader's grasp.
Secret mission to Tatooine[]
Aboard the Tantive IV, Princess Leia Organa receives the stolen plans and declares that the Rebellion has just received "hope." The Tantive IV jumps into hyperspace.
Development[]
Origins[]
John Knoll, a visual effects supervisor and the chief creative officer at ILM, began developing the idea for Rogue One in the mid-2000s, after learning that George Lucas was developing a Star Wars live-action TV series. However, Knoll put aside the idea once he realized that it would not fit within the show's concept.[11][12] The series was eventually put on indefinite hold due to budget constraints,[13] and Lucas decided to retire from filmmaking,[14] hiring Kathleen Kennedy as the new head of Lucasfilm.[15] According to Kennedy, Lucas was "really interested in exploring all the stories that existed inside the universe."[10] (Lucas had long considered making films outside of the saga, dating back to development of the original Star Wars film.[16]) Lucasfilm settled on calling these non-episodic adventures the Star Wars Anthology Series.[10] At the urging of his colleagues,[11] Knoll pitched his idea to various people within Lucasfilm, including Lucasfilm Story Group member Pablo Hidalgo, who was enthusiastic about the idea. This led to a meeting with Kennedy and Kiri Hart, a member of the Story Group and Lucasfilm's vice president of development. Kennedy, who said she was president "for about 20 minutes" when she had the discussion with Knoll, thought it was a great idea and that "there was no way" she could say no to the idea. Like Kennedy, Hart was "immediately excited about" the film.[10] It was then chosen as the first stand-alone film to be produced, due to the involvement of plot elements that general audiences would be familiar with.[17]
Production[]
Gary Whitta, who had written The Book of Eli and After Earth, was hired to write the film's screenplay.[3] The main characters did not die in the original script, due to the filmmakers' assumption that Disney would want to use the characters again.[19] Whitta's script also ended with a wedding.[20] On March 12, 2015, it was announced that Chris Weitz would take over screenwriting duties from Whitta.[21] (Reportedly, Scott Z. Burns and Christopher McQuarrie also wrote drafts of the script.[22][23][24][18]) It was further announced that the film would be titled Rogue One[21]—a name coined by Whitta during the writing process[25]—and that Felicity Jones, who had been nominated for an Academy Award for her performance in The Theory of Everything, had been cast in the film.[21] In Weitz's draft, it was not made clear that the Empire was building the Death Star: "It was just the sense that the rebellion — that something bad was going down and we need to find out about it. There was this developing sense of dread throughout the film."[20]
John Knoll wanted the film to be shot on a low budget, going so far as to propose that some sets be reused from The Force Awakens.[26] However, "As we got into more detailed story development, you know, the canvas sort of kept expanding and more epic things kept popping up and going into the movie. And you know, the discussion with Disney, it became clear that they were really open to the idea of going bigger with these movies."[27] Gareth Edwards, who had directed Monsters and was directing Godzilla at the time, was hired to direct the film,[3] early in the creative process.[10] A previsualization reel based on the story was created using footage from many other films, such as WarGames, Aliens, and Zero Dark Thirty.[28][29] Edwards also used ILM's new developments in virtual reality to aid in pre-visualizing the film.[30]
The film began principal photography in London in August 2015. This was announced during the D23 Expo that same month. Additionally, a StarWars.com blog post revealed the full cast for the film.[31] At least two of the cast underwent special training for their roles: Felicity Jones in a style of martial arts and Diego Luna in military training.[8][32] Members of the British Armed Forces were also hired as extras.[33] The production team worked to create a film that felt real, as if it was taking place in a real location; and one that was set within the gray areas of Star Wars, as opposed to the clear morality of the original Star Wars trilogy.[10] The look of the film was inspired by the work of artist Frederic Remington,[34] as well as footage of real-life wars.[35] Warwick Davis, who had a small role in the film, described Edwards' directing style: "He would shoot in a very unique way where stuff was kind of almost improvised, but you never knew quite when he was shooting and when he wasn't, so you just kept doing stuff just in case he was rolling at that time."[36]
Certain Star Wars traditions were eschewed in post-production, such as an opening crawl (though one was included in Whitta's original script) and "wipe" scene transitions.[37] ILM utilized unused footage from A New Hope to insert Rebel pilots from that film into Rogue One; Edwards had the idea after stumbling across a box of negatives while touring the Lucasfilm Archives.[38]
Reshoots[]
Initial plans for reshoots had already been made upon the film's conception. According to Edwards, "it was always part of the plan to do reshoots. We always knew we were coming back somewhere to do stuff. We just didn't know what it would be until we started sculpting the film in the edit."[40] However, in June 2016, rumors surfaced that Disney had ordered substantial reshoots in an effort to "lighten" the film's tone,[41][42] with Tony Gilroy and Simon Crane having been hired to assist.[43][44][24]
In truth, after Edwards had delivered his final cut of the film, Gilroy had been hired to write, shoot and edit new material,[39] for which he was paid over $5 million.[45] Edwards attributed the lengthy reshoots to the spontaneous, cinéma vérité nature of the production.[35] According to Entertainment Weekly, the reshoots dealt more with character development rather than the plotline. As explained by Kathleen Kennedy, "There's nothing about the story that's changing, with a few things that we're picking up in additional photography. I think that's the most important thing, to reassure fans that it's the movie we intended to make."[24] The script underwent structural changes, with (among other things) all character deaths moved toward the end, and the addition of the Darth Vader ending sequence.[20]
Music[]
The film's musical score was originally composed by Alexandre Desplat,[46] although Michael Giacchino took over during post-production.[47]
Release[]
A brief teaser trailer was shown for Celebration Anaheim attendees, depicting the Death Star far off in the distance on a jungle world.[10] Lucasfilm was not able to promote the film anywhere outside of Celebration Anaheim, however, during the summer of 2015, due to the similarities between the titles of Rogue One and the then-upcoming film Mission: Impossible – Rogue Nation. The title of Rogue Nation was registered with the Motion Picture Association of America prior to Rogue One, leading to the embargo on Rogue One promotion.[48] On April 7, 2016, a teaser trailer debuted during ABC's Good Morning America. A ten-second preview of the teaser had been released online the day before.[49] On July 15, there was a Rogue One panel at Celebration Europe featuring Gareth Edwards and Kathleen Kennedy;[50] During the panel, a featurette and a new trailer were released; The featurette aired that night during the ABC broadcast of Secrets of the Force Awakens: A Cinematic Journey.[51] A trailer aired during the 2016 Summer Olympics.[52]
Beginning on September 20, TNT aired the first six Star Wars films. This was part of a deal in which Turner networks received exclusive rights to air eleven Star Wars films, including Rogue One in 2019.[53] On October 12, it was revealed that a new trailer would be released the following day on October 13.[54] ABC aired an additional preview of the film on November 24, as part of their "Magical Holiday Celebration."[55] On December 2, Twitter hosted a livestream Q&A with Edwards and crew members;[56] On the same day, members of the press were invited to Skywalker Ranch to view 28 minutes of footage from the film.[57] Cast and crew made various media appearances, most prominently on Jimmy Kimmel Live!,[58][59] The Tonight Show Starring Jimmy Fallon,[60][61] Good Morning America,[32] Conan,[62] Sirius XM, and MTV News.[63][64] The film had its Hollywood premiere on December 10.[65]
Some of the cast and crew participated in UNICEF's Force for Change and Kid Power programs, creating Target-exclusive T-shirts, of which five dollars from each would contribute to the cause.[66][67] Edwards also used the opportunity of making the film to promote the ASSERT charity.[68] As with The Force Awakens,[69] a terminally ill cancer patient—Neil Hanvey—was allowed to see the film early. Hanvey passed away two days after seeing the film.[70]
Merchandising[]
The Rogue One merchandise line officially launched on September 30, 2016.[71] A prequel comic miniseries of the film was set to be released in October and published by Marvel Comics, containing three issues and a one-shot,[72] until it was revealed that the miniseries has been canceled on May 17.[73] Two of the movie's other related products were also canceled before they were released: Rogue One: A Star Wars Story: Rebel Alliance Field Manual,[74] which was canceled when the publisher Media Lab Books lost the license, and Rogue One: A Star Wars Story: The Official Visual Story Guide.[76] On November 15, Del Rey published a prequel novel to the film, entitled Catalyst: A Rogue One Novel.[77] Dorling Kindersley released an art book and ultimate visual guide for the film on December 16, the same day as the release of the film itself.[78][79] A short story titled "The Voice of the Empire" tying into the film was featured in Star Wars Insider 170.[80] A Rogue One expansion was released for the video game Star Wars Battlefront.[81][82] Star Wars: Galaxy of Heroes hosted several exclusive events introducing characters from Rogue One.[83]
In August 2016, Lucasfilm released a series of online images advertising Hasbro's Rogue One toy line, which debuted on September 30.[84] The toys were also featured in Go Rogue, an officially sponsored, fan-created online video series that continued throughout September.[85][86] The Black Series figure of Jyn Erso was released on October 15, 2016. By September 4, 2016, the figure had already skyrocketed to become the #1 Best Seller in Amazon's Action & Toy Figures category, based on hourly-updated figures.[87][88] Verizon sponsored Rogue One: Recon, a 3D experience created by ILM Experience Lab.[89] Nissan offered a Rogue One–themed Limited Edition of its 2017 Nissan Rogue.[90] In October 2016, Rogue One–inspired commercials aired for Duracell, Nissan and Gilette products.[91][92][93]
Home media[]
Rogue One became available on Digital HD on March 24, 2017, and on Blu-ray and DVD on April 4, 2017. The retail version contains bonuses exclusive to the store outlet where it was purchased. Target's 5-disc set includes collectible packaging with interchangeable character covers and exclusive bonus content (Blu-ray 3D + two Blu-ray + DVD + DVD exclusive content – 2 additional bonus features + Digital HD + collectible packaging), Best Buy has a 4-disc set with exclusive SteelBook packaging (Blu-ray 3D + two Blu-ray + DVD + Digital HD + SteelBook packaging), and Wal-Mart sells a 3-disc set with exclusive K-2SO packaging and two Galactic Connexions trading discs (two Blu-ray + DVD + Digital HD + K-2SO packaging + two Galactic Connexions trading discs). In addition to the film itself, the various home-media releases include various special content, including John Knoll's inspiration for the concept of the film, coverage of the cast regarding their respective characters, coverage of easter eggs hidden throughout the film, and behind-the-scenes looks at how Tarkin and Leia were given digital touchups.[94]
Reception[]
In a December 2015 poll by Fandango, Rogue One was voted the most anticipated film of 2016.[95] Early estimates predict a significant box office intake, though considerably less than The Force Awakens.[96][97][98] Tickets went on sale on the midnight of November 28,[99] followed by reports that Fandango had crashed due to high demand.[100][101] The film had the second biggest day one pre-sales, following The Force Awakens.[102]
During the lead up to release, which coincided with the aftermath of a Republican victory in the U.S. presidential election, writers Weitz and Witta were criticized for making political comparisons with the film,[103] culminating in calls for a boycott from the alt-right.[104]
As of the afternoon of Thursday, December 15, 2016, the film was listed as "Certified Fresh" at the movie review aggregation site Rotten Tomatoes. Out of 208 reviews, 175 reviewers gave the film a score considered "Fresh," for an overall freshness level of 84% and an average rating of 7.5/10. The site's consensus stated that "Rogue One draws deep on Star Wars mythology while breaking new narrative and aesthetic ground -- and suggesting a bright blockbuster future for the franchise."[105][106] While reception was on the whole greatly positive, acclaim for the film was not universal. Alyssa Rosenberg, a critic for the Washington Post, called the film "disappointing" and stated that Star Wars would need to get past the dynamic of the Rebellion vs. the Empire if it was going to work.[107] Some reviewers also objected to the use of digitized versions of the characters of Wilhuff Tarkin and Leia Organa, such as Noah Berlatsky of Quartz questioning why "vast resources of film studios and creative personnel [are] being used to create a zombie version of something everyone has already seen?"[108] It was reported that George Lucas liked the film more than The Force Awakens, which he was openly critical of.[109]
On January 22, 2017, the film surpassed the one billion dollar mark for global box office receipts.[110] On May 17 of that year, the film was awarded the title of "Movie of the Year" at the MTV Movie & TV Awards.[111] Regardless of how well the film performed, there were never plans for a sequel.[112]
In April 2020, co-writers Chris Weitz and Gary Whitta recorded a YouTube commentary and Q&A for the film, hosted by IGN.[113]
Continuity[]
Rogue One is set between the films Star Wars: Episode III Revenge of the Sith and Star Wars: Episode IV A New Hope, during the Age of the Empire. The film revolves around a group of resistance fighters who unite to steal the plans to the Death Star, the Galactic Empire's deep space mobile battle station that is capable of destroying entire planets.[10] The theft of the plans was first referenced in the opening crawl of A New Hope, which described the event as the Rebel Alliance's "first victory against the evil Galactic Empire." The crawl further states that "Rebel spies managed to steal secret plans to ... the DEATH STAR". The opening scenes of A New Hope deal with that battle's aftermath, with Princess Leia Organa of Alderaan fleeing from the Empire with the plans in order to deliver them to the Rebel Alliance. The Death Star is ultimately destroyed in A New Hope after the princess and her companions—Luke Skywalker, Han Solo, Chewbacca, and the droids R2-D2 and C-3PO—deliver the plans to the Rebellion and a weakness in the station is discovered.[114]
The title Rogue One refers to a callsign, but is also intended as a pun, as the film is the first canon live-action film that is not part of the saga and is, therefore, the "rogue" one.[115] Unlike the previous films, Rogue One does not revolve around the Jedi. Rather, the film is about a group of people who do not have the ability to use the Force and have to find a way to bring hope to a galaxy ruled by the Empire. Also unlike the original trilogy, which provided a black and white view of good and evil, Edwards stated at Celebration Anaheim that Rogue One "is gray" and that the film could be described as "Real…This is a real place that we're really in…"[10] Finally, Rogue One was the first live-action Star Wars theatrical film that did not feature the traditional opening crawl, further asserting itself as the "rogue one."[source?]
Media[]
Poster gallery[]
Cover gallery[]
Credits[]
Appearances[]
Sources[]
Notes and references[]
[]
Rogue One: A Star Wars Story on Wikipedia
Meet John Knoll, the Creative Genius Who Brought Rogue One to Life on www.wired.com (November, 2016) (archived from the original on January 19, 2020)
Rogue One's reshoots show how Disney saved the first standalone Star Wars movie on www.theverge.com (January 15, 2017) (archived from the original on June 22, 2020)
Rogue One: A Star Wars Story on the Aurebesh Wiki
Novels Catalyst: A Rogue One Novel (audiobook) · Novel (audiobook) · Junior novel (audiobook)
Rebel Rising (audiobook) · Guardians of the Whills Comics Rogue One Adaptation (1 · 2 · 3 · 4 · 5 · 6 · TPB) · Cassian & K-2SO Special
Graphic Novel Adaptation · Guardians of the Whills: The Manga Partial adaptations Rogue One: Secret Mission Behind the scenes The Art of · "Jyn: The Rebel" · "K-2SO: The Droid" Guide and reference books
Profiles and Poster Book · Rebel Dossier
The Ultimate Visual Guide · The Official Mission Debrief Commemorative magazines Titan Magazines · Entertainment Weekly · Us Magazine · People Magazine Activity books Art of Coloring · Book and Model · Ultimate Sticker Encyclopedia
AT-ACT Deluxe Book and 3D Wood Model · Death Star Deluxe Book and 3D Wood Model Related media Andor Other Soundtrack · LEGO · Toy line· German audio drama
[edit]
Star Wars saga Prequels: The Phantom Menace · Attack of the Clones · Revenge of the Sith
Originals: A New Hope · The Empire Strikes Back · Return of the Jedi
Sequels: The Force Awakens · The Last Jedi · The Rise of Skywalker Spin-off films Canon: The Clone Wars · Rogue One · Solo · The Mandalorian and Grogu
Sharmeen Obaid-Chinoy · December 2026 · 2027 · James Mangold · Shawn Levy · Dave Filoni
Lando · A Droid Story · Taika Waititi · Rogue Squadron · Rian Johnson
Legends: Holiday Special · Caravan of Courage · The Battle for Endor Live-action series The Mandalorian · The Book of Boba Fett · Obi-Wan Kenobi
Andor · Ahsoka · The Acolyte · Skeleton Crew Animated series Canon: The Clone Wars · Rebels · Resistance · The Bad Batch
Tales · Young Jedi Adventures
Non-Canon: Visions
Legends: Droids · Ewoks · Clone Wars Animated micro-web series Forces of Destiny · Galaxy of Adventures · Galaxy of Creatures · Galactic Pals Other media Audio dramas · Books · Comics · Multimedia projects · Parodies
Roleplaying games · Theme park attractions · Video games
[edit] | ||
7959 | dbpedia | 3 | 25 | http://www.davidandmaddie.com/exclusives/caron.htm | en | Glenn Gordon Caron Interviewed by DavidandMaddie.com | [
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] | null | Exclusive interview with Glenn Caron, Creator and Executive Producer of Moonlighting. | null | Interview conducted by Cindy Klauss & Diane Hopkins, All Rights Reserved
September 10, 2002
Diane: What we wanted to talk about first was where you came up with concept for the show. We know that you wrote for "Remington Steele" before you did "Moonlighting." Did the inspiration come from seeing what you could do, what you thought you could do better with a detective show, or did it come from elsewhere?
Glenn: Not consciously. I had a contract with ABC to do 3 pilots. At that time they were done as "Movies of the Week". But they were pilots of television shows. I'd already done the first two. And although I was quite proud of them, and thought they'd turned out really well, ABC chose not to put them on television and make them into series. They played them as Movies of the Week. And I'd spent a lot of money making them. And now ABC sort of came to me and said, "You spent all of this money, and you've made two of these three Movies of the Week. And neither one of them have been things that we want to make into a series, so we're going to tell you what to do for your third one." And I said, "Oh, no, don't do that. They said, "Oh, yes. We want you to do," they called it "a boy/girl detective show." And when they said boy/girl detective show, they meant a show like Hart to Hart, which was a show that was still on the air there and was very successful for them, but clearly was in its last years. It had been on for quite a while. And because I had had the experience on Remington Steele, I knew exactly what it was that they were talking about, and frankly said, "Please don't make me do that. I hate those kinds of shows. I think they're ridiculous, and I really have no feeling for it, and I have no interest in doing it." They said, "No, that's what you're going to do." We'll get a woman like Cheryl Ladd." I remember that was the name that was originally thrown out, "and some guy who can wear a tuxedo and it will be a detective show." And I said, "Really, you've got the wrong guy, I have no interest in doing that." And they said, "That's what you're doing. You can do whatever you want with it, but that's what you're doing." And all I heard was, "You can do whatever you want with it", and I sort of seized on that. Everything that followed was really me trying to stay awake, and trying to stay interested in something that I had...contempt is too strong a word, but I just felt I had seen a lot of it. I was never very interested in it. I was a big snob. And I just really didn't want to do that.
So when I sat down to write the pilot, I was really thinking, "Okay, if I have to do this, and if I have to watch this, what would interest me? What would be fun?" The thing I quickly realized is that you never, on any of these shows, you just never think that the detectives are in any real danger physically, because implicitly you know they have to be back next week. They have a television show to do. So I thought, well if I'm thinking that way, probably everyone else is thinking that way. What if they sort of acknowledge that they are on a television show? And more than that, what if we acknowledge that the only real jeopardy that exists in the television show is emotional jeopardy? That someone might care for someone else and not have their feelings returned. That, you know, it's really only matters of the heart that are of any consequence because these people clearly have to live in order for the television show to succeed. So, Moonlighting really grew out of that, out of me trying to figure out how to do that.
And the other thing that just amused the hell out of me...if you look at the television schedules in 1984 and 1985, detectives were ubiquitous. They were everywhere. And, I was always aware of the fact that I had about a 30-mile commute every day and I never passed a detective agency. Never saw one! You know, went to the mall, there were no detective agencies, but if you watched television, they were like the family doctor; they were everywhere. I thought that was sort of funny. And it really grew out of that.
Obviously, I used some of the experience that I gained on Remington Steele. I was with Remington Steele for a very, very short time. I was there really just for the first 10 episodes. And I was there largely because I sort of made it a mission in my life to work with a guy named Bob Butler who directed the pilot for Remington Steele. And really, he sort of came up with the premise for Remington Steele. He'd been carrying it around for years. Michael Gleason developed it for television, but the original idea was actually Bob's. And I really wanted to work with Bob Butler. I got to Remington Steele, worked with Bob. At a certain point, Bob was leaving. I decided to leave. So I really wasn't there as long as a question like that would suggest, although I did contribute a tremendous amount of writing to those first 10 episodes. I think they all, if not all, then most, certainly went through my typewriter at some point. And I still am very fond of my friendship with Pierce. And we were both sort of new to television, so we, you know, he and I developed a relationship. I think I was also really the first writer over there who recognized that he could be funny. In the original conception, I don't think he was thought of as particularly funny. I think Stephanie was thought of as sort of the person who was going to lead the charge of the show, and she's a wonderful actress. But, it just became clear to me hanging around with Pierce, that he had a huge funny bone and so I really tried to write to that. Long answer to a short question."
Diane: That's a great answer. Well, this is going to be a question that may require a long answer. Can you tell us, when you took a concept for Moonlighting and decided on an episode...can you take it from concept to airing for us? From script development to airing; or would that take the entire afternoon?
Glenn: No, no I can do that. The truth is they're all different. They all come from different places. But, the example that I often give is, I really wanted to do a show about spirituality. I had young children at the time, and I was really spending a lot of time thinking about spirituality and the whole business of faith. Where does that come from? So we would go into the writers' room and we'd talk about that. I'd say, "You know, I want to do a show about this. And I remembered thinking, "Does this have any parallels to magic?" You know, because someone who is cynical might easily say, "What's the difference really, between faith, the belief in a higher power, and the sort of belief that's required for people to enjoy magic, which is about illusion, sleight of hand, and all those kind of things. And very slowly we came up with this idea for this episode about a magician, the particulars of which I don't remember. But what I do remember very strongly is sitting and thinking for a long, long time how would Maddie and David...how does faith figure into their lives? I remember thinking at first blush, because we think of Maddie's character as being the conventional character, that she would be the religious person. And Dave, because he's sort of this wisecracking guy, he would be more cynical. And therefore, if either of them were non-believers, it would probably be David. But the more I thought about it, the more I realized that, no, I had it backwards. That for David to be David...in my eyes, David was always this cockeyed romantic, and therefore this sort of gigantic optimist. If you remember when he and Maddie met, Maddie was saying, "You know, I've got to close this place down. It's never going to make a dime." And David sort of saying, "No, no, no, no; stick with me, we can take on the world. We can make this work." You know, he's really a cockeyed optimist and therefore, in his own weird way, although clearly very much in touch with sin, I think also a very religious person and a very spiritual person, and a very fervent believer in the idea of God.
Maddie, on the other hand, is a pragmatist. And so, after considerable debate, she at some point in her adult life came to the conclusion that there was no God. And, what I found very interesting, and also very funny, is that that belief concerned David on Maddie's behalf. He was, in fact, terrified for her. And that's really where that episode came from. So from this internal debate I was having with myself about faith...then how do you do that on television? How do you make that palatable? How do you make it funny? And how do you make it Moonlighting? So, it sort of grew from that. That's a pretty good example but they're all different. One week Phil Ramone called me and he said, "Billy Joel's written this song and he wrote it with the show in mind; may I send it to you?" And he sent me this song, Big Man on Mulberry Street.
Cindy: We didn't know that. He wrote it with the show in mind?
Glenn: Yeah. And I heard this song, and I immediately thought, "We have to do something involving dance. I had always wanted to do storytelling through dance. I was just always interested in that. And I serendipitously called Stanley Donen, who I think is one of the great American film directors. He directed Singing in the Rain, and On the Town, and all these great musicals with Gene Kelley, and also worked with Fred Astaire. In fact, he choreographed Fred Astaire on Broadway starting at the age of 16. Just an amazing man, and I said, "Would you do this?" And I was able to hornswoggle him into doing that, and then realized that we had to come up with a story to support the dance. And so that episode grew out of that. And also, I had this monologue lying around that I had written years before for a completely different project that I always wanted to use. And I remember using it in that show. It's that long monologue that David has when he talks about his wife.
Diane: In the hotel room?
Glenn: In the hotel room. So it's just a compendium of things. They all come from different places. I remember Debra Frank and she had a wonderful writing partner, Carl Sautter. Came in and they wanted to do something having to do with old movies, and I think that was as developed as the idea came. I wanted to do something .. I'd been hankering to do something in black and white. And not only did I want to do it in black and white, I wanted to do it -- God, was I a pretentious ass? -- in two styles of black and white. I wanted to do the Warner Brothers style of sort of gritty black and white, and the MGM sort of high gloss black and white. And we put our heads together, and came up with The Dream Sequence Always Rings Twice. At the last minute, ABC said, "You can't film in black and white. You need to film in color; we'll take the color out of it when we broadcast it." and I said, "There's no way in hell I'm going to do that. I don't trust you guys at all." So we ended up filming it in black and white, which at the time was a pretty gutsy thing to do. Now everybody does it, but back then, nobody was doing it, and in fact, we had a hard time finding film stock. With the exception of Scorcese in Raging Bull, a couple of years earlier, nobody had been photographing in black and white for a long time, and nobody would develop it for us. We finally had to make a special arrangement with a different lab, and then ABC just became very concerned about broadcasting something in black and white. Would the public be upset or would they think their sets were broken? All that silly stuff. These were serious concerns for them. So, I called Orson Welles and said, "Would you be interested in doing this introduction to the show, and he said, "I don't know, would you send me a copy of what it is I would have to say." So I quickly wrote this thing up and sent it to him and he was really tickled with it...it was funny, and he came over and did this, which was and still is one of the highlights of my life, that he came over and did this thing.
But, my point here is, a whole bunch of different input creates an episode. Sometimes they're products of necessity. We went through a period where we were having a very tough time finishing a show, for a whole variety of reasons. And in fact, we very often didn't know if we'd have a new show or not on a given Tuesday until a day or two before, whether we would literally be able to finish the show or not. And I was at an industry event in Beverly Hills. And when it was over, I was waiting on what they call the valet line, where you pick up your car, you know; you have to get your cars parked. And while I was waiting on this line with my wife, 20 or 30 people ahead of us, I saw Rona Barrett, who was THE premier show biz reporter, gossip columnist...I don't know what the nomenclature is anymore, but she was it. She was on Good Morning America every morning telling all of America what was happening in her column. And she's a lovely woman. She's about 4 feet 6 inches, she's a tiny little woman. And I saw her, and I was just amused as hell that she was standing on this line, and I said to my wife, "Excuse me." And I went up the line and I went over to Rona Barrett who I'd never met before, and I said, "Would you like to be on Moonlighting?" And she said, "What are you talking about?" And I said, "Can you be at 20th Century Fox tomorrow morning?" She said, "Sure." And we made up all this material that allowed us to use, I guess it was about 30 minutes of clips from older shows, but presented as sort of a new thing, because we were on the front page of The Enquirer, pretty much every week at that point. There was all this gossip about Cybill and Bruce not getting along, and Russia and America not getting along. It was just amazing stuff, so we thought, lets speak to it, let's just speak to it. And so we did an episode I really like called The Straight Poop, which was bracketed by Rona saying she was going to give us the straight poop on, you know, all this tension between Bruce and Cybill. And then we ended the show and I think, again, that if it wasn't the first time, it was certainly one of the early times that people saw this kind of thing. We took every blooper that we could find and just tacked it on and made it the last three minutes of the show. And that got a bigger reaction than almost anything we'd ever done.
So that's really it. The show sort of came from, I used to call it stream of consciousness writing, because we were always so late. But I was so determined to keep the shows fresh and to keep them -- again, this sounds very pretentious-- but to keep them honest to the characters, and sometimes that meant sort of waiting for inspiration. And inspiration can come from, you know, crazy places. People make suggestions. Some of it was nonsensical stuff, you know, like Bruce and I always kidded around about doing a boxing show because we'd always been big admirers of like, The Three Stooges boxing, Abbott and Costello boxing, Martin and Lewis boxing. So we just sort of put it on a list of things we knew we were going to do. I think we always promised each other we'd do a Western, which we never really got around to doing. The musical thing we did. The black and white thing we did.
Shakespeare was a very obvious one because, for me, the emotional inspiration of the show always was The Taming of the Shrew. My wife had been in a production of Taming of the Shrew in college; I must have seen it 8 times. And then when we got out of school, Raul Julia and Meryl Streep did a legendary production of it here in Central Park, which I saw two or three times. So, for me, you know, Moonlighting was sort of a rip-off of "Taming of the Shrew," and always was. I've been trying to keep that a secret, you know. I actually spent a great deal of time working with Will Shakespeare. We wrote together for a long time. He, unfortunately, couldn't pull his weight, so we broke up, but... So that's sort of where "Atomic Shakespeare" came from, cause we just always, it was something we always wanted to attend to, you know?
"Every Daughter's Father is a Virgin" a perverse idea that I had -- that wouldn't it be interesting, you know, that kind of stuff. And other people, it sounds like I thought of everything, and I didn't. Other people made suggestions, but it's 15 years ago. Frankly, I can't remember with any certainty and I wouldn't want to make a mistake. But, we had an amazing group of people. You know, not just the actors, and the actors were amazing, but, I mean, Allyce and Curtis and obviously Cybill and Bruce. But also wonderful writers who would come up with, you know, these insane notions -- Roger Director and Chick Eglee and Ron and Jeff and Karen Hall and Barbara Hall, and Kerry and Ali. It's interesting to see where people, you know, like, Kerry Ehrin used to be partners with a woman named Ali Matheson, who's actually the daughter of a wonderful science fiction writer. A famous science fiction writer. They would come up with these wonderful nutty notions. She's now writing for RugRats. There are a lot of RugRats cartoons. I mean, it's just interesting, you know. I have very fond memories of all these people, and of the experience. We were all very young. We were all very excited. We were all very stupid. And that was a great combination, you know because we were really sort of capable of doing anything. Because we weren't smart enough to know what was impossible.
Also, there was a guy named Jay Daniel who was the line producer, the physical producer of the show. And he was extraordinary. He put up with an amazing amount of nonsense from me. Because more often than not, we didn't have a script. And he'd say to me, "What are we going to do on this show?" so that he could prepare. I'd say, "I don't know, but it's going to end in a pie fight." And he'd say, "Well, where is this pie fight going to be, Glenn? I have to get a location." I'd say, "It's going to be in a hotel ballroom. And I had no idea. I was making this up. And he would go get, I mean he was just wonderfully facile and put together a terrific crew. There's a guy named Chris Howell, who was our stunt coordinator. We had a lot of really funny stunts. And funny stunts are hard; because not only do they have to be dangerous, but they have to be funny, and Chris was quite something. And his son, who was a teenager at the time was C. Thomas Howell. Tommy would do a lot of the stunts. He'd double Bruce. He'd double this one; he'd double that one. It was really a family, and we had great fun. | |||||||
7959 | dbpedia | 3 | 7 | http://www.davidandmaddie.com/ggcaron.htm | en | Moonlighting Creator & Executive Producer, Glenn Gordon Caron | [
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] | null | All about Glenn Gordon Caron. | null | Born in 1954
A native of Oceanside, New York
Graduated from the State University of New York, College of Arts and Sciences at Geneseo
Studied with Del Close and The Second City
Went to work in an advertising agency after college
While working there, he was contacted by an independent producer who had been impressed with a script that Caron had written years earlier, and the producer arranged for Caron to meet with NBC about the possibility of writing a pilot for the network.
Even though that pilot did not become a series, the script caught the eye of writer/producer/ director James L. Brooks, who invited Caron to join the writing staff of his hit series "Taxi."
Went on to serve as the story editor on the highly-acclaimed, but short-lived, series "Good Time Harry" starring Ted Bessel.
Made his producing debut after being asked by Steve Tisch to assist in writing and producing the television adaptation of the Academy Award-winning film "Breaking Away."
Wrote and produced the first 10 episodes of the 1982-87 hit detective drama "Remington Steele," starring Pierce Brosnan, before leaving the show to form his own company, Picturemaker Productions.
Created in 1985 the groundbreaking hit "Moonlighting." The series, which is recognized as launching Bruce Willis' career and resurrecting Cybill Shepherd's, broke many of the storytelling conventions associated with hour-long shows. He also wrote and executive produced the series.
"Moonlighting" garnered 42 Emmy nominations, nine Golden Globe nominations, six Writers Guild of American nominations and four Directors Guild of America nominations. Caron himself received the WGA Award for writing the series.
Made his feature directorial debut with "Clean and Sober," starring Michael Keaton, Kathy Baker and Morgan Freeman, in 1988. The film, which he also wrote, earned its star, Michael Keaton, the Best Actor Award from the National Society of Film Critics.
Directed the feature "Wilder Napalm," starring Debra Winger and Dennis Quaid; the remake of "Love Affair" in 1994 starring Warren Beatty and Annette Benning, and the romantic comedy "Picture Perfect" in 1997, starring Jennifer Anniston, Kevin Bacon and Jay Mohr. He also co-wrote this film.
Executive Producer and Creator of the TV series "Now and Again" in 1999, starring Eric Close.
Executive Producer and Creator of the TV series "Medium" in 2005, starring Patrica Arquette. Read more.
Recipient of "Outstanding Television Writer Award" at the 14th Austin Film Festival, 2007.
From Rolling Stone, February 13, 1986 "The show you saw last night, we finished five days ago. The one due to air in three weeks is still more or less a concept in my head. It's nuts. We end up shooting off partial scripts. The writing comes down to a stream of consciousness...and there's a strange purity to it."
From Rolling Stone, February 13, 1986 When asked what is the secret to the show's success: "Two very strong stars. Plus, I think it has something to do with the fact that while we may be the fifty-thousandth TV detective show, we know we're the fifty-thousandth TV detective show. That's at the heart of it. The show knows a little bit that it's on TV."
From Rolling Stone, February 13, 1986"I have no notion of it being a hit or a critical achievement. Right now it's just something that sort of happened. For the time being, I'm just terrified that it won't be able to fulfill its promise."
From Los Angeles Herald Examiner, February 18, 1986: "Cybill's never really had a chance to own the screen before. In this, she gets to plant her feet. And what I like about Bruce's character is that he's a man. And I don't think there's been a whole lot of men on TV for a long time. He looks her in the eye and tells her what's what. He doesn't crack open a bottle of white wine and say "Let's discuss this." She feels free to snap back at him. That's kind of fun."
From Newsweek, September 8, 1986 Explaining the show's appeal: "It's, 'If I care for you, and I suspect that maybe your don't care as much for me, what do I do?' I think the audience sees this and says, 'Ok, now something is at stake here. Your heart is on the table.' There's always a little ache running underneath everything."
From Newsweek, September 8, 1986 On his two stars intense sexual chemistry: "When we finally got them together, you could see the bolt go across the room. It was like, ba-bing! I mean, IT WAS THERE!""
From USA Weekend, September 19-21, 1986: "Jay [Daniel] says that he sees a lot of David [Addison] in me and alot of me in David. But I don't know that. I'm a storyteller. Would either of the Brothers Grimm cop to the fact that they felt a unique kinship with Rapunzel? I'm entertained by David. But I don't think I am him.
From USA Weekend, September 19-21, 1986: When asked about the show's propensity for "breaking the fourth wall": "The history of that goes back to old Hope and Crosby Road movies. Invariably, in every Road movie they'd turn to the audience and say 'Can you believe we're saying this stuff?' and then they'd go on. As a kid, that just tickled the hell out of me."
From Seattle Times January 2, 1987: "Everything is filled with enigma. I think enigma is kind of wonderful."
From Seattle Times January 2, 1987: "When Moonlighting is on its game, it's like being at a party with someone who is very witty. When we go too far, it's like being at a party with someone who's had too much to drink."
From Cybill & Bruce: Moonlighting Magic, published June 1987: "Our goal is to reinvent ourselves every week. One week we're a comedy, then next week we're fairly serious and the next we're a musical."
From Los Angeles Herald Examiner, February 6, 1988: "It's always been about those two people wrestling with their hearts, and I think that will go on. I don't know if they're gonna get married or what, but when they're 80, they're still gonna be checkin' in with each other."
Caron with the Moonlighting staff
in the editing room. | |||||||
7959 | dbpedia | 3 | 64 | https://www.alamy.com/stock-photo/love-affair-film.html | en | res stock photography and images | [
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7959 | dbpedia | 0 | 89 | https://poddtoppen.se/podcast/1585949523/dont-you-want-me/an-affair-to-remember-1957 | en | An Affair To Remember (1957) - Don‘t You Want Me? | [
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In this irresistible, inexpensive, pink episode, we’re clutching our cigarette cases and climbing aboard the ocean liner with 1957’s An Affair to Remember. Directed by Leo McCarey and written by him along with Delmer Daves and Donald Ogden Stewart, this was a remake of McCarey’s 1939 movie Love Affair. The tale was revived yet again in 1994 by director Glenn Gordon Caron when Warren Beatty and Annette Bening took the lead roles. But tonight we’ll be focusing on what happened when Cary Grant and Deborah Kerr were put centre stage as Nickie and Terry, creating the ultimate fizzy cocktail and leading audience members through the years to surreptitiously wipe a few tears on the sleeves of their polyester cardis. What is it about this mix of adultery and PR for the Empire State Building that makes us dewy-eyed? Let’s find out. I promise not to sing.
If you enjoy this episode, please consider leaving us a rating or a review on your podcast app of choice, as it really helps us spread the word. The pink champagne’s on us.
Follow Don't You Want Me on Twitter @DYWMpodcast, Instagram @dywmpodcast and Facebook @DYWMpodcast
Recorded in January 2023.
Edited by Rich Nelson
Additional material written by Catrin Lowe
Theme music by Paul Abbott (on Twitter @Pablovich)
Design by NOAKE (on Instagram @n_o_a_k_e)
Rich can be found on Twitter @Fantana275
Cat can be found on Twitter @KittyCostanza | sv | https://poddtoppen.b-cdn.net/assets/poddtoppen-fav.ico | Poddtoppen | https://poddtoppen.se/podcast/1585949523/dont-you-want-me/an-affair-to-remember-1957 | Welcome to 'Don't You Want Me?' - a podcast series taking a lighthearted look at the most relatable, intriguing and dysfunctional relationships in film.
In this irresistible, inexpensive, pink episode, we’re clutching our cigarette cases and climbing aboard the ocean liner with 1957’s An Affair to Remember. Directed by Leo McCarey and written by him along with Delmer Daves and Donald Ogden Stewart, this was a remake of McCarey’s 1939 movie Love Affair. The tale was revived yet again in 1994 by director Glenn Gordon Caron when Warren Beatty and Annette Bening took the lead roles. But tonight we’ll be focusing on what happened when Cary Grant and Deborah Kerr were put centre stage as Nickie and Terry, creating the ultimate fizzy cocktail and leading audience members through the years to surreptitiously wipe a few tears on the sleeves of their polyester cardis. What is it about this mix of adultery and PR for the Empire State Building that makes us dewy-eyed? Let’s find out. I promise not to sing.
If you enjoy this episode, please consider leaving us a rating or a review on your podcast app of choice, as it really helps us spread the word. The pink champagne’s on us.
Follow Don't You Want Me on Twitter @DYWMpodcast, Instagram @dywmpodcast and Facebook @DYWMpodcast
Recorded in January 2023.
Edited by Rich Nelson
Additional material written by Catrin Lowe
Theme music by Paul Abbott (on Twitter @Pablovich)
Design by NOAKE (on Instagram @n_o_a_k_e)
Rich can be found on Twitter @Fantana275
Cat can be found on Twitter @KittyCostanza | ||||
7959 | dbpedia | 3 | 38 | https://letsquiz.com/quiz/jay-mohr/jay-mohr-starred-alongside-jennifer-aniston-in-which-1997-movie | en | Jay Mohr starred alongside Jennifer Aniston in which 1997 movie? | [
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] | null | [] | null | Picture Perfect is a 1997 American romantic comedy film directed by Glenn Gordon Caron and starring Jennifer Aniston, Jay Mohr, Kevin Bacon, Illeana Douglas, and Olympia Dukakis. The film follows a wo | en | /apple-touch-icon.png | https://letsquiz.com/quiz/jay-mohr/jay-mohr-starred-alongside-jennifer-aniston-in-which-1997-movie | Created using data under the Creative Commons Attribution-ShareAlike Licence & the media files are available under their respective licenses; additional terms may apply.
For more information, please review our About us page. // By using this site, you agree to the Terms of Use & Privacy Policy. | |||||
7959 | dbpedia | 3 | 96 | http://makeminefilmnoir.blogspot.com/2023/03/moonlighting-dream-sequence-always.html | en | Make Mine Film Noir: Moonlighting: “The Dream Sequence Always Rings Twice” Episode (October 15, 1985) | [
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] | null | Blog about film noir, neo-noir, noir literature, movies, film. | en | http://makeminefilmnoir.blogspot.com/favicon.ico | http://makeminefilmnoir.blogspot.com/2023/03/moonlighting-dream-sequence-always.html | If you remember the television series Moonlighting, you may be wondering why a blog about noir would include an article about it. The series was very popular and it was called many things: romance, drama, comedy—but never noir. Even someone like me, who isn’t particularly fond of categories, couldn’t find much that was noir about the series, but there is one episode, “The Dream Sequence Always Rings Twice,” that pays loving homage to film noir. It’s a real treat, and the chance to write about it for the Ninth Annual Favorite Television Episode Blogathon gives me the perfect excuse to put it in the limelight of the blogosphere.
For film noir fans, the title of the episode is an obvious play on The Postman Always Rings Twice, the title of the novel by James M. Cain, published in 1934, and the 1946 film adaptation starring Lana Turner and James Garfield. For the episode itself, the title refers to different dreams dreamed by the two lead characters, Maddie Hayes, played by Cybill Shepherd, and David Addison, played by Bruce Willis. Both dreams are about the same murder from the past, but each one arrives at a different conclusion about the integrity of the people involved in that crime.
That’s not the only noir touch, of course. Orson Welles, the famous filmmaker who produced many films noir, introduces the episode, and he begins his introduction with “Tonight, broadcasting takes a giant leap backward.” He goes on to reassure viewers that nothing is wrong with their television sets; the episode really does switch to black and white about ten minutes in. He also says, “Gather the kids, the dog, grandma, and lock them in another room.” It’s all tongue in cheek because the series overall, of course, is mostly devoted to other genres besides noir.
In this episode, the opening credits appear over the usual opening still shots, then continue over shots of the present-day Flamingo Cove, which is abandoned and in disrepair. The soundtrack includes whispers of an opening night from the 1940s, when the nightclub was in its heyday. The present day (1985, when the episode aired) intrudes more directly when Maddie Hayes and David Addison, detectives and partners in the Blue Moon detective agency, enter the old rundown Flamingo Cove nightclub to find the current owner and the prospective buyer, Mr. Bigelow, inside. Mr. Bigelow hired the detectives to find out what they could about his cheating wife.
Before they find their client, Maddie and David have one of their classic arguments, this one about taking on more divorce cases. Maddie finds the work depressing, but David is more pragmatic:
• David: “What are you talking about? Infidelity is as American as apple pie. Without infidelity, there’d be no Ann Landers. There’d be no Divorce Court. There’d be no Dynasty.”
• Maddie: “That’s not my problem. I don’t like it. The deception, the dishonesty, the lack of trust.”
• David: “Let me tell you something. Like it or not, our business is built on a lack of trust. Two people are involved. Maybe they share a business. Maybe they share a bed. One doesn’t completely trust the other. What does he do? He calls us, Maddie. He calls us. Why? Because the world is bad. The world is full of deception. It is full of dishonesty. And I, for one, wouldn’t have it any other way. And I’ll tell you something else. I don’t know about you, I don’t know about you, but I, for one, I, for one, hit my knees every night and thank the man upstairs that there is a little bit of dishonesty left in this otherwise sunny world. You just think about that. That’s all I have to say. Mr. Bigelow! Mr. Bigelow!” [David continues into the Flamingo Cove nightclub followed by Maddie.]
David’s opinions are surprisingly dark, both for the series and for the character. But they are true to the noir theme of the episode. The case involving the prospective owner, Mr. Bigelow, takes an amusing turn, however, when he is disappointed that David and Maddie have no evidence about his wife’s infidelity or that they won’t doctor any of the photos so that he can use them to file for divorce. Mr. Bigelow wants to buy the Flamingo Cove, but he calls off the deal and walks away in a huff because he won’t share the profits with his wife.
David and Maddie are left with the lawyers and the present owner of the nightclub, who talks of its storied past, including its infamous unsolved murder. He explains that a singer and a trumpet player in the nightclub’s band started an affair and one of them killed the singer’s husband. Each of them maintained that the other did it, and so the case was never truly solved.
On the way back to the Blue Moon Investigations offices, Maddie and David argue (again—their arguments are classic and a trademark of the series) about who committed the murder: the wife/singer or the trumpet player. Maddie believes the trumpet player did it; David believes it could be either one. He maintains that Maddie is a sexist because she assumes that the trumpet player committed the murder simply because he is a man. (Given the statistics and what is known today about the crime of murder, David’s accusation doesn’t really hold up all that well.) The argument continues at the detective agency’s offices. Maddie is so angry at David that she leaves work and goes home.
(This article about the television episode “The Dream Sequence Always Rings Twice” from the series Moonlighting contains all the spoilers.)
At home, Maddie falls asleep on the living room couch and dreams of the Flamingo Cove murder. Maddie is the nightclub singer, Rita Adams; the modern-day owner of the Flamingo Cove, whom she met earlier in the day and who told her and David the story of the unsolved murder, is her husband Jerry Adams, a clarinet player; and David Addison is the trumpet player. When David Addison makes his first appearance as the trumpet player, he shows up at the nightclub on his first day as a new hire. He is cocky and sure of himself: He introduces himself as “Chance Cash Johnny Brick Lonesome Shane McCoy, but you can all me Zack.”
Rita Adams sings “Blue Moon” in her dream sequence. Killing her husband is Zack McCoy’s idea, and he uses Jerry’s clarinet to bludgeon him to death. Rita Adams is interrogated by Lieutenant Matthews, and he learns from her that Jerry had a $20,000 insurance policy. That bit of information changes the focus of his investigation from an accident to murder. With that switch in focus, the investigation becomes more urgent. Rita is arrested for the murder of her husband because Zack McCoy eventually turns on her and accuses her of the crime that he really committed.
The episode goes back to full color for the sequence between the dreams. Maddie wakes up from her dream and calls David at home. It is now nighttime, and she wakes him up to tell him that the trumpet player murdered the singer’s husband, then hangs up on him. David goes back to sleep and dreams his own version of events.
In David’s black-and-white dream sequence, Rita Adams is again the nightclub singer, but this time she sings “I Told Ya I Love Ya, Now Get Out.” Zack McCoy plays the trumpet, but he is so sure of himself this time that he also plays the saxophone, clarinet, and drums. Killing Jerry Adams, the husband, is Rita’s idea: She suggests it, and she gets Zack to do the actual killing with Jerry’s clarinet. Zack doesn’t want to kill Jerry, but he changes his mind when Rita shows up one day at Flamingo Cove with a black eye. Zack finally invites himself to practice with Jerry and Rita, and Rita pushes him into killing Jerry. Zack is the one arrested, and he eventually goes to the electric chair. Rita is there at the execution to pull the lever.
The DVD commentary for “The Dream Sequence Always Rings Twice” is provided by director Peter Werner, cowriter Debra Frank, and series creator Glenn Gordon Caron, and it is full of fun and interesting background information for the episode. It is definitely worth a listen, whether you are a fan of film noir or a fan of the television series.
◊ Glenn Gordon Caron talks about asking Orson Welles to introduce the episode because there was a lot of concern, especially from the network executives, that people would never watch a show in black and white or that they would think something was wrong with their television sets. Caron felt filming in black and white was necessary because the episode was an homage to 1940s film noir. He also notes that Welles died on October 10, 1985, one week after filming for “The Dream Sequence Always Rings Twice.”
◊ The dream sequences were filmed with old-stock, black-and-white film because they didn’t look the same with color film. The entire series, including “The Dream Sequence Always Rings Twice” episode, was filmed in the old tradition: with great depth of field, and the use of shadows and lighting.
◊ Maddie’s dream sequence was inspired by the Metro-Goldwyn-Mayer (MGM) style of noir: slick and glossy, with female-centered characters. Mildred Pierce was one inspiration [although I should point out that Mildred Pierce was produced and distributed by Warner Bros., not MGM]. David’s dream sequence was inspired by the Warner Bros. style of noir: gritty and dark.
◊ The voice-over narration by Bruce Willis in David Addison’s dream sequence is another difference between the two dream sequences. Voice-over narration was a staple of many 1940s films noir.
◊ The song “Blue Moon” was chosen because of the name of the detective agency in the series: Blue Moon Investigations. The song “I Told Ya I Love Ya, Now Get Out” was chosen by Cybill Shepherd, who sings the songs herself. The musical numbers were recorded first and filmed on a large soundstage at Twentieth Century Fox that was leased by the producer of the show.
Click here to see some footage of Cybill Shepherd singing in both dream sequences at YouTube. The video also shows the funny clip of Zack McCoy taking over the nightclub band’s performance and playing several instruments.
◊ Debra Frank and Carl Sautter, the writers of the episode, had the general idea for the story first, and they adjusted it depending on who they were pitching the story to. They tailored the story to fit the Moonlighting premise. The series could accommodate very different types of story lines, and “The Dream Sequence Always Rings Twice” was just one example. Another is the episode called “Atomic Shakespeare.”
I binge-watched the entire series, all five seasons, every single episode, one right after the other, and I was sorry when I came to the last DVD and there weren’t any more episodes left to watch. I never watched Moonlighting when it was a hit in the late 1980s, but I’m guessing that I wouldn’t have appreciated all its humor and its cleverness at the time. Thank goodness for DVDs!
This article about the Moonlighting episode “The Dream Sequence Always Rings Twice” is my entry for the Ninth Annual Favorite TV Show Episode Blogathon hosted by Terry at A Shroud of Thoughts. Click here for the complete list of blogathon participants and links to their blogs. The list is updated each day of the blogathon, from March 24 to March 26, 2023.
October 15, 1985, broadcast date • Season 2, Episode 4; Episode 11 of the series overall • Directed by Peter Werner • Written by Debra Frank, Carl Sautter • Music by Alf Clausen • Edited by Neil Mandelberg • Cinematography by Gerald Perry Finnerman • Opening theme song “Moonlighting” by Al Jarreau, Lee Holdridge • Series created by Glenn Gordon Caron
Cybill Shepherd as Maddie Hayes • Bruce Willis as David Addison Jr. • Allyce Beasley as Agnes Dipesto • Jack Bannon as the club owner and Jerry Adams • Phil Rubenstein as Mr. Bigelow and Sloan • Raleigh Bond as Potter • Francis X. McCarthy as Lieutenant Matthews • Freeman King as the bartender • Bill Handy as the jailer • Nick DeMauro as the priest • Orson Welles as himself, introducing the episode • Jamie Taylor as Jamie Lamont, Blue Moon employee • Jonathan Ames as Jergenson, Blue Moon employee • Kristine Kauffman as Kris, Blue Moon employee • Dan Fitzpatrick as O’Neill, Blue Moon employee • Willie Brown as Simmons, Blue Moon employee • Inez Edwards as Inez, Blue Moon employee
Produced by Picturemaker Productions, ABC Circle Films • Distributed by ABC Distribution Company • Broadcast by ABC | |||||
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(1994)
Available Now
Synopsis
A man and woman, engaged to other people, meet on a ship and fall in love; they decide to part and rendezvous in six months before making any commitment. | ||||||
7959 | dbpedia | 3 | 55 | https://scottsdalerecovery.com/top-10-must-see-movies-on-drug-and-alcohol-addiction/ | en | Top 10 Must-see Movies on Drug and Alcohol Addiction | [
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] | 2023-02-17T23:15:45+00:00 | Next time you plan to netflix and chill, here are ten must-see movies that provide powerful and insightful depictions of drug and alcohol addiction (in no | en | Scottsdale Recovery Center | https://scottsdalerecovery.com/top-10-must-see-movies-on-drug-and-alcohol-addiction/ | Next time you plan to netflix and chill, here are ten must-see movies that provide powerful and insightful depictions of drug and alcohol addiction (in no particular order):
“Trainspotting” (1996)
This film, directed by Danny Boyle, portrays the lives of a group of heroin addicts in Edinburgh, Scotland. It depicts the harsh realities of addiction, withdrawal, and recovery.
“Requiem for a Dream” (2000)
This film, directed by Darren Aronofsky, portrays the lives of four individuals as they fall into the depths of drug addiction. It highlights the psychological and physical toll of addiction on individuals and their loved ones.
“The Basketball Diaries” (1995)
This film, directed by Scott Kalvert, is based on the memoir of Jim Carroll and portrays his experiences with addiction, homelessness, and criminal activity.
“Leaving Las Vegas” (1995)
This film, directed by Mike Figgis, portrays the story of an alcoholic screenwriter who goes to Las Vegas to drink himself to death. It highlights the struggles of addiction and the possibility of redemption.
“The Lost Weekend” (1945)
This film, directed by Billy Wilder, is a classic portrayal of alcoholism and its devastating effects on an individual’s life and relationships.
“Beautiful Boy” (2018)
This film, directed by Felix Van Groeningen, is based on the memoirs of a father and son and their experiences with addiction. It highlights the struggles of addiction and the impact on families.
“28 Days” (2000)
This film, directed by Betty Thomas, portrays the life of a successful journalist who enters rehab to deal with her addiction to alcohol and drugs. It highlights the process of recovery and the importance of community support.
“Clean and Sober” (1988)
This film, directed by Glenn Gordon Caron, portrays the life of a successful businessman who enters rehab to deal with his addiction to alcohol and cocaine. It highlights the struggles of addiction and the potential for recovery.
“Candy” (2006)
This film, directed by Neil Armfield, portrays the lives of two young lovers who become addicted to heroin. It highlights the emotional and physical toll of addiction on individuals and relationships.
“Half Nelson” (2006)
This film, directed by Ryan Fleck, portrays the life of a history teacher who struggles with addiction to crack cocaine. It highlights the challenges of addiction and the potential for redemption.
These films offer powerful and thought-provoking depictions of addiction and its effects on individuals and their loved ones. They can be valuable resources for individuals in recovery, healthcare professionals, and anyone interested in learning more about addiction and its impact on society. | |||||
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"Chris Beachum",
"Misty Holland"
] | 2024-08-02T15:41:35+00:00 | Tour our photo gallery including 'Birdman,' 'Beetlejuice,' 'Batman,' 'Spotlight' and more. | en | GoldDerby | https://www.goldderby.com/gallery/best-michael-keaton-movies/ | 17. MULTIPLICITY (1996)
Director: Harold Ramis. Writer: Chris Miller, Mary Hale, Harold Ramis, Lowell Ganz, Babaloo Mandel. Starring: Andie McDowell, Harris Yulin, Richard Masur.
The slapstick comedy that answers the question, “How many Michael Keatons are too many?” Four is definitely a crowd in this high-concept, low-execution romp about a workaholic named Doug who doesn’t have enough hours in a day to oversee his business and be there for his wife (McDowell). He thinks his problems are solved when a doctor suggests that he clone himself. Doug One soon has a Doug Two, and much of the film is spent making sure they are never seen together. But then Doug the copy decides he, too, needs a clone, and the latest version also decides to get a double, too. Too much is made about keeping the faux Dougs from sleeping with the original’s missus. While Keaton obviously is having a ball while assuming four different personalities, not one is funny enough to save this movie.
16. PACIFIC HEIGHTS (1990)
Director: John Schlesinger. Writer: Daniel Pyne. Stars: Melanie Griffith, Matthew Modine.
Thrillers that featured human monsters came into vogue in the early ’90s, following the success of Glenn Close as the pick-up from hell in 1987’s “Fatal Attraction.” In 1992, Ray Liotta was the sadistic cop from hell in “Unlawful Entry” and Jennifer Jason Leigh was the warped roommate from hell in “Single White Female.” But Keaton came first as the twisted tenant from hell who torments his yuppie landlords Griffith and Modine by not paying the rent and unleashing hordes of cockroaches with hopes of forcing them into foreclosure and buying the place himself. Keaton is suspicious from the get-go, but when Griffith tries to beat him at his own game by blocking his cash flow, the revenge is quite sweet.
15. JOHNNY DANGEROUSLY (1984)
Director: Amy Heckerling. Writers: Harry Colomby, Jeff Harris, Bernie Kukoff, Norman Steinberg. Starring: Joe Piscopo, Maureen Stapleton, Griffin Dunne.
At one point in this stiff of a ‘30s gangster flick spoof, Keaton’s title character introduces himself to Marilu Henner’s showgirl: “The name’s Dangerously. Johnny Dangerously.” She replies, “Did you know your last name is an adverb?” There’s a whiff of desperation about this comedy that fails to take advantage of the likes of Stapleton and Dunne. As for Keaton, he jiggles like James Cagney and sneers like Edward G. Robinson but can’t overcome a sophomoric script loaded with bad puns, lame sight gags and dumb humor. Little wonder “The Washington Post” in its review called it “Johnny Two-Note.”
14. CLEAN AND SOBER (1988)
Director: Glenn Gordon Caron. Writer: Tod Carroll. Starring: Kathy Baker, Morgan Freeman, M. Emmet Walsh.
Keaton got serious after a string of successful comedies with this sobering tale of addiction. It’s an all-too-familiar story: A hotshot real-estate guy picks up a lady in a bar, they go on a cocaine binge and he finds her dead in the morning. Soon his life becomes unraveled both personally and professionally, and he decides to go to rehab. Nothing is as simple as that, especially when he falls for a fellow patient (Baker) who has even worse issues, and he butts heads with Freeman, the guy in charge of the recovery program. The drama follows a well-worn path, but Roger Ebert praised Keaton’s “wild, tumultuous energy, which makes his character seem less like a victim than like an accident causing itself to happen.”
13. GUNG HO (1986)
Director: Ron Howard. Writers: Lowell Ganz, Babaloo Mandel. Starring: Gedde Wantababe, George Wendt, Mimi Rogers.
Keaton is the foreman of a shuttered auto plant in Pennsylvania who convinces the Japanese owners to re-open the factory. They agree, but on one condition: the workers must follow their rules, including no unions and strict efficiency and quality control standards. The Japanese exec in charge (Wantanabe) must succeed or lose his job. Both men join forces and inspire their employees to meet their quota of cars. Vincent Canby of “The New York Times” had this to say: “It’s more cheerful than funny, and so insistently ungrudging about Americans and Japanese alike that its satire cuts like a wet sponge.” But he had kinder words for the film’s star: “Mr. Keaton can be a most winning con artist. The self-confidence expressed in his springy walk is as comically bogus as the humor in the bad jokes he tells.”
12. SPIDER-MAN: HOMECOMING (2017)
Director: Jon Watts. Writers: Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers. Starring: Tom Holland, Robert Downey Jr., Marisa Tomei.
The comic-book crowd is a picky lot when it comes to casting. That is especially true of Spider-Man supporters, now that Holland has taken over as hero Peter Parker in the second reboot since 2002. Therefore, it says something that many fans feel that Keaton’s Spidey foe Adrian Toomes aka Vulture is among the best villains ever. Part of his allure is that, unlike many baddies who cackle over world domination, he is a blue-collar guy who turns to committing dirty deeds with the aid of a mechanical flying suit to make a living. Keaton says of his character, “Some people see themselves as victims. He sees himself like that. … A lot of ‘Why not me?’, ‘Where’s mine?’’ “Echoes of the star’s “Birdman” role inject a cool meta vibe into the proceedings that provides his Vulture with extra emotional lift-off.
11. THE FOUNDER (2016)
Director: John Lee Hancock. Writer: Robert D. Siegel. Starring: Nick Offerman, John Carroll Lynch, Linda Cardellini.
In this intriguing account of how McDonald’s grew into a fast-food chain, Keaton is Ray Kroc, a struggling salesman with big ambition who convinces the affable McDonald brothers (Offerman and Lynch) to expand their thriving local business into a franchise. He figures out a way to make it profitable and soon buys out his partners. Keaton avoids being simply a McBurglar who co-opts someone else’s bright idea. Instead, he is sharp-eyed opportunist who has the chutzpah to chase someone else’s American Dream.
10. JACKIE BROWN (1997)
Director and writer: Quentin Taratino. Starring: Pam Grier, Samuel L. Jackson, Robert Forster.
Tarantino’s affectionate tribute to blaxploitation films of the early ’70s, based on Elmore Leonard’s “Rum Punch,” centers on a flight attendant (Grier) for a low-level Mexican airline who makes ends meet by smuggling money for an illegal arms dealer (Jackson). Keaton is fine as Ray Nicolette, an ATF agent on her tail, but he is overshadowed by his showier cast mates. The actor ended up as the same character in one scene of 1998’s “Out of Sight,” starring George Clooney and based on another Leonard book.
9. THE PAPER (1994)
Director: Ron Howard. Writers: David and Stephen Koepp. Starring: Glenn Close, Robert Duvall, Marisa Tomei.
Keaton is Henry Hackett, a dedicated metro editor for a scrappy New York tabloid who is being wooed by a more upscale newspaper. He is under the gun to cut costs by Close’s penny-pinching managing editor while his reporter wife (Tomei) is about to have a baby at any minute. Then unconfirmed news breaks and the clock is ticking while the paper attempts to verify the facts. There’s a snap to the dialogue and Keaton nails the rhythms of seasoned journos on a tight deadline such as when he observes,” It’s a Marx Brothers movie every time I step in my office.”
8. KNOX GOES AWAY (2024)
Director: Michael Keaton. Writer: Gregory Poirer. Starring: James Marsden, Al Pacino, Marcia Gay Harden, Joanna Kulig, Suzy Nakamura, John Hoogenakker.
With this film, his second go-round in the director’s chair, Keaton has crafted a thoughtful thriller centering on contract killer John Knox (Keaton), freshly sprung from prison, who is diagnosed with a fast-moving form of dementia. With only weeks left, Knox intends to retire when he is suddenly confronted by his estranged son Miles (James Marsden) who pleads for his help after just killing a man for raping his daughter. Knox, ever the pro, moves to gather up all the incriminating evidence so that Miles may prove his innocence. Or perhaps Knox has a deeper, darker reason for his helpfulness. Though hampered by an at-times wobbly screenplay, Keaton delivers one of his best late-career performances, one that’s both layered yet subtle.
7. TOY STORY 3 (2010)
Director: Lee Unkrich. Writers: Michael Arndt. Starring: Tom Hanks, Tim Allen, Joan Cusack, Jodi Benson.
My theory about Keaton’s role as Ken, the plastic swain of the world’s most famous fashion doll, in Disney’s animated blockbuster sequel? It actually proved to be a career booster for him. There’s something freeing about relying only on your voice to define and a character’s personality, especially one who wears light blue short-shorts, sock-free moccasins, a jaunty ascot and an animal-print shirt open down to there. Little wonder Ken, smug and self-adoring, proved to be a scene stealer and even upstaged his gal pal, Barbie (Benson). It doesn’t matter if he is vain, craves cheesy disco tunes and likes to hang out in the closet of his Dream House. He is, after all, a living doll.
6. SPOTLIGHT (2015)
Director: Tom McCarthy. Writer: Josh Singer. Starring : Mark Ruffalo, Rachel McAdams, Live Schrieber.
Keaton does well in ensembles and had already gained his press credentials by starring in “The Paper.” But it is difficult to deal with the topic of child sexual abuse by the Catholic Church and its ensuing cover-up while turning it into entertainment without feeling exploitative. But Keaton and his co-stars exude sensitivity to the topic at hand as they exemplify “The Boston Globe’s” investigative team’s dedication to the truth – especially when it involved the community where they lived and worshipped.
5. NIGHT SHIFT (1982)
Director: Ron Howard. Writer: Lowell Ganz, Babaloo Mandell. Starring: Henry Winkler, Shelley Long.
Winkler’s timid Chuck and Keaton’s manic Bill Blazejowski oversee the late shift at a morgue. They decide to turn it Into a brothel for extra cash. Naughty comedy ensues as Winkler snags a big-screen hit thanks to his “Happy Days” pal. As a bonus, he also gets the girl (Long). Keaton’s kinetic energy put him on the path to stardom, thanks to such lines as “I wash my hands and feet of you!” Then there are his crazy ideas that he captures on his tape recorder: ‘What if you mix the mayonnaise in the can, WITH the tunafish? Or… hold it! Chuck! I got it! Take LIVE tuna fish, and FEED ’em mayonnaise! Oh this is great.”
4. MR. MOM (1983)
Director: Stan Dragoti. Writer: John Hughes. Starring: Ann Jillian, Jeffrey Tambor, Martin Mull.
“My brain is like oatmeal. I yelled at Kenny today for coloring outside the lines! Megan and I are starting to watch the same TV shows, and I’m liking them! I’m losing it.” Ah, the stereotypical power-suited ‘80s, when it was unusual for the man of the house to do laundry while looking after the kids and for the woman of said manor to head out the door for work. That said, both Garr and Keaton are at the top of their comedy game as he loses his job, she gets one and their life goes topsy-turvy. Sexist clichés aside, this is one of Hughes’ smarter scripts. I especially admire the invention of grocery-store coupon poker complete with beer and flirting that Keaton plays with the stay-at-home neighborhood ladies.
3. BATMAN (1989)
Director: Tim Burton. Writers: Sam Hamm, Warren Skaaren. Starring: Jack Nicholson, Kim Basinger, Jack Palance.
You could feel the weight of what was at stake with the launch of this still on-going franchise – there was tie-in merchandise everywhere that summer. But some DC comic-book fans were puzzled by the hiring of a funny guy like Keaton as the disturbed billionaire Bruce Wayne and his brooding superhero alter ego. But somewhere between Nicholson’s campy posing as the leering Joker, Burton’s gothic leanings and Prince’s funked-up pop songs, the actor managed to reach into the depths of this rich man’s soul and give a real performance. He had me when he first spits out these words to a confused Gotham citizen: “I’m Batman. Keaton reprised his role in 1992’s“Batman Returns,” an even darker rendering with Michelle Pfeiffer as a slinky Catwoman and Danny DeVito as the deformed Penguin.
2. BEETLEJUICE (1988)
Director: Tim Burton. Writers: Michael McDonald, Warren Skaaren. Starring: Alec Baldwin, Geena Davis, Winona Ryder, Catherine O’Hara, Jeffrey Jones.
Lewd, crude and wonderfully rude. Hiding behind a thick wall of ghoulish makeup and finger-in-light-socket hair, Keaton’s fiendish frantic-ness as the titular otherworldly ghost exorcist cuts through the Caribbean kitsch of Harry Belafonte tunes (the possessed dinner-party pantomime set to “The Banana Boat” is a demented delight) and Halloween theatrics. The plot, such as it is, has deceased newlyweds Baldwin and Davis haunting their old house that has been taken over by a yuppie couple (O’Hara and Jones) and their goth-girl daughter (Ryder), who summons Beetlegeuse to assist the former occupants.
1. BIRDMAN (2014)
Director: Alejandro Gonalez Inarritu. Writer: Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr., Armando Bo. Starring: Emma Stone, Edward Norton, Zach Galifianakis.
Keaton was nominated for his one and only Oscar for this moving tragi-comedy tour de force, made to look as if it were shot in one movie-length take, as an actor forever burdened by the superhero he played in a movie trilogy. His Riggan Thompson reflects upon life while preparing for a stage production and interacts with lovers, friends and family past and present while being mocked by Birdman as he envisions himself having superpowers. Keaton bravely allows his own Batman past to resonate on screen as his character tumbles into an existential crisis. The downward spiral, including his panic when he is locked out of the theater and must race around Times Square only in his underwear, is enthrallingly sad to witness and utterly human, and more than worthy enough to win a Best Picture Oscar. | |||||
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] | 2023-02-11T07:59:55+00:00 | (Movie) Glenn Gordon Caron (1994) Ennio Morricone Composer; Ennio Morricone Arranger; Ennio Morricone Conductor; Louis Jordan Vocals; Bobby Short Vocals;... | en | /apple-touch-icon.png | The Ennio Morricone Online Community | https://chimai.miraheze.org/wiki/Movie_Love_Affair | Director: Glenn Gordon Caron (1954-) link
Producer: Warren Beatty (1937-) link
Premiered in the US (Austin) on 13 October 1994. link
Composer, Orchestrator, Conductor: Ennio Morricone (1928-2020)
Orchestra: Unione Musicisti di Roma
Voice (track 12): Edda Dell'Orso (1935-)
Piano: Gilda Buttà (1959-)
Harp: Vincenzina Capone
Flute: Paolo Zampini (Maestro #7, page 57)
Clarinet: Stefano Novelli
Horn: Luciano Ginliani
Recorded at Forum Studio (1980-1997), Rome.
(Credited on page 3 of CD inlay)
2:57 – 05 – For Annette & Warren – Play: mp3
4:49 – 06 – A Promise in the Air
1:50 – 07 – Waiting for That Day
2:36 – 08 – Anxiety and Joy
2:10 – 09 – Piano Solo
2:22 – 10 – Sentimental Walk
1:44 – 11 – Journey of Love
1:44 – 12 – Return
5:07 – 13 – Finding Each Other Again
4:09 – 14 – Love Affair
Released on CD:
Love Affair – Reprise Records 9 45810-2 – USA – 1994 link
Front: jpg
Pages 2 and 3 of inlay: jpg
Tracks 1 to 4 have no Morricone connection.
10 tracks (5 to 14) – Duration: 29:28 – All tracks in stereo.
Edda Dell'Orso [March 2004]: "We were recording a theme for LOVE AFFAIR. I was singing over the orchestra, Morricone directing me. Warren Beatty was in the next room. After the session I met him and then, much to my surprise, he kneeled down in front of me and kissed my feet..." (MSV #99, page 31) | ||
7959 | dbpedia | 3 | 75 | https://catalog.afi.com/Catalog/moviedetails/59590 | en | Catalog | [
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"Mad Dog and Glory",
"John McNaughton",
"Deborah Lee",
"Amy Sayres",
"Douglas S. Ornstein",
"Dave Hallinan",
"Barbara De Fina",
"Martin Scorsese",
"Steven A. Jones",
"Richard Price",
"Richard Price",
"Robert De Niro",
"Uma Thurman",
"Bill Murray",
"David Caruso",
"Mike Starr",
"Tom T... | null | [] | null | While working the night shift, Chicago, Illinois crime scene photographer Wayne Dobie is sent to inspect a double homicide with his partner, Mike, who jokingly calls Wayne “Mad Dog” for his consistently mild-mannered demeanor. Afterward, Wayne stops in a nearby convenience store and encounters the killer holding gangster Frank Milo at gunpoint behind the counter. Wayne timidly convinces the murderer to spare Frank’s life and only draws his gun once the felon flees. Sarcastically critiquing Wayne’s abilities as a police officer, Frank Milo quickly slips out of the store. As he groggily trudges back to his apartment, Wayne bumps into his neighbor, Lee, but declines her invitation to have coffee. Later, Mike comforts Wayne about the incident and encourages the forlorn bachelor to seek companionship. When Mike leaves, a man named Harold passes Wayne a mysterious invitation to his boss’s standup comedy club, but refuses to disclose the name of his employer. Hoping to avoid another evening a | en | /favicon.ico | https://catalog.afi.com/Catalog/moviedetails/59590 | Although not included in music credits, Bill Murray’s character, “Frank Milo,” sings lyrics to the Irwin Levine and L. Russell Brown song, “Knock Three Times.”
On 14 Jul 1989, DV announced that Richard Price was set to produce Mad Dog and Glory along with Glenn Gordon Caron, who would also direct. A 4 Jul 1990 Var news item named Martin Scorsese as executive producer, marking the filmmaker’s third time working with Price following The Color of Money (1986, see entry) and New York Stories (1989, see entry).
A few months later, however, the 15 Sep 1989 LAHExam reported that Caron had quit the project after struggling to find two suitable lead actors with similar availability for filming. Among those considered were Michael Keaton and Richard Dreyfuss, who both reportedly passed on the picture.
According to a 14 May 1991 HR article, John McNaughton stepped in to replace Caron after Scorsese approached him with the script. The 9-16 Jun 1993 issue of Time Out (London) stated that longtime Scorsese collaborator Robert De Niro read for both “Wayne Dobie” and Frank Milo. Although Milo, the intimidating gangster, was considered the more obvious choice, De Niro decided to play shy photographer Wayne instead, and suggested Bill Murray to star opposite him in what the 14 May 1991 HR noted was the actor’s first attempt at a dramatic role since the “critical and box office bomb,” The Razor’s Edge (1984, see entry). Items in AMPAS library files indicate that De Niro also recommended Kathy Baker, his co-star from 1989’s Jacknife (see ...
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Although not included in music credits, Bill Murray’s character, “Frank Milo,” sings lyrics to the Irwin Levine and L. Russell Brown song, “Knock Three Times.”
On 14 Jul 1989, DV announced that Richard Price was set to produce Mad Dog and Glory along with Glenn Gordon Caron, who would also direct. A 4 Jul 1990 Var news item named Martin Scorsese as executive producer, marking the filmmaker’s third time working with Price following The Color of Money (1986, see entry) and New York Stories (1989, see entry).
A few months later, however, the 15 Sep 1989 LAHExam reported that Caron had quit the project after struggling to find two suitable lead actors with similar availability for filming. Among those considered were Michael Keaton and Richard Dreyfuss, who both reportedly passed on the picture.
According to a 14 May 1991 HR article, John McNaughton stepped in to replace Caron after Scorsese approached him with the script. The 9-16 Jun 1993 issue of Time Out (London) stated that longtime Scorsese collaborator Robert De Niro read for both “Wayne Dobie” and Frank Milo. Although Milo, the intimidating gangster, was considered the more obvious choice, De Niro decided to play shy photographer Wayne instead, and suggested Bill Murray to star opposite him in what the 14 May 1991 HR noted was the actor’s first attempt at a dramatic role since the “critical and box office bomb,” The Razor’s Edge (1984, see entry). Items in AMPAS library files indicate that De Niro also recommended Kathy Baker, his co-star from 1989’s Jacknife (see entry), to play “Lee.” After several months auditioning actresses in Los Angeles, CA; Chicago, IL; and New York City, Uma Thurman was cast as “Glory,” despite her being somewhat younger than was originally intended for the role. The 13 Jul 1991 HR stated that De Niro spent several weeks researching with the New York Police Department’s Crime Scene Unit. However, the 10 Jun 1991 Var announced that the previously New York City-set production was forced to film in Chicago due to scheduling demands.
A 16 Jul 1991 HR production chart indicated that principal photography began the previous day. Locations included The Warehouse nightclub, where scenes in Milo’s comedy club were filmed; Bravissimo! Italian restaurant; Club Lago; the White Palace Grill; and a greystone apartment building in the Lincoln Park neighborhood, which doubled as the exterior of Wayne’s home.
Shortly after its 5 Mar 1993 opening, the 3 May 1993 DV reported that Mad Dog and Glory had completed its theatrical run with less than $11 million in domestic earnings. Although reception of the film was mixed, critics consistently praised De Niro and Murray for their strong performances in roles that were considered “against type.”
End credits state: “Special thanks to: Michael Burchette/The Mayfair Regent Hotel; Barbara Kogen/The Ambassador East Hotel; Paul Petraitis; Cinecenter, Chicago; Z Post; The Honorable Mayor Richard M. Daley, Mayor of City of Chicago; State of Illinois Film Office/Suzy Kellett, Al Cohn, Richard Moskal; Chicago Film Office/Charles Geocaris; and the following technical advisors: Wayne Barney, Jerry Donohue, John Manca, Rich Malloy, Hal Sherman, Lt. James Wood.” Acknowledgements also note: “The Major League Baseball trademarks depicted in this program were licensed by Major League Baseball Properties, Inc.” and, “Frankenstein Meets The Wolfman (Audio) and Law and Order and The Munsters footage courtesy of MCA/Universal.”
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While working the night shift, Chicago, Illinois crime scene photographer Wayne Dobie is sent to inspect a double homicide with his partner, Mike, who jokingly calls Wayne “Mad Dog” for his consistently mild-mannered demeanor. Afterward, Wayne stops in a nearby convenience store and encounters the killer holding gangster Frank Milo at gunpoint behind the counter. Wayne timidly convinces the murderer to spare Frank’s life and only draws his gun once the felon flees. Sarcastically critiquing Wayne’s abilities as a police officer, Frank Milo quickly slips out of the store. As he groggily trudges back to his apartment, Wayne bumps into his neighbor, Lee, but declines her invitation to have coffee. Later, Mike comforts Wayne about the incident and encourages the forlorn bachelor to seek companionship. When Mike leaves, a man named Harold passes Wayne a mysterious invitation to his boss’s standup comedy club, but refuses to disclose the name of his employer. Hoping to avoid another evening alone, Wayne attends the event, and is surprised when Frank Milo takes the stage. After his set, Frank reveals his therapist urged him to thank Wayne for saving his life. As they spend the evening drinking together, Wayne gives Frank tips for his comedy routine and confesses his desire to pursue photography as an art. Realizing Wayne is lonely and insecure, Frank sends the club cocktail waitress, Glory, to spend the week with him as his companion. The waitress reveals she provides “personal services” to help her brother pay off a debt to Frank. Taking pity on her, Wayne reluctantly lets her stay. As they become acquainted, Glory discusses her failed ambition to become an actress and notices that Frank’s lackey, Harold, ...
More Less
While working the night shift, Chicago, Illinois crime scene photographer Wayne Dobie is sent to inspect a double homicide with his partner, Mike, who jokingly calls Wayne “Mad Dog” for his consistently mild-mannered demeanor. Afterward, Wayne stops in a nearby convenience store and encounters the killer holding gangster Frank Milo at gunpoint behind the counter. Wayne timidly convinces the murderer to spare Frank’s life and only draws his gun once the felon flees. Sarcastically critiquing Wayne’s abilities as a police officer, Frank Milo quickly slips out of the store. As he groggily trudges back to his apartment, Wayne bumps into his neighbor, Lee, but declines her invitation to have coffee. Later, Mike comforts Wayne about the incident and encourages the forlorn bachelor to seek companionship. When Mike leaves, a man named Harold passes Wayne a mysterious invitation to his boss’s standup comedy club, but refuses to disclose the name of his employer. Hoping to avoid another evening alone, Wayne attends the event, and is surprised when Frank Milo takes the stage. After his set, Frank reveals his therapist urged him to thank Wayne for saving his life. As they spend the evening drinking together, Wayne gives Frank tips for his comedy routine and confesses his desire to pursue photography as an art. Realizing Wayne is lonely and insecure, Frank sends the club cocktail waitress, Glory, to spend the week with him as his companion. The waitress reveals she provides “personal services” to help her brother pay off a debt to Frank. Taking pity on her, Wayne reluctantly lets her stay. As they become acquainted, Glory discusses her failed ambition to become an actress and notices that Frank’s lackey, Harold, is following them to ensure Wayne is happy. After having dinner, Wayne runs into Mike. The men discuss Wayne’s rapport with his neighbor, Lee, who is seated at the bar with her abusive boyfriend. Knowing the man is also a police officer, Wayne watches in awe as Mike stands up for Lee and urges her boyfriend to leave her alone. The next day, Wayne wonders if acting on his attraction to Glory would make her a prostitute. While watching a movie on television, Glory puts Wayne’s arm around her shoulders, and he considers kissing her. Sensing his interest, she pulls him into an intimate embrace, but Wayne becomes aroused too quickly and cannot perform. Glory insists he is a “sweet man” anyway, and the two spend the remainder of the evening taking photographs around the city. When they return home, Glory undresses and they make love several times. Wayne eventually leaves for work, where he is assigned to photograph a crime scene at an Italian restaurant. Unable to contain his glee, he puts money into the jukebox and surprises his associates by singing along to Louis Prima’s “Just A Gigolo" and "I Ain’t Got Nobody.” At the police station, Wayne walks in on Frank entertaining the other officers with his comedy routine. He rebuffs Frank’s friendly banter, which the gangster takes to mean Glory is not doing her job. During their last few days together, Wayne admits he loves Glory and tells Frank about their romance, hoping she does not have to return to his employ. Frank responds poorly to the news and sends Harold to Wayne’s apartment, where Mike fights for Glory on his friend’s behalf. Frank then offers to sell her for $40,000, provided Wayne can produce the money within three days. After telling Glory she has been freed from her contract to Frank, he secretly attempts to raise the funds, but comes up $12,500 short. Before long, Glory realizes the truth and decides she would rather leave than be considered someone else’s property again. Moments after she walks away, Frank arrives to punish Wayne for not settling up their agreement. With the rest of the police squad standing by, Wayne provokes a fight and gradually overtakes Frank by smashing his head against the front stoop. Glory returns, offering to end the dispute by leaving with her former boss. Fed up with their antics, Frank decides to let them both go, but expresses regret that he and Wayne could not be friends. Mike congratulates “Mad Dog” for standing up for himself, as Glory slings her bag over her shoulder. Although Wayne assumes she plans to move on with her life, Glory takes his hand and leads him upstairs to the apartment.
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7959 | dbpedia | 2 | 8 | https://www.loc.gov/programs/national-film-preservation-board/film-registry/descriptions-and-essays/ | en | Brief Descriptions and Expanded Essays of National Film Registry Titles | http://www.loc.gov/static/images/favicons/open-graph-logo.png | http://www.loc.gov/static/images/favicons/open-graph-logo.png | [
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] | null | [] | null | Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress. | en | The Library of Congress | null | Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress.
In most cases, the images linked to Registry titles listed below were selected from the Library's Prints & Photographs Online Catalog, however some are drawn from other Library collections.
View a list of all expanded essays
7th Heaven (1927)
"Seventh Heaven" (also referred to as "7th Heaven"), directed by Frank Borzage and based on the play by Austin Strong, tells the story of Chico (Charles Farrell), the Parisian sewer worker-turned-street cleaner, and his wife Diane (Janet Gaynor), who are separated during World War I, yet whose love manages to keep them connected. "Seventh Heaven" was initially released as a silent film but proved so popular with audiences that it was re-released with a synchronized soundtrack later that same year. The popularity of the film resulted in it becoming one of the most commercially successful silent films as well as one of the first films to be nominated for a Best Picture Academy Award. Janet Gaynor, Frank Borzage, and Benjamin Glazer won Oscars for their work on the film, specifically awards for Best Actress, Best Directing (Dramatic Picture), and Best Writing (Adaptation), respectively. "Seventh Heaven" also marked the first time often-paired stars Janet Gaynor and Charles Farrell worked together. Added to the National Film Registry in 1995.
Expanded essay by Aubrey Solomon (PDF, 694KB)
The 7th Voyage of Sinbad (1958)
Special-effects master Ray Harryhausen provides the hero (Kerwin Mathews) with a villanous magician (Torin Thatcher) and fantastic antagonists, including a genie, giant cyclops, fire-breathing dragons, and a sword-wielding animated skeleton, all in glorious Technicolor. And of course no mythological tale would be complete without the rescue of a damsel in distress, here a princess (Kathryn Grant) that the evil magician shrinks down to a mere few inches. Harryhausen's stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a thrilling score by Bernard Herrmann ("Psycho," "The Day the Earth Stood Still") makes this one of the finest fantasy films of all time. Added to the National Film Registry in 2008.
Expanded essay by Tony Dalton (PDF, 900KB)
3:10 to Yuma (1957)
Considered to be one of the best westerns of the 1950s, "3:10 to Yuma" has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension. Frankie Laine sang the film's popular theme song, also titled "3:10 to Yuma." Often compared favorably with "High Noon," this innovative western from director Delmer Daves starred Glenn Ford and Van Heflin in roles cast against type and was based on a short story by Elmore Leonard. Added to the National Film Registry in 2012.
12 Angry Men (1957)
In the 1950s, several television dramas acted live over the airways won such critical acclaim that they were also produced as motion pictures; among those already honored by the National Film Registry is "Marty" (1955). Reginald Rose had adapted his original stage play "12 Angry Men" for Studio One in 1954, and Henry Fonda decided to produce a screen version, taking the lead role and hiring director Sidney Lumet, who had been directing for television since 1950. The result is a classic. Filmed in a spare, claustrophobic style—largely set in one jury room—the play relates a single juror's refusal to conform to peer pressure in a murder trial and follows his conversion of one juror after another to his point of view. The story is often viewed as a commentary on McCarthyism, Fascism, or Communism. Added to the National Film Registry in 2007.
Expanded essay by Joanna E. Rapf (PDF, 258KB)
12 Years a Slave (2013)
This biographical drama directed by Sir Steve McQueen, and produced by Brad Pitt’s production company, is based on the 1853 slave memoir “Twelve Years a Slave” by Solomon Northup, an African-American free man who was kidnapped in Washington, D.C. by two conmen in 1841, and sold into slavery. He was put to work on plantations in the state of Louisiana for 12 years before being released. The film received nine Academy Award nominations, winning for Best Picture, Best Adapted Screenplay for John Ridley, and Best Supporting Actress for Lupita Nyong’o. Added to the National Film Registry in 2023.
13 Lakes (2004)
James Benning's feature-length film can be seen as a series of moving landscape paintings with artistry and scope that might be compared to Claude Monet's series of water-lily paintings. Embracing the concept of "landscape as a function of time," Benning shot his film at 13 different American lakes in identical 10-minute takes. Each is a static composition: a balance of sky and water in each frame with only the very briefest suggestion of human existence. At each lake, Benning prepared a single shot, selected a single camera position and a specific moment. The climate, the weather and the season deliver a level of variation to the film, a unique play of light, despite its singularity of composition. Curators of the Rotterdam Film Festival noted, "The power of the film is that the filmmaker teaches the viewer to look better and learn to distinguish the great varieties in the landscape alongside him. [The list of lakes] alone is enough to encompass a treatise on America and its history. A treatise the film certainly encourages, but emphatically does not take part in." Benning, who studied mathematics and then film at the University of Wisconsin, currently is on the faculty at the California Institute of the Arts (CalArts). Added to the National Film Registry in 2014.
Expanded essay by Scott MacDonald (PDF, 316KB)
20 Feet from Stardom (2013)
Directed by Morgan Neville and produced by Gil Friesen, “20 Feet from Stardom” uses archival footage and interviews sharing behind-the-scenes experiences, and shining the spotlight on backup singers, including Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Jo Lawry, Claudia Lennear, and Tata Vega. Archival footage includes performances with Sting, David Bowie, Ray Charles, Michael Jackson, Elton John, Tom Jones, Ike & Tina Turner, Luther Vandross, and more. A highlight of the film includes an interview with Mick Jagger telling the story of how Merry Clayton came to sing the iconic background vocals on “Gimme Shelter.” Added to the National Film Registry in 2023.
42nd Street (1933)
At a little less than 90 minutes, "42nd Street" is a fast-moving picture that crackles with great dialogue and snappily plays up Busby Berkeley's dance routines and and the bouncy Al Dubin-Harry Warren ditties that include the irrepressably cheerful "Young and Healthy" (featuring the adorable Toby Wing), "Shuffle Off to Buffalo" and the title number. A famous Broadway director (Warner Baxter) takes on a new show despite his ill health, then faces disaster at every turn, including the loss of his leading lady on opening night. The film features Bebe Daniels as the star of the show and Berkeley regulars Guy Kibbee, Ginger Rogers, Dick Powell, and Ruby Keeler, whom Baxter implores, "You're going out a youngster, but you've got to come back a star!" Added to the National Film Registry in 1998.
2001: A Space Odyssey (1968)
Stanley Kubrick's landmark epic pushed the envelope of narrative and special effects to create an introspective look at technology and humanity. Arthur C. Clarke adapted his story "The Sentinel" for the screen version and his odyssey follows two astronauts, played by Keir Dullea and Gary Lockwood, on a voyage to Jupiter accompanied by HAL 9000, an unnervingly humanesque computer running the entire ship. With assistance from special-effects expert Douglas Trumbull, Kubrick spent more than two years creating his vision of outer space. Despite some initial critical misgivings, "2001" became one of the most popular films of 1968. Billed as "the ultimate trip," the film quickly caught on with a counterculture audience that embraced the contemplative experience that many older audiences found tedious and lacking substance. Added to the National Film Registry in 1991.
Expanded essay by James Verniere (PDF, 691KB)
20,000 Leagues Under the Sea (1916)
Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics. Added to the National Film Registry in 2016.
Abbott and Costello Meet Frankenstein (1948)
Freight handlers Bud Abbott and Lou Costello encounter Dracula and Frankenstein's monster when they arrive from Europe for a house of horrors exhibit. After the monsters outwit the hapless duo and escape, Dracula returns for Costello whose brain he intends to transplant into the monster. Lon Chaney Jr. as the lycanthropic Lawrence Talbot, Bela Lugosi in his final appearance as Dracula and Glenn Strange as the Monster all play their roles perfectly straight as Bud and Lou stumble around them. Throughout the film, Dracula and the Monster cavort in plain view of the quivering Costello who is unable to convince the ever-poised and dubious Abbott that the monsters exist. until the wild climax in Dracula's castle, where the duo are pursued by all three of the film's monstrosities.
Expanded essay by Ron Palumbo (PDF, 424KB)
Ace in the Hole (aka Big Carnival) (1951)
Based on the infamous 1925 case of Kentucky cave explorer Floyd Collins, who became trapped underground and whose gripping saga created a national sensation lasting two weeks before Collins died. A deeply cynical look at journalism, "Ace in the Hole" features Kirk Douglas as a once-famous New York reporter, now a down-and-out has-been in Albuquerque. Douglas plots a return to national prominence by milking the story of a man trapped in a Native American cave dwelling as a riveting human-interest story, complete with a tourist-laden, carnival atmosphere outside the rescue scene. The callously indifferent wife of the stricken miner is no more sympathetic: "I don't go to church. Kneeling bags my nylons." Providing a rare moral contrast is Porter Hall, who plays Douglas' ethical editor appalled at his reporter's actions. Such a scathing tale of media manipulation might have helped turn this brilliant film into a critical and commercial failure, which later led Paramount to reissue the film under a new title, "The Big Carnival."
Expanded essay by Molly Haskell (PDF, 330KB)
Adam's Rib (1949)
With an Oscar-nominated script by Ruth Gordon and Garson Kanin, "Adam's Rib" pokes fun at the double standard between the sexes. Spencer Tracy and Katharine Hepburn play husband and wife attorneys, each drawn to the same case of attempted murder. Judy Holliday, defending the sanctity of her marriage and family, intends only to frighten her philandering husband (Tom Ewell) and his mistress (Jean Hagen) but tearfully ends up shooting and injuring the husband. Tracy argues that the case is open and shut, but Hepburn asserts that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." As the trial turns into a media circus, the couple's relationship is put to the test. Holliday's first screen triumph propelled her onto bigger roles, including "Born Yesterday," for which she won an Academy Award. The film is also the debut of Ewell, who would become best known for his role opposite Marilyn Monroe in "The Seven Year Itch", and Hagen, who would floor audiences as the ditzy blonde movie star with the shrill voice in "Singin' in the Rain."
The Adventures of Robin Hood (1938)
When Richard the Lion-Hearted is captured and held for ransom, evil Prince John (Claude Rains) declares himself ruler of England and makes no attempt to secure Richard's safe return. A lone knight, Robin Hood (Errol Flynn), sets out to raise Richard's ransom by hijacking wealthy caravans traveling through Sherwood Forest. Aided by his lady love, Maid Marian (Olivia de Havilland), and band of merry men (including Alan Hale and Eugene Pallette) Robin battles the usurper John and wicked Sheriff of Nottingham to return the throne to its rightful owner. Dashing, athletic and witty, Flynn is everything that Robin Hood should be, and his adversaries are memorably villainous, particularly Basil Rathbone with whom Flynn crosses swords in the climactic duel. One of the most spectacular adventure films of all time, and features a terrific performance by the perfectly cast Flynn. Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Erich Wolfgang Korngold's score won an Oscar, as did the editing and art direction.
The African Queen (1951)
Adapted from a novel by C.S. Forester, the film stars Humphrey Bogart in an Oscar-winning portrayal of a slovenly, gin-swilling captain of the African Queen, a tramp steamer carrying supplies to small African villages during World War I. Katharine Hepburn plays a prim spinster missionary stranded when the Germans invade her settlement. Bogart agrees to transport Hepburn back to civilization despite their opposite temperaments. Before long, their tense animosity turns to love, and together they navigate treacherous rapids and devise an ingenious way to destroy a German gunboat. The difficulties inherent in filming on location in Africa are documented in numerous books, including one by Hepburn.
Airplane! (1980)
"Airplane!" emerged as a sharply perceptive parody of the big-budget disaster films that dominated Hollywood during the 1970s. Written and directed by David Zucker, Jerry Zucker and Jim Abrahams, the film is characterized by a freewheeling style and skewered Hollywood's tendency to push successful formulaic movie conventions beyond the point of logic. One of the film's most noteworthy achievements was to cast actors best known for their dramatic careers, such as Leslie Nielsen, Robert Stack and Lloyd Bridges, and provide them with opportunities to showcase their comic talents.The central premise is one giant cliche: a pilot (Robert Hays), who's developed a fear of flying, tries to win back his stewardess girlfriend (Julie Hagerty), boarding her flight so he can coax her around. Due to an outbreak of food poisoning, Hays must land the plane, with the help of a glue-sniffing air traffic controller (Bridges) and and his tyranical former captain (Stack). Supporting the stars is a wacky assemblage of stock characters from every disaster movie ever made.
Expanded essay by Michael Schlesinger (PDF, 477KB)
“¡Alambrista! (1977)
“¡Alambrista!” is the powerfully emotional story of Roberto, a Mexican national working as a migrant laborer in the United States to send money back to his wife and newborn. Director Robert M. Young’s sensitive screenplay refuses to indulge in simplistic pieties, presenting us with a world in which exploitation and compassion coexist in equal measure. The film immerses us in Roberto’s world as he moves across vast landscapes, meeting people he can’t be sure are friend or threat, staying one step ahead of immigration officials. “¡Alambrista!” is as relevant today as it was on its 1977 release, a testament to its enduring humanity. Added to the National Film Registry in 2023.
Expanded essay by Charles Ramírez Berg (PDF, 556KB)
Interview with Edward James Olmos (PDF, 2MB)
Alien (1979)
This film's appeal may lie in its reputation as "a haunted house movie in space." Though not particularly original, "Alien" is distinguished by director Ridley Scott's innovative ability to wring every ounce of suspense out of the B-movie staples he employs within the film's hi-tech setting. Art designer H.R. Giger creates what has become one of cinema's scariest monsters: a nightmarish hybrid of humanoid-insect-machine that Scott makes even more effective by obscuring it from view for much of the film. The cast, including Tom Skerritt and John Hurt, brings an appealing quality to their characters, and one character in particular, Sigourney Weaver's warrant officer Ripley, became the model for the next generation of hardboiled heroines and solidified the prototype in subsequent sequels. Rounding out the cast and crew, cameraman Derek Vanlint and composer Jerry Goldsmith propel the emotions relentlessly from one visual horror to the next.
All About Eve (1950)
Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances.
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All My Babies (1953)
Written and directed by George Stoney, this landmark educational film was used to educate midwives throughout the South. Produced by the Georgia Department of Public Health, profiles the life and work of "Miss Mary" Coley, an African-American midwife living in rural Georgia. In documenting the preparation for and delivery of healthy babies in rural conditions ranging from decent to deplorable, the filmmakers inadvertently captured a telling snapshot at the socioeconomic conditions of the era that would prove fascinating to future generations. Added to the National Film Registry in 2002.
Expanded essay by Joshua Glick (PDF, 391KB)
Watch it here
All Quiet on the Western Front (1930)
This faithful adaptation of Erich Maria Remarque's classic pacifist novel is among the greatest antiwar films ever made, remaining powerful more than 80 years later, thanks to Lewis Milestone's inventive direction. Told from the perspective of a sensitive young German soldier (Lew Ayres) during WWI, recruited by a hawkish professor advocating "glory for the fatherland." The young soldier comes under the protective wing of an old veteran (Louis Wolheim) who teaches him how to survive the horrors of war. The film is emotionally draining, and so realistic that it will be forever etched in the mind of any viewer. Milestone's direction is frequently inspired, most notably during the battle scenes. In one such scene, the camera serves as a kind of machine gun, shooting down the oncoming troops as it glides along the trenches. Universal spared no expense during production, converting more than 20 acres of a large California ranch into battlefields occupied by more than 2,000 ex-servicemen extras. After its initial release, some foreign countries refused to run the film. Poland banned it for being pro-German, while the Nazis labeled it anti-German. Joseph Goebbels, later propaganda minister, publicly denounced the film. It received an Academy Award as Best Picture and Milestone was honored as Best Director.
Expanded essay by Garry Wills (PDF, 713KB)
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All That Heaven Allows (1955)
The rich visual texture, using glorious Technicolor, and a soaring emotional score lend what is essentially a thin story a kind of epic tension. A movie unheralded by critics and largely ignored by the public at the time of its release, All That Heaven Allows is now considered Douglas Sirk's masterpiece. The story concerns a romance between a middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener (Rock Hudson)—the stuff of a standard weepie, you might think, until Sirk's camera begins to draw a deeply disturbing, deeply compassionate portrait of a woman trapped by stifling moral and social codes. Sirk's meaning is conveyed almost entirely by his mise-en-scene—a world of glistening, treacherous surfaces, of objects that take on a terrifying life of their own; he is one of those rare filmmakers who insist that you read the image.
Expanded essay by John Wills (PDF, 187KB)
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All That Jazz (1979)
Director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, an ex-wife Audrey, girlfriend Kate, young daughter, and various conquests. Reminiscent of Fellini's "8 1/2 ," Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals.
All the King's Men (1949)
Based on the Pulitzer Prize-winning novel by Robert Penn Warren and directed by Robert Rossen, "All the King's Men" was inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. The thesis is basically that power corrupts, with Stark presented as a man who starts out with a burning sense of purpose and a defiant honesty. Rossen, however, injects a note of ambiguity early on (a scene where Willie impatiently shrugs off his wife's dream of the great and good things he is destined to accomplish); and the doubt as to what he is really after is beautifully orchestrated by being filtered through the eyes of the press agent (Ireland) who serves as the film's narrator, and whose admiration for Stark gradually becomes tempered by understanding. In addition to its Oscars for Crawford and Mercedes McCambridge, the film won the Best Picture prize.
All the President's Men (1976)
Based on the memoir by "Washington Post" reporters Bob Woodward and Carl Bernstein about uncovering the Watergate break-in and cover up, "All the President's Men" is a rare example of a best-selling book transformed into a hit film and a cultural phenomenon in its own right. Directed by Alan J. Pakula, the film stars Robert Redford as Woodward and Dustin Hoffman as Bernstein, and features an Oscar-winning performance by Jason Robards as Ben Bradlee. Nominated for numerous awards, it took home an Oscar for best screenplay by William Goldman (known prior to this for "Butch Cassidy and the Sundance Kid" and after for "The Princess Bride"). Pakula's taut directing plays up the emotional roller coaster of exhilaration, paranoia, self-doubt, and courage, without ignoring the tedium and tireless digging, and elevating it to noble determination.
Expanded essay by Mike Canning (PDF, 72KB)
Allures (1961)
Called the master of "cosmic cinema," Jordan Belson excelled in creating abstract imagery with a spiritual dimension that featured dazzling displays of color, light, and ever-moving patterns and objects. Trained as a painter and influenced by the films of Oskar Fischinger, Norman McLaren, and Hans Richter, Belson collaborated in the late 1950s with electronic music composer Henry Jacobs to create elaborate sound and light shows in the San Francisco Morrison Planetarium, an experience that informed his subsequent films. The film, Belson has stated, "was probably the space-iest film that had been done until then. It creates a feeling of moving into the void." Inspired by Eastern spiritual thought, "Allures" (which took a year and a half to make) is, Belson suggests, a "mathematically precise" work intended to express the process of becoming that the philosopher Teilhard de Chardin has named "cosmogenesis."
Amadeus (1984)
Milos Forman directed this deeply absorbing, visually sumptuous film based on the lives and rivalry of two great classical composers — the brash, youthful Wolfgang Amadeus Mozart and the good, if not truly exceptional, Antonio Salieri. Based upon Peter Shaffer's highly successful play, which Shaffer personally rewrote for the screen, "Amadeus," though ostensibly about classical music, instead shines as a remarkable examination of the concept of genius (Mozart) as well as the jealous obsession from less-talented rivals (Salieri). In an Oscar-winning performance, F. Murray Abraham skillfully lays bare the tortured emotions (admiration and covetous envy) Salieri feels for Mozart's work: "This was the music I had never heard...It seemed to me that I was hearing the voice of God. Why would God choose an obscene child to be his instrument?"
America, America (1963)
"My name is Elia Kazan. I am a Greek by blood, Turk by birth, American because my uncle made a journey." So begins the film directed, produced and written by Elia Kazan, and the one he frequently cited as his personal favorite. Based loosely on Kazan's uncle, Stavros dreams of going to America in the late 1890s. Kazan, who often hired locals as extras, cast in the lead role a complete novice, Stathis Giallelis, whom he discovered sweeping the floor in a Greek producer's office. Shot almost entirely in Greece and Turkey, Haskell Wexler's cinematography evokes scale and authenticity that combines with Gene Callahan's Oscar-winning art direction to give the film a distinctly European feel. Intended as the first chapter of a trilogy, the epically ambitious "America, America" also earned Oscar nominations for best director, best screenplay and best picture.
American Graffiti (1973)
Fresh off the success of "The Godfather," producer Francis Ford Coppola weilded the clout to tackle a project pitched to him by his friend, George Lucas. The film captured the flavor of the 1950s with ironic candor and a latent foreboding that helped spark a nostalgia craze. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film a neon glare to match its rock-n-roll soundscape. Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's wistfulness for pre-Vietnam simplicity appealed to audiences amidst cultural upheaval. The film also established the reputations of Lucas (whose next film would be "Star Wars") and his young cast, and furthered the onset of soundtrack-driven, youth-oriented movies.
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An American in Paris (1951)
Gene Kelly, Leslie Caron, Georges Guetary, (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra). "An American in Paris," directed by Vincente Minnelli, cleaned up at the Academy Awards, with Oscars for best picture, screenplay, score, cinematography, art direction, set design, and even a special award for the choreography of its 18-minute closing ballet in which Kelly and Caron dance before lavish backgrounds resembling French masterpieces.
Interview with Leslie Caron (PDF, 1.36MB)
Anatomy of a Murder (1959)
Director Otto Preminger brought a new cinematic frankness to film with this gripping crime-and-trial movie shot on location in Michigan's Upper Peninsula where the incident on which it was based had occurred. Based on the best-selling novel by Robert Traver, Preminger imbues his film with daring dialogue and edgy pacing. Controversial in its day due to its blunt language and willingness to openly discuss adult themes, "Anatomy" endures today for its first-rate drama and suspense, and its informed perspective on the legal system. Starring James Stewart, Ben Gazzara and Lee Remick, it also features strong supporting performances by George C. Scott as the prosecuting attorney, and Eve Arden and Arthur O'Connell. The film includes an innovative jazz score by Duke Ellington and one of Saul Bass's most memorable opening title sequences.
Animal House (1978)
(see "National Lampoon's Animal House")
Annie Hall (1977)
Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. "Annie Hall" blended the slapstick and fantasy from such earlier Allen films as "Sleeper" and "Bananas" with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, "Annie Hall" beat out "Star Wars" for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. Added to the National Film Registry in 2001.
Expanded essay by Jay Carr (PDF, 302KB)
Antonia: A Portrait of the Woman (1974)
Directed by Jill Godmilow and Judy Collins, this Oscar-nominated documentary chronicles the life of musician-conductor Antonia Brico and her struggle to become a symphony director despite her gender. Told by many that it was ridiculous for a woman to think of conducting, she admits, "I felt that I'd never forgive myself if I didn't try." And the pain and deprivation which she has known all her life are over-shadowed in this film by her ebullient, forthright warmth. The narrative of her life alternates with glimpses of her at work—rehearsing or teaching. She also reflects on the emotional experience of conducting— including the acute separation pangs that follow a concert.
Expanded essay by Diane Worthey (PDF, 458KB)
The Apartment (1960)
Billy Wilder is purported to have hung a sign in his office that read, "How Would Lubitsch Do It?" Here, that Lubitsch touch seems to hover over each scene, lending a lightness to even the most nefarious of deeds. One of the opening shots in the movie shows Baxter as one of a vast horde of wage slaves, working in a room where the desks line up in parallel rows almost to the vanishing point. This shot is quoted from King Vidor's silent film "The Crowd" (1928), which is also about a faceless employee in a heartless corporation. Cubicles would have come as revolutionary progress in this world. By the time he made this film, Wilder had become a master at a kind of sardonic, satiric comedy that had sadness at its center. Wilder was fresh off the enormous hit "Some Like it Hot," his first collaboration with Lemmon, and with "The Apartment" Lemmon showed that he could move from light comedian to tragic everyman. This movie was the summation of what Wilder had done to date, and the key transition in Lemmon's career. It was also a key film for Shirley MacLaine, who had been around for five years in light comedies, but here emerged as a serious actress who would flower in the 1960s.
Expanded essay by Kyle Westphal (PDF, 428KB)
Apocalypse Now (1979)
The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.
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Applause (1929)
This early sound-era masterpiece was the first film of both stage/director Rouben Mamoulian and cabaret/star Helen Morgan. Many have compared Mamoulian's debut to that of Orson Welles' "Citizen Kane" because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peters as her cultured daughter. However, the film is remembered today chiefly for Mamoulian's audacious style. While most films of the era were static and stage-bound, Mamoulian's camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life.
Apollo 13 (1995)
The extreme challenges involved in space travel present compelling cinema storylines, and one cannot imagine a more harrowing scenario than the near tragic Apollo 13 space mission. Director Ron Howard’s retelling is equally meticulous and emotional, a master class in enveloping the audience into a complicated technological exercise in life-and-death problem-solving. Based on the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by astronaut Jim Lovell and Jeffrey Kluger, “Apollo 13” blends skillful editing, crafty special effects, a James Horner score, and a well-paced script to detail the quick-thinking heroics of both the astronaut crew and NASA technicians as they improvise and work through unprecedented situations. The talented cast includes Tom Hanks, Bill Paxton, Kevin Bacon, Gary Sinise, Ed Harris and Kathleen Quinlan. Howard went to great lengths to create a technically accurate movie, employing NASA's assistance in astronaut and flight-controller training for his cast, and obtaining permission to film scenes aboard a reduced-gravity aircraft for realistic depiction of the weightlessness experienced by the astronauts in space. Added to the National Film Registry in 2023.
The Asphalt Jungle (1950)
John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned — until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a memorable bit part as Emmerich's "niece."
Atlantic City (1980)
Aided by a taut script from playwright John Guare, director Louis Malle celebrates his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are. Malle reveals the rich portraits he paints of wasted American lives, through the filter of his European sensibilities. He is exceptionally well served by his cast and his location--a seedy resort town supported, like the principal characters, by memories of glories past. Burt Lancaster, in a masterful performance, plays an aging small-time criminal who hangs around Atlantic City doing odd jobs and taking care of the broken-down moll of the deceased gangster for whom Lou was a gofer. Living in an invented past, Lou identifies with yesteryear's notorious gangsters and gets involved with sexy would-be croupier (Susan Sarandon) and her drug-dealing estranged husband.
The Atomic Café (1982)
Produced and directed by Kevin Rafferty, Jayne Loader and Pierce Rafferty, the influential film compilation "The Atomic Cafe" provocatively documents the post-World War II threat of nuclear war as depicted in a wide assortment of archival footage from the period (newsreels, statements from politicians, advertisements, training, civil defense and military films). This vast, yet entertaining, collage of clips serves as a unique document of the 1940s-1960s era and illustrates how these films—some of which today seem propagandistic or even patently absurd ("The House in the Middle")—were used to inform the public on how to cope in the nuclear age.
Expanded essay by John Willis (PDF, 45KB)
Attica (1974)
The September 1971 Attica prison uprising is the deadliest prison riot in U.S. history. To protest living conditions, inmates took over the facility, held hostages, issued a manifesto demanding better treatment, and then engaged in four days of fruitless negotiations. On Day 5, state troopers and prison authorities retook the prison in a brutal assault, leaving 43 inmates and hostages dead. Cinda Firestone’s outstanding investigation of the tragedy takes us through the event, what caused it, and the aftermath. She uses first-hand interviews with prisoners, families and guards, assembled surveillance and news camera footage, and video from the McKay Commission hearings on the massacre. An ex-inmate ends the film with a quote hoping to shake public lethargy on the need for prison reform: “Wake up, because nothing comes to a sleeper, but a dream.”
The Augustas (1930s-1950s)
Scott Nixon, a traveling salesman based in Augusta, Ga., was an avid member of the Amateur Cinema League who enjoyed recording his travels on film. In this 16-minute silent film, Nixon documents some 38 streets, storefronts and cities named Augusta in such far-flung locales as Montana and Maine. Arranged with no apparent rhyme or reason, the film strings together brief snapshots of these Augustas, many of which are indicated at pencil-point on a train timetable or roadmap. Nixon photographed his odyssey using both 8mm and 16mm cameras loaded with black-and-white and color film, amassing 26,000 feet of film that now resides at the University of South Carolina. While Nixon's film does not illuminate the historical or present-day significance of these towns, it binds them together under the umbrella of Americana. Whether intentionally or coincidentally, this amateur auteur seems to juxtapose the name's lofty origin—'august,' meaning great or venerable—with the unspectacular nature of everyday life in small-town America.
View this film at Moving Image Research Collections, University of South Carolina External
The Awful Truth (1937)
Leo McCarey's largely improvised film is one of the funniest of the screwball comedies, and also one of the most serious at heart. Cary Grant and Irene Dunne are a pair of world-weary socialites who each believe the other has been unfaithful, and consequently enter into a trial divorce. The story began life as a 1922 stage hit and was filmed twice previously. McCarey maintained the basic premise of the play but improved it greatly, adding sophisticated dialogue and encouraging his actors to improvise around anything they thought funny. "The Awful Truth" was in the can in six weeks, and was such a success that Grant and Dunne were teamed again in another comedy, "My Favorite Wife" and in a touching tearjerker, "Penny Serenade." The film was nominated for an Academy Award for Best Picture.
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Baby Face (1933)
Smart and sultry Barbara Stanwyck uses her feminine wiles to scale the corporate ladder, amassing male admirers who are only too willing to help a poor working girl. One of the more notorious melodramas of the pre-Code era, a period when the movie industry relaxed its censorship standards, films such as this one led to the imposition of the Production Code in 1934. This relative freedom resulted in a cycle of gritty, audacious films that resonated with Depression-battered audiences.
Expanded essay by Gwendolyn Audrey Foster (PDF, 819KB)
Back to the Future (1985)
Writer/director Robert Zemeckis explored the possibilities of special effects with the 1985 box-office smash "Back to the Future." With his writing partner Bob Gale, Zemeckis tells the tale of accidental time-tourist Marty McFly. Stranded in the year 1955, Marty (Michael J. Fox)—with the help of his friend eccentric scientist Dr. Emmett Brown (played masterfully over-the-top by Christopher Lloyd)—must not only find a way home, but also teach his father (Crispin Glover) how to become a man, repair the space/time continuum and save his family from being erased from existence. All this, while fighting off the advances of his then-teenaged mother (Lea Thompson). The film generated a popular soundtrack and two enjoyable sequels.
The Bad and the Beautiful (1952)
Vincente Minnelli directed this captivating Hollywood story of an ambitious producer (Kirk Douglas)as told in flashback by those whose lives he's impacted: an actress (Lana Turner), a writer (Dick Powell) and a director (Barry Sullivan). Insightful and liberally sprinkled with characters modeled after various Hollywood royalty from David O. Selznick to Scott and Zelda Fitzgerald, witty, with one of Turner's best performances. Five Oscars include Supporting Actress (Gloria Grahame), Screenplay (Charles Schnee). David Raksin's score is another asset.
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Bad Day at Black Rock (1955)
Though only 81 minutes in length, "Bad Day" packs a punch. Spencer Tracy stars as Macreedy, a one-armed man who arrives unexpectedly one day at the sleepy desert town of Black Rock. He is just as tight-lipped at first about the reason for his visit as the residents of Black Rock are about the details of their town. However, when Macreedy announces that he is looking for a former Japanese-American Black Rock resident named Komoko, town skeletons suddenly burst into the open. In addition to Tracy, the standout cast includes Robert Ryan, Anne Francis, Lee Marvin, Ernest Borgnine and Dean Jagger. Director John Sturges displays the western landscape to great advantage in this CinemaScope production.
Badlands (1973)
Stark, brutal story based on the Charles Starkweather-Carol Fugate murder spree through the Midwest in 1958, with Martin Sheen as the killer lashing out against a society that ignores his existence and Sissy Spacek as his naive teenage consort. Sheen is forceful and properly weird as the mass murderer, strutting around pretending to be James Dean, while Spacek doesn't quite understand what he's all about, but goes along anyway. Director Terrence Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study. The film did scant box office business, but it remains one of the most impressive of directorial debuts.
Ball of Fire (1941)
In this Howard Hawks-directed screwball comedy, showgirl and gangster's moll Sugarpuss O'Shea (Barbara Stanwyck) hides from the law among a group of scholars compiling an encyclopedia. Cooling her heels until the heat lets up, Sugarpuss charms the elderly academics and bewitches the young professor in charge (Gary Cooper). Hawks deftly shapes an effervescent, innuendo-packed Billy Wilder-Charles Brackett script into a swing-era version of Snow White and the Seven Dwarfs or "squirrely cherubs," as Sugarpuss christens them. Filled with colorful period slang and boogie-woogie tunes and highlighted by an energetic performance from legendary drummer Gene Krupa, the film captures a pre-World War II lightheartedness.
The Ballad of Gregorio Cortez (1982)
Directed by Robert M. Young, produced by Moctesuma Esparza, and co-produced by Edward James Olmos, who stars as Gregorio, some of the film’s most beautiful scenes come from acclaimed cinematography Reynoldo Villalobos. “The Ballad of Gregorio Cortez” is one of the key feature films from the 1980s Chicano film movement. Edward James Olmos was a working actor but not yet a star when he and several friends, meeting at what would become the Sundance Film Festival, decided to make a film about a true story of injustice from the Texas frontier days.
Shot on a tiny budget for PBS, “The Ballad of Gregorio Cortez” accurately tells the story of a Mexican-American farmer who in 1901 was falsely accused of stealing a horse. Cortez killed the sheriff who tried to arrest him, outran a huge posse for more than a week, barely escaped lynching and was eventually sentenced to more than a decade in prison. The incident became a famous corrido, or story-song, that is still sung in Mexico and Texas. While some characters speak in Spanish and others in English, the filmmakers decided not to use subtitles to give audiences the same experience as those caught up in the unfolding tragedy.
“This film is being seen more today than it was the day we finished it,” Olmos said in a 2022 interview with the Library of Congress. “‘The Ballad of Gregorio Cortez’ is truly the best film I’ve ever been a part of in my lifetime.”
Interview with Edward James Olmos (PDF, 2MB)
Bambi (1942)
One of Walt Disney's timeless classics (and his own personal favorite), this animated coming-of-age tale of a wide-eyed fawn's life in the forest has enchanted generations since its debut nearly 70 years ago. Filled with iconic characters and moments, the film features beautiful images that were the result of extensive nature studies by Disney's animators. Its realistic characters capture human and animal qualities in the time-honored tradition of folklore and fable, which enhance the movie's resonating, emotional power. Treasured as one of film's most heart-rending stories of parental love, "Bambi" also has come to be recognized for its eloquent message of nature conservation.
Expanded essay by John Wills (PDF, 360KB)
Expanded essay by Gail Alexander (wife of Stan Alexander - “Flower”) (PDF, 371KB)
Original drawing of Bambi
Bamboozled (2000)
Mixing elements of “A Face in the Crowd,” “The Producers,” “Network” and “Putney Swope,” Spike Lee’s “Bamboozled” showcases his unique talents, here blending dark comedy and satire exposing hypocrisy. An African American TV executive (Damon Wayans) grows tired of his ideas being rejected by his insincere white boss, who touts himself with an “I am Black People” type of vibe. To get out of this untenable situation, Wayans proposes an idea he feels will surely get him fired: a racist minstrel show featuring African American performers donning blackface. The show becomes a smash hit while at the same time sparking outrage, including militant groups leading to violence. As with the best satire, the focus is not on believable plot but rather how the story reveals the ills of society, in this case how Hollywood and television have mistreated African Americans over the decades. Added to the National Film Registry in 2023.
The Band Wagon (1953)
Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray and Jack Buchanan star in this sophisticated backstage toe-tapper directed by Vincente Minnelli, widely considered one of the greatest movie musicals of all time. Astaire plays a washed-up movie star (in reality he'd been a succesful performer for nearly 30 years) who tries his luck on Broadway, under the direction of irrepressible mad genius Buchanan. Musical highlights include "Dancing in the Dark" and "That's Entertainment" (written for the film by Howard Dietz and Arthur Schwartz) and Astaire's sexy Mickey Spillane spoof "The Girl Hunt" danced to perfection by Charisse. Fred Astaire would only make three more musicals after "The Band Wagon," before turning to a film and television career that included the occasional turn as a dramatic actor.
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The Bank Dick (1940)
Perhaps more than any other film comedian in the early days of movies, W.C. Fields is an acquired taste. His absurdist brand of humor, at once dry and surreal, endures for the simple reason that the movies bear up under repeated viewings; in fact, it's almost a necessity to watch them over and over, if only to figure out why they're so funny. In his second-to-last feature, The Bank Dick (which he wrote under the moniker "Mahatma Kane Jeeves"), Fields as unemployed layabout Egbert Souse -- Soosay, if you don't mind -- replaces drunk movie director A. Pismo Clam on a location shoot in his hometown of Lompoc, California before chance lands him in the job of bank detective -- after which the movie becomes a riff on the comic possibilities of his new-found notoriety. The stellar comic supporting cast includes future Stooge Shemp Howard as the bartender at Fields' regular haunt, The Black Pussy, and Preston Sturges regular Franklin Pangborn as bank examiner J. Pinkerton Snoopington.
Expanded essay by Randy Skretvedt (PDF, 401KB)
The Bargain (1914)
After beginning his career on the stage (where he originated the role of Messala in "Ben-Hur" in 1899), William S. Hart found his greatest fame as the silent screen's most popular cowboy. His 1914 "The Bargain," directed by Reginald Barker, was Hart's first film and made him a star. The second Hart Western to be named to the National Film Registry, the film was selected because of Hart's charisma, the film's authenticity and realistic portrayal of the Western genre and the star's good/bad man role as an outlaw attempting to go straight. Added to the National Film Registry 2010.
Expanded essay by Brian Taves (PDF, 1692KB)
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The Battle of the Century (1927)
"Battle of the Century" is a classic Laurel and Hardy silent short comedy (2 reels, ca. 20 minutes) unseen in its entirety since its original release. The comic bits include a renowned pie-fighting sequence where the principle of "reciprocal destruction" escalates to epic proportions. "Battle" offers a stark illustration of the detective work (and luck) required to locate and preserve films from the silent era. Only excerpts from reel two of the film had survived for many years. Critic Leonard Maltin discovered a mostly complete nitrate copy of reel one at the Museum of Modern Art in the 1970s. Then in 2015, film collector and silent film accompanist Jon Mirsalis located a complete version of reel two as part of a film collection he purchased from the Estate of Gordon Berkow. The film still lacks brief scenes from reel one, but the film is now almost complete, comprising elements from MoMA, the Library of Congress, UCLA and other sources. It was restored by the UCLA Film and Television Archive in conjunction with Jeff Joseph/SabuCat. The nearly complete film was preserved from one reel of 35mm nitrate print, one reel of a 35mm acetate dupe negative and a 16mm acetate print. Laboratory Services: The Stanford Theatre Film Laboratory, Deluxe Entertainment Services Group, Cineaste Restoration/Thad Komorowksi, Point 360/Joe Alloy. Special Thanks: Jon Mirsalis, Paramount Pictures Archives, Richard W. Bann, Ray Faiola, David Gerstein.
The Battle of San Pietro (1945)
John Huston's documentary about the WW II Battle of San Pietro Infine was considered too controversial by the U.S. military to be seen in its original form, and was cut from five reels to its released 33 minute-length. powerful viewing, vivid and gritty. Some 1,100 men died in the battle. scenes of grateful Italian peasants serve as a fascinating ethnographic time capsule. Filmed by Jules Buck. Unlike many other military documentaries, Huston's cameramen filmed alongside the Army's 143rd regiment, 36th division infantrymen, placing themselves within feet of mortar and shell fire. The film is unflinching in its realism and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. Because it showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film. The depiction of death would inspire them to take their training seriously. Subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major.
Expanded essay by Ed Carter (PDF, 423KB)
View this film at National Film Preservation Foundation External
The Beau Brummels (1928)
Al Shaw and Sam Lee were an eccentrically popular vaudeville act of the 1920s. In 1928 they made this eight-minute Vitaphone short for Warner Bros. The duo later appeared in more than a dozen other films, though none possessed the wacky charm of "The Beau Brummels." As Jim Knipfel has observed: "If Samuel Beckett had written a vaudeville routine, he would have created Shaw and Lee." Often considered one of the quintessential vaudeville comedy shorts, the film has a simple set-up—Shaw and Lee stand side by side with deadpan expressions in non-tailored suits and bowler hats as they deliver their comic routine of corny nonsense songs and gags with a bit of soft shoe and their renowned hat-swapping routine. Shaw's and Lee's reputation has enjoyed a recent renaissance and their brand of dry, offbeat humor is seen by some as well ahead of its time. The film has been preserved by the UCLA Film & Television Archive.
Beauty and the Beast (1991)
Disney's "Beauty and the Beast" is an animated, musical retelling of the fairy tale by Jeanne-Marie Leprince du Beaumont. The film follows Belle (voiced by Paige O'Hara), an intelligent and rebellious young French woman, who is forced to live with a hideous monster, the Beast (voiced by Robby Benson), after offering to take her father's place as the Beast's prisoner. Unaware that the Beast is actually an enchanted prince, Belle falls in love with him. "Beauty and the Beast" was the first animated film nominated for an Academy Award in the Best Picture category. Alan Menken won an Oscar for his original score, and he and lyricist Howard Ashman (posthumously) earned Oscars for the film's theme song "Beauty and the Beast."
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Becky Sharp (1935)
Actress Miriam Hopkins had a long and successful movie career, appearing in many classics, including "Trouble in Paradise" and "Design for Living." However, it is as this film's titular heroine that she received her only Academy Award best-actress nomination. Based upon Thackeray's novel "Vanity Fair," "Becky" is the story of a socially ambitious woman and her destructive climb up the class system. "Becky Sharp" merits historical note as the first feature-length film to utilize the three-strip Technicolor process, which, even today, gives the film a shimmering visual appeal. The lengthy, complicated restoration process of "Becky Sharp" by the UCLA Film and Television Archive marked one of the earliest archival restorations to garner widespread public attention. Partners in this painstaking effort included the National Telefilm Associates Inc., Fondazione Scuola Nazionale di Cinema, Cineteca Nazionale (Rome), British Film Institute, The Film Foundation, National Endowment for the Arts, Paramount and YCM Laboratories. More information can be found at https://cinema.ucla.edu/restoration/becky-sharp-restoration External.
Before Stonewall (1984)
In 1969, New York City police raided the Stonewall Inn, a gay bar in Greenwich Village. After years of harassment, this infamous act proved a tipping point and led to three days of riots. The Stonewall riots are credited with launching the modern gay civil rights movement in the U.S. Narrated by Rita Mae Brown, "Before Stonewall" provides a detailed look at the history and making of the LGBTQ community in 20th-century America through archival footage and interviews with those who felt compelled to live secret lives during that period. Elements, prints and a new 2016 digital cinema package are held in the Outfest UCLA Legacy Project Collection at the UCLA Film & Television Archive.
Behind Every Good Man (1967)
This pre-Stonewall UCLA student short by Nikolai Ursin offers a stunning early portrait of Black, gender fluidity in Los Angeles and the quest for love and acceptance. Following playful street scene vignettes accompanied by a wistful, baritone voice-over narration, the film lingers tenderly on our protagonist preparing for a date who never arrives. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project. Special thanks to John Campbell, Stephen Parr and Norman Yonemoto.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer's persona, including the man's cultured walk, talk and even his expensive clothes, and is mistaken as "Chauncey Gardner," whose simple adages are interpreted as profound insights. He becomes the confidant of a dying billionaire industrialist (Melvyn Douglas, in an Academy Award-winning performance) who happens to be a close adviser to the U.S. president (Jack Warden). Chance's gardening advice is interpreted as metaphors for political policy and life in general. Jerzy Kosinski, assisted by award-winning screenwriter Robert C. Jones, adapted his 1971 novel for the screenplay which Hal Ashby directed with an understatement to match the subtlety and precision of Sellers' Academy Award-nominated performance. Shirley MacLaine also stars as Douglas's wife, then widow, who sees Chauncey as a romantic prospect. Film critic Robert Ebert said he admired the film for "having the guts to take this totally weird conceit and push it to its ultimate comic conclusion." That conclusion is a philosophically complex film that has remained fresh and relevant.
Expanded essay by Jerry Dean Roberts (PDF, 118KB)
Ben-Hur (1925)
Adapted from General Lew Wallace's popular novel "Ben-Hur: A Tale of the Christ" published in 1880, this epic featured one of the most exciting spectacles in silent film: the chariot race that was shot with 40 cameras on a Circus Maximus set costing a staggering (for the day) $300,000. In addition to the grandeur of the chariot scene, a number of sequences shot in Technicolor also contributed to the epic status of "Ben-Hur," which was directed by Fred Niblo and starred Ramon Novarro as Judah Ben-Hur and Francis X. Bushman as Messala. While the film did not initially recoup its investment, it did help to establish its studio, MGM, as one of the major players in the industry.
Expanded essay by Fritzi Kramer (PDF, 254KB)
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Ben-Hur (1959)
This epic blockbuster stars Charlton Heston in the title role of a rebellious Israelite who takes on the Roman Empire during the time of Christ. Featuring one of the most famous action sequences of all time -- the breathtaking chariot race -- the film was a remake of the impressive silent version released in 1925. Co-starring Stephen Boyd as Judah Ben-Hur's onetime best friend and later rival, it also featured notable performances by Hugh Griffith and Jack Hawkins. Directed by Oscar-winner William Wyler, who found success with "Mrs. Miniver" "The Best Years of Our Lives" and others, "Ben-Hur" broke awards records, winning 11 Oscars, including best picture, director, actor, supporting actor, and score. Famed stuntman Yakima Canutt was brought in to coordinate all the chariot race stunt work and train the driver The race scene alone cost is reported to have cost about $4 million, or about a fourth of the entire budget, and took 10 weeks to shoot.
Expanded essay by Gabriel Miller (PDF, 499KB)
Bert Williams Lime Kiln Club Field Day (1913)
In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians.
The Best Years of Our Lives (1946)
A moving and personal story directed by real-life veteran William Wyler, the film depicts the return to civilian life by three World War II servicemen, portrayed by Dana Andrews, Fredric March and Harold Russell. Adapted by Robert Sherwood from MacKinlay Kantor's novel "Glory for Me," Gregg Toland's deep-focus cinematography is memorable for emotionally evokative long dolly shots. It also starred Myrna Loy, Teresa Wright, Cathy O'Donnell, and Virginia Mayo. The film won nine Oscars including Best Picture, as well as two awards for Russell, who lost his hands in the war.
Expanded essay by Gabriel Miller (PDF, 319KB)
Betty Tells Her Story (1972)
Liane Brandon’s classic documentary explores the layers of storytelling and memory - how telling a story again can reveal previously hidden details and context. In this poignant tale of beauty, identity and a dress, the filmmaker turns the storytelling power over to the subject. Deceptively simple in its approach, the director in two separate takes films Betty recalling her search for the perfect dress for an upcoming special occasion. During the first take, Betty describes in delightful detail how she found just the right one, spent more than she could afford, felt absolutely transformed … and never got to wear it. Brandon then asks her to tell the story again, and this time her account becomes more nuanced, personal and emotional, revealing her underlying feelings. Though the facts remain the same, the story is strikingly different. “Betty Tells Her Story” was the first independent documentary of the Women’s Movement to explore the ways in which clothing and appearance affect a woman’s identity. It is used in film studies, psychology, sociology, women’s studies, and many other academic disciplines as a perceptive look at how our culture views women in the context of body image, self-worth and beauty in American culture. The film was restored with a grant from New York Women in Film & Television’s Women's Film Preservation Fund.
Inductees' Gallery - Liane Brandon, producer and director
Big Business (1929)
As gifted in their repartee as they were in their physical antics, Stan Laurel and Oliver Hardy were the perfect team for the transition from silent film comedy to sound. Their legendary career spanned from 1921 to 1951 and included more than 100 films. This two-reeler finds the duo attempting to sell Christmas trees in sunny California. Their run-in with an unsatisfied customer (played by James Finlayson) lays the groundwork for a slapstick melee eventually involving a dismantled car, a wrecked house and an exploding cigar. The film was produced by the team's long-time collaborator, Hal Roach, the king of no-holds-barred comedy.
Expanded essay by Randy Skretvedt (PDF, 308KB)
The Big Heat (1953)
One of the great post-war noir films, "The Big Heat" stars Glenn Ford, Lee Marvin and Gloria Grahame. Set in a fictional American town, the film tells the story of a tough cop (Ford) who takes on a local crime syndicate, exposing tensions within his own corrupt police department as well as insecurities and hypocrisies of domestic life in the 1950s. Filled with atmosphere, fascinating female characters, and a jolting—yet not gratuitous—degree of violence, "The Big Heat," through its subtly expressive technique and resistance to formulaic denouement, manages to be both stylized and brutally realistic, a signature of its director Fritz Lang.
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The Big Lebowski (1998)
From the unconventional visionaries Joel and Ethan Coen (the filmmakers behind "Fargo" and "O Brother, Where Art Thou?") came this 1998 tale of kidnapping, mistaken identity and bowling. As they would again in the 2008 "Burn After Reading," the Coens explore themes of alienation, inequality and class structure via a group of hard-luck, off-beat characters suddenly drawn into each other's orbits. Jeff Bridges, in a career-defining role, stars as "The Dude," an LA-based slacker who shares a last name with a rich man whose arm-candy wife is indebted to shady figures. Joining Bridges are John Goodman, Tara Reid, Julianne Moore, Philip Seymour Hoffman, Steve Buscemi and, in a now-legendary cameo, John Turturro. Stuffed with vignettes—each staged through the Coens' trademark absurdist, innovative visual style—that are alternately funny and disturbing, "Lebowski" was only middling successful at the box office during its initial release. However, television, the Internet, home video and considerable word-of-mouth have made the film a highly quoted cult classic.
Expanded essay by J.M. Tyree & Ben Walters (PDF, 354KB)
The Big Parade (1925)
One of the first films to deglamorize war with its startling realism, "The Big Parade" became the largest grossing film of the silent era. From a story by Laurence Stallings, director King Vidor crafted what "New York Times" critic Mordaunt Hall called "an eloquent pictorial epic." The film, which Hall said displayed "all the artistry of which the camera is capable," depicts a privileged young man (John Gilbert) who goes to war seeking adventure and finds camaraderie, love, humility and maturity amid the horrors of war. Along the way he befriends two amiable doughboys (Karl Dane and Tom O'Brien) and falls for a beautiful French farm girl (Renée Adorée). Vidor tempered the film's serious subject matter with a kind of simple, light humor that flows naturally from new friendships and new loves. A five-time nominee for Best Director, Vidor was eventually recognized by the Academy in 1979 with an honorary lifetime achievement award. Both stars continued to reign until the transition to talking pictures, which neither Gilbert nor Adorée weathered successfully. Their careers plummeted and both died prematurely.
The Big Sleep (1946)
Howard Hawks directed this Raymond Chandler story featuring private eye Philip Marlowe, played by Humphrey Bogart. Appearing opposite him in only her second film was a former model named Lauren Bacall, with whom Bogart had fallen in love (and vice versa) during filming of "To Have and Have Not" earlier that year. Hawks and his writers attempted to untangle the threads of Chandler's complicated plot which caused frequent production delays. More than a month behind schedule and about $50,000 over budget, the film was ready in mid-summer1945, and that version was distributed to servicemen overseas. Shortly thereafter "To Have and Have Not" was released, and audiences loved the Bogart-Bacall chemistry, so the wide release of "The Big Sleep" was further delayed the wide release by rewriting scenes to heighten the chemistry and bring out Bacall's "insolent" quality that audiences found so appealing the pair's earlier film. The pre-release cut is only two minutes longer, but contains 18 minutes of scenes missing from the final picture. The first "draft" was discovered at the UCLA Film and Television Archive where both versions have since been preserved.
The Big Trail (1930)
This taming of the Oregon Trail saga comes alive thanks to the majestic sweep afforded by the experimental Grandeur wide-screen process developed by the Fox Film Corporation. Audiences marveled at the sheer scope of the panoramic scenes before them and delighted in the beauty of the vast landscapes. Hollywood legend has it that director Raoul Walsh was seeking a male lead for a new Western and asked his friend John Ford for advice. Ford recommended an unknown actor named John Wayne because he "liked the looks of this new kid with a funny walk -- like he owned the world." When Wayne professed inexperience, Walsh told him to just "sit good on a horse and point."Wayne's starring role in "The Big Trail" did not catapult him to stardom, and he languished in low-budget pictures until John Ford cast him in the 1939 classic "Stagecoach."
Expanded essay by Marilyn Ann Moss (PDF, 375KB)
The Birds (1963)
"The Birds" was the fourth suspense hit by Alfred Hitchcock—following "Vertigo," "North by Northwest" and "Psycho"—revealing his mastery of his craft. Hitchcock transfixed both critics and mass audiences by deftly moving from anxiety-inducing horror to glossy entertainment and suspense, with bold forays into psychological terrain. Marked by a foreboding sense of an unending terror no one can escape, the film concludes with its famous, final scene, which only adds to the emotional impact of "The Birds."
The Birth of a Nation (1915)
This landmark of American motion pictures is the story of two families during the Civil War and Reconstruction. Director D.W. Griffith's depiction of the Ku Klux Klan as heroes stirred controversy that continues to the present day. But the director's groundbreaking camera technique and narrative style advanced the art of filmmaking by leaps and bounds. Profoundly impacted by the novel "The Clansman: An Historical Romance of the Ku Klux Klan," Griffith hired its author Thomas F. Dixon Jr. to adapt it as a screenplay. At the heart of the story are two pairs of star-crossed lovers on either side of the conflict: Southerner Henry B. Walthall courts Northerner Lillian Gish, and the couple's siblings, played by Elmer Clifton and Miriam Cooper, are also in love. The ravages of war and the chaos of reconstruction take their toll on both families. The racist and simplistic depictions of blacks in the film is difficult to overlook, but underneath the distasteful sentiment lies visual genius.
Expanded essay by Dave Kehr (PDF, 599KB)
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Black and Tan (1929)
In one of the first short musical films to showcase African-American jazz musicians, Duke Ellington portrays a struggling musician whose dancer wife (Fredi Washington in her film debut) secures him a gig for his orchestra at the famous Cotton Club where she's been hired to perform, at a risk to her health. Directed by Dudley Murphy, who earned his reputation with "Ballet mécanique," which is considered a masterpiece of early experimental filmmaking, the film reflects the cultural, social and artistic explosion of the 1920s that became known as the Harlem Renaissance. Ellington and Washington personify that movement, and Murphy—who also directed registry titles "St. Louis Blues" (1929), another musical short, and the feature "The Emperor Jones" (1933) starring Paul Robeson—cements it in celluloid to inspire future generations. Washington, who appeared with Robeson in "Emperor Jones," is best known as "Peola" in the 1934 version of "Imitation of Life."
The Black Pirate (1926)
This swashbuckling tour-de-force by Douglas Fairbanks, king of silent action adventure pictures, is most significant for having been filmed entirely in two-strip Technicolor, a process still being perfected at the time, and the precursor to Technicolor processes that would become commonplace by the 1950s. Fairbanks plays a nobleman who has vowed to avenge the death of his father at the hands of pirates, and once upon the pirates' vessel, protects a damsel in distress (Bessie Love)taken hostage by the band of thieves. Fairbanks wrote the original story under a pseudonym, and Albert Parker directed.
Expanded essay by Tracey Goessel (PDF, 356 KB)
The Black Stallion (1979)
When a ship carrying young Alec Ramsey (Kelly Reno) and a black Arabian stallion sinks off the coast of Africa, Alec and the horse find themselves stranded on a deserted island. Upon their rescue, Alec and horse trainer/former jockey Henry Dailey (Mickey Rooney) begin training the horse to become a formidable racer. Directed by Carroll Ballard and based on the Walter Farley novel of the same name, the film was executive produced by Francis Ford Coppola who finally persuaded United Artists to release the film after shelving it for two years. The film's supervising sound editor, Alan Splet, received a Special Achievement Award for his innovations including affixing microphones around the horse's midsection to pick up the sound of its hoof beats and breathing during race sequences. "The Black Stallion" was nominated for two Academy Awards, one for Best Supporting Actor for Mickey Rooney and one for Best Film Editing for Robert Dalva.
Expanded essay by Keith Phipps (PDF, 375 KB)
Blackboard Jungle (1955)
In a 1983 interview, writer-director Richard Brooks claimed that hearing Bill Haley and the Comets' "Rock Around the Clock" in 1954 inspired him to make a rock & roll-themed picture. The result was "Blackboard Jungle," an adaptation of the controversial novel by Evan Hunter about an inner-city schoolteacher (played in the film by Glenn Ford) tackling juvenile delinquency and the lamentable state of public education— common bugaboos of the Eisenhower era. Retaining much of the novel's gritty realism, the film effectively dramatizes the social issues at hand, and features outstanding early performances by Sidney Poitier and Vic Morrow. The film, however, packs its biggest wallop even before a word of dialog is spoken. As the opening credits roll, Brooks' original inspiration for the film – the pulsating strains of "Rock Around the Clock" – blasts across theater speakers, bringing the devil's music to Main Street and epitomizing American culture worldwide.
Blacksmith Scene (1893)
Not blacksmiths but employees of the Edison Manufacturing Company, Charles Kayser, John Ott and another unidentified man are likely the first screen actors in history, and "Blacksmith Scene" is thought to be the first film of more than a few feet to be publicly exhibited. The 30-second film was photographed in late April 1893 by Edison's key employee, W.K.L. Dickson, at the new Edison studio in New Jersey. On May 9, audiences lined up single file at the Brooklyn Institute of Arts and Sciences to peer through a viewing machine called a kinetoscope where glowed images of a blacksmith and two helpers forging a piece of iron, but only after they'd first passed around a bottle of beer. A Brooklyn newspaper reported the next day, "It shows living subjects portrayed in a manner to excite wonderment."
First Motion Picture Copyright Found
National Film Preservation Foundation - Blacksmithing Scene External
Blade Runner (1982)
A blend of science fiction and film noir, "Blade Runner" was a box office and critical flop when first released, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built for use in dangerous off-world colonization. Deckard, a onetime blade runner – a detective that hunts down rogue replicants – is forced back into active duty to assassinate a band of rogues out to attack earth. Along the way he encounters Sean Young, a replicant who's unaware of her true identity, and faces a violent confrontation atop a skyscraper high above the city.
Expanded essay by David Morgan (PDF, 358 KB)
Blazing Saddles (1974)
This riotously funny, raunchy, no-holds-barred Western spoof by Mel Brooks is universally considered one of the funniest American films of all time. The movie features a civil-rights theme (the man in the white hat (Cleavon Little ) turns out to be an African-American who has to defend a bigoted town), and its furiously paced gags and rapid-fire dialogue were scripted by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Unger. Little as the sheriff and Gene Wilder as his recovering alcoholic deputy have great chemistry, and the delightful supporting cast includes Harvey Korman, Slim Pickens, and Madeline Kahn as a chanteuse modelled on Marlene Dietrich. As in "Young Frankenstein," "Silent Movie," and "High Anxiety," director/writer Brooks gives a burlesque spin to a classic Hollywood movie genre.
Expanded essay by Michael Schlesinger (PDF, 662 KB)
Bless Their Little Hearts (1984)
Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Rebellion. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film's understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail."
The Blood of Jesus (1941)
Also known as "The Glory Road," this was among the approximately 500 "race movies" produced between 1915 and 1950 for African-American audiences and featuring all-black casts. In this film, a deeply devout woman (Cathryn Caviness) faces a spiritual crossroads after being accidentally shot, and is forced to choose between heaven and hell. Spencer Williams, who wrote, directed and starred in the film, produced the film in response to a need for spiritually-based films that spoke directly to black audiences. Long thought lost, prints were discovered in a warehouse in Tyler, Texas, in the mid-1980s.
Expanded essay by Mark S. Giles (PDF, 256 KB)
View this film at Southern Methodist University Central University Libraries External
The Blue Bird (1918)
Maurice Tourneur's beautiful expressionist adaptation of Maurice Maeterlink's play remains one of the most aesthetically pleasing films. The film is a sumptuously composed pictorial entrance into a fantasy world, which tries to teach us not to overlook the beauty of what is close and familiar.
Expanded essay by Kaveh Askari (PDF, 445 KB)
The Blues Brothers (1980)
Dan Aykroyd and John Belushi, then both best known for their star-turns as part of the "Not Ready for Prime-Time Players" troupe on TV's "Saturday Night Live," took their recurring "Blues Brothers" SNL sketch to the big screen in this loving and madcap musical misadventures of Jake and Elwood Blues on a mission from God. An homage of sorts to various classic movie genres — from screwball comedy to road movie — "The Blues Brothers" serves as a tribute to the lead duo's favorite city (Chicago) as well as a lovely paean to great soul and R&B music. In musical cameos, such legends as Cab Calloway, Ray Charles, James Brown, Aretha Franklin and John Lee Hooker all ignite the screen. Added to the National Film Registry in 2020.
Interview with Dan Aykroyd (PDF, 2MB)
Interview with John Landis (PDF, 2MB)
Body and Soul (1925)
One of the truly unique pioneers of cinema, African-American producer/director/writer/distributor Oscar Micheaux somehow managed to get nearly 40 films made and seen despite facing racism, lack of funding, the capricious whims of local film censors and the independent nature of his work. Most of Micheaux's films are lost to time or available only in incomplete versions, with the only extant copies of some having been located in foreign archives. Nevertheless, what remains shows a fearless director with an original, daring and creative vision. Film historian Jacqueline Stewart says Micheaux's films, though sometimes unpolished and rough in terms of acting, pacing and editing, brought relevant issues to the black community including "the politics of skin color within the black community, gender differences, class differences, regional differences especially during this period of the Great Migration." For "Body and Soul," renaissance man Paul Robeson, who had gained some fame on the stage, makes his film debut displaying a blazing screen presence in dual roles as a charismatic escaped convict masquerading as a preacher and his pious brother. The George Eastman Museum has restored the film from a nitrate print, producing black-and-white-preservation elements and later restoring color tinting using the Desmet method.
Bohulano Family Film Collection (1950s-1970s)
Delfin Paderes Bohulano and Concepcion Moreno Bohulano recorded their family life for more than 20 years. Shot primarily in Stockton, California, their collection documents the history of the Filipinx community (once the largest in the country) during a period of significant immigration. The couple moved to the United States following American military service during World War II. They were involved in the local Filipino American community, including the building of Stockton's new Filipino Center in the early 1970s. The movies record community events, family gatherings, trips to New York, Atlantic City, and Washington, DC, as well as the family's 1967 visit to the Philippines. The 15-reel collection is shot on Super 8mm, 8mm, and 16mm, and in color and silent. Preserved by the Center for Asian American Media. Added to the National Film Registry in 2023.
Bonnie and Clyde (1967)
Setting filmmaking and style trends that linger today, "Bonnie and Clyde" veered from comedy to social commentary to melodrama and caught audiences unaware, especially with its graphic ending. The violence spawned many detractors, but others saw the artistry beyond the blood and it earned not only critical succes which eventually showed at thebox office. Arthur Penn deftly directs David Newman and Robert Benton's script, aided by the film's star and producer Warren Beatty, who was always eager to push the envelope. Faye Dunaway captures the Depression-era yearning for glamour and escape from poverty and hopelessness.
Expanded essay by Richard Schickel (PDF, 530KB)
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Born Yesterday (1950)
Judy Holliday's sparkling lead performance as not-so-dumb "dumb blonde" Billie Dawn anchors this comedy classic based on Garson Kanin's play and directed for the screen by George Cukor. Kanin's satire on corruption in Washington, D.C., adapted for the screen by Albert Mannheimer, is full of charm and wit while subtly addressing issues of class, gender, social standing and American politics. Holliday's work in the film (a role she had previously played on Broadway) was honored with the Academy Award for Best Actress and has endured as one of the era's most finely realized comedy performances.
Expanded essay by Ariel Schudson (PDF, 394KB)
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Boulevard Nights (1979)
"Boulevard Nights" had its genesis in a screenplay by UCLA student Desmond Nakano about Mexican-American youth and the lowrider culture. Director Michael Pressman and cinematographer John Bailey shot the film in the barrios of East Los Angeles with the active participation of the local community (including car clubs and gang members). This street-level strategy using mostly non-professional actors produced a documentary-style depiction of the tough choices faced by Chicano youth as they come of age and try to escape or navigate gang life ("Two brothers...the street was their playground and their battleground"). In addition to "Boulevard Nights," this era featured several films chronicling youth gangs and rebellion — "The Warriors" (1979), "Over the Edge" (1979), "Walk Proud" (1979) and "The Outsiders" (1983). The film faced protests and criticism from some Latinos who saw outsider filmmakers, albeit well-intentioned, adopting an anthropological perspective with an excessive focus on gangs and violent neighborhoods. Nevertheless, "Boulevard Nights" stands out as a pioneering snapshot of East L.A. and enjoys semi-cult status in the lowrider community.
Boys Don't Cry (1999)
Director Kimberly Peirce made a stunning debut with this searing docudrama based on the infamous 1993 case of a young Nebraska transgender man who is brutally raped and murdered (along with two other people) in a small Nebraska town. Released a year after the killing of Matthew Shepard, a gay student at the University of Wyoming, the film brought the issue of hate crimes clearly into the American public spotlight. Sometimes compared to Theodore Dreiser's "An American Tragedy," "Boys" raised issues that are still relevant 20 years later: intolerance, prejudice, the lack of opportunity in small towns, conceptions of self, sexual identity, diversity and cultural, sexual and social mores. New York Times' critic Janet Maslin lauded the film for not taking the usual plot routes: "Unlike most films about mind-numbing tragedy, this one manages to be full of hope." Several things helped create that result, particularly the performance of 22-year-old Hilary Swank, who won an Oscar as Brandon.
Boyz N the Hood (1991)
In his film debut, John Singleton wrote and directed this thought-provoking look at South Central L.A.'s black community. A divorced father (Larry Fishburne) struggles to raise his son, Tre (Cuba Gooding, Jr.) in a world where violence is a fact of life. Tre is torn by his desire to live up to his father's expectations and pressure from friends pushing him toward the gang culture. Roger Ebert praised the film for its "maturity and emotional depth," calling it "an American film of enormous importance." The lead players are backed by strong supporting performances from Ice Cube, Morris Chestnut, Tyre Ferrell, Angela Bassett and Nia Long.
Brandy in the Wilderness (1969)
This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride's "David Holzman's Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking.
This article by director Paul Schrader originally appeared in the Fall 1971 issue of "Cinema Magazine." (PDF, 1764KB)
Bread (1918)
Billed as a "sociological photodrama, "Bread" tells the story of a naïve young woman in a narrow-minded town who journeys to New York to become a star but faces disillusionment when she learns that sex is demanded as the price for fame. Ida May Park, director and scenarist of "Bread," was among more than a half-dozen prolific women directors working at the Universal Film Manufacturing Company during the period in which Los Angeles became the home of America's movie industry. Park directed 14 feature-length films between 1917 and 1920, and her career as a scenarist lasted until 1931. She reasoned that because the majority of movie fans were women, "it follows that a member of the sex is best able to gauge their wants in the form of stories and plays." In an essay Park contributed to the book "Careers for Women," she stated that women were advantaged as motion picture directors because of "the superiority of their emotional and imaginative faculties." In the two surviving reels of "Bread," one of only three films Park directed that are currently known to exist, she displays an accomplished ability to knowingly vivify her protagonist's plight as she fends off an attacker and places her frail hopes in a misshapen loaf of bread that has come to symbolize for her the good things in life.
Breakfast at Tiffany's (1961)
Truman Capote's acclaimed novella—the bitter story of self-invented Manhattan call girl Holly Golightly—arrived on the big screen purged of its risqué dialogue and unhappy ending. George Axelrod's screenplay excised explicit references to Holly's livelihood and added an emotionally moving romance, resulting, in Capote's view, in "a mawkish valentine to New York City." Capote believed that Marilyn Monroe would have been perfect for the film and judged Audrey Hepburn, who landed the lead, "just wrong for the part." Critics and audiences, however, have disagreed. The Los Angeles Times stated, "Miss Hepburn makes the complex Holly a vivid, intriguing figure." Feminist critics in recent times have valued Hepburn's portrayals of the period as providing a welcome alternative female role model to the dominant sultry siren of the 1950s. Hepburn conveyed intelligent curiosity, exuberant impetuosity, delicacy combined with strength, and authenticity that often emerged behind a knowingly false facade. Critics also have lauded the movie's director Blake Edwards for his creative visual gags and facility at navigating the film's abrupt changes in tone. Composer Henry Mancini's classic "Moon River," featuring lyrics by Johnny Mercer, also received critical acclaim. Mancini considered Hepburn's wistful rendition of the song on guitar the best he had heard.
The Breakfast Club (1985)
John Hughes, who had previously given gravitas to the angst of adolescence in his 1984 film, "Sixteen Candles," further explored the social politics of high school in this comedy/character study produced one year later. Set in a day-long Saturday detention hall, the film offers an assortment of American teen-age archetypes such as the "nerd," "jock," and "weirdo." Over the course of the day, labels and default personas slip away as members of this motley group actually talk to each other and learn about each other and themselves. "The Breakfast Club" is a comedy that delivers a message with laughs. Thirty years later, the movie's message is still vivid. Written and directed by Hughes, the film's cast includes Molly Ringwald, Anthony Michael Hall, Judd Nelson, Emilio Estevez and Ally Sheedy.
The Bride of Frankenstein (1935)
Director James Whale took his success with "Frankenstein," added humor and thus created a cinematic hybrid that perplexed audiences at first glance but captivated them by picture's end. Joined eventually by a mate (Elsa Lanchester), the Frankenstein monster (Boris Karloff reprising his role and investing the character with emotional subtlety) evolves into a touchingly sympathetic character as he gradually becomes more human. Ernest Thesiger as Dr. Pretorious is captivatingly bizarre. Many film historians consider "Bride," with its surreal visuals, superior to the original.
Expanded essay by Richard T. Jameson, (PDF, 672KB) examines "Frankenstein" and "Bride of Frankenstein" in a single entry.
Movie poster
The Bridge on the River Kwai (1957)
At the heart of David Lean's antiheroic war epic about a band of British POWs forced to build a bridge in the wilds of Burma is the notion of men clinging to their sanity by clinging to military tradition. The film's cast, which reflects a broad spectrum of acting styles, includes Alec Guinness as the British commanding officer and Sessue Hayakawa as his Japanese counterpart, and William Holden as an American soldier who escapes from the camp and Jack Hawkins as the British major who convinces him to return and help blow up the bridge. Lean elects to keep the musical score to a minimum and instead plays up tension with nature sounds punctuating the action. For many film critics and historians, "Bridge on the River Kwai" signals a shift in Lean's directorial style from simpler storytelling toward the more bloated epics that characterized his later career.
Sessue Hayakawa and Alec Guinness in a scene from "The Bridge On The River Kwai"
Bringing Up Baby (1938)
In this fast-paced screwball comedy from director Howard Hawks, Susan Vance (Katharine Hepburn), an eccentric heiress with a pet leopard named Baby, proves a constant irritant to paleontologist David Huxley (Cary Grant), who is trying to raise $1 million to complete his dinosaur skeleton reconstruction project. Based on a short story by Hagar Wilde, Hawks worked closely with Wilde and screenwriter Dudley Nichols to perfect the script, in which the role of Susan Vance was written specifically with Hepburn in mind. Although now considered a cinematic classic, "Bringing Up Baby" received mixed critical reviews upon release and performed well in only certain areas of the United States, thus reaffirming the film industry's then-current view of Hepburn as "box office poison." Significantly, "Bringing Up Baby" is possibly the first American film to use the term "gay" as a reference to homosexuality.
Expanded essay by Michael Schlesinger (PDF, 25KB)
Broadcast News (1987)
James L. Brooks wrote, produced and directed this comedy set in the fast-paced, tumultuous world of television news. Shot mostly in dozens of locations around the Washington, D.C. area, the film stars Holly Hunter, William Hurt and Albert Brooks. Brooks makes the most of his everyman persona serving as Holly Hunter's romantic back-up plan while she pursues the handsome but vacuous Hurt. Against the backdrop of broadcast journalism (and various debates about journalist ethics), a grown-up romantic comedy plays out in a smart, savvy and fluff-free story whose humor is matched only by its honesty.
Expanded essay by Brian Scott Mednick (PDF, 432KB)
Brokeback Mountain (2005)
"Brokeback Mountain," a contemporary Western drama that won the Academy Award for best screenplay (by Larry McMurtry and Diana Ossana) and Golden Globe awards for best drama, director (Ang Lee) and screenplay, depicts a secret and tragic love affair between two closeted gay ranch hands. They furtively pursue a 20-year relationship despite marriages and parenthood until one of them dies violently, reportedly by accident, but possibly, as the surviving lover fears, in a brutal attack. Annie Proulx, the Pulitzer Prize-winning author of the short story upon which the film was based, described it as "a story of destructive rural homophobia." Haunting in its unsentimental depiction of longing, lonesomeness, pretense, sexual repression and ultimately love, "Brokeback Mountain" features Heath Ledger's remarkable performance that conveys a lifetime of self-torment through a pained demeanor, near inarticulate speech and constricted, lugubrious movements. In his review, Newsweek's David Ansen wrotes that the film was "a watershed in mainstream movies, the first gay love story with A-list Hollywood stars." "Brokeback Mountain" has become an enduring classic.
Broken Blossoms (1919)
Most associated with epics such as "Intolerance" and "The Birth of a Nation," D.W. Griffith also helmed smaller films that struck a chord with silent era audiences. "Broken Blossoms," Griffith's first title for his newly formed United Artists, is one example. Set in the slums of London, it concerns an abused 15-year-old girl, Lucy, portrayed by Lillian Gish and the former missionary turned shopkeeper Cheng Huan (Richard Barthelmess) who rescues her from her brutal father. More than a tender but chaste love story, "Broken Blossoms" entreats audiences to denounce racism and poverty.
Expanded essay by Ed Gonzalez (PDF, 495KB)
Lobby card
Additional image
A Bronx Morning (1931)
Part documentary and part avant-garde, this renowned city symphony was filmed by Jay Leyda when he was 21. It features sensational and stylish use of European filmmaking styles The images movingly show the resilience of people persevering with style and enthusiasm during the early years of the depression. "A Bronx Morning" won Leyda a scholarship to study with the renowned Soviet filmmaker Sergei Eisenstein. Added to the National Film Registry in 2004.
Expanded essay by Scott Simmon for the National Film Preservation Foundation (NFPF) (PDF, 284KB)
Watch it here
Buena Vista Social Club (1999)
"The best Wim Wenders documentary to date and an uncommonly self-effacing one, this 1999 concert movie about performance and lifestyle is comparable in some ways to "Latcho Drom," the great Gypsy documentary/musical. In 1996, musician Ry Cooder traveled to Havana to reunite some of the greatest stars of Cuban pop music from the Batista era (who were virtually forgotten after Castro came to power) with the aim of making a record, a highly successful venture that led to concerts in Amsterdam and New York. The players and their stories are as wonderful as the music, and the filmmaking is uncommonly sensitive and alert," wrote film critic Jonathan Rosenbaum.
The Buffalo Creek Flood: An Act of Man (1975)
This powerful documentary by the Kentucky-based arts and education center Appalshop represents the finest in regional filmmaking, providing important understanding of the environmental and cultural history of the Appalachian region. The 1972 Buffalo Creek Flood Disaster, caused by the failure of a coal waste dam, killed more than 100 people and left thousands in West Virginia homeless. Local citizens invited Appalshop to come to the area and to film a historical record, fearing that the Pittston Coal Co.'s powerful influence in the state would lead to a whitewash investigation and absolve it of any corporate culpability. Newsweek hailed the film as "a devastating expose of the collusion between state officials and coal executives."
Expanded essay by the film's director Mimi Pickering (PDF, 793KB)
Bullitt (1968)
The winding streets and stunning vistas of San Francisco, backed by a superb Lalo Schifrin score, play a central role in British director Peter Yates' film renowned for its exhilarating 11-minute car chase, arguably the finest in cinema history. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt. The story, based on Robert L. Pike's cr | |||
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By what name was Perfect Love Affair (1994) officially released in India in English?
Answer | |||||
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] | 2023-10-13T00:00:00 | Bruce Willis continues to face challenges following his earlier this year. The Fifth Element star was diagnosed with aphasia the year prior, which affects a | en | 93.3 WMMR | https://wmmr.com/2023/10/13/bruce-willis-not-totally-verbal/ | Bruce Willis continues to face challenges following his dementia diagnosis earlier this year. The Fifth Element star was diagnosed with aphasia the year prior, which affects a person’s ability to express and understand written and spoken language. Now, his friend Glenn Gordon Caron, who created the ’80s television show Moonlighting, which co-starred Willis and Cybill Shepherd, is giving an update on Willis’ current health status.
Caron told the New York Post in an article published Thursday (October 12) that Willis, 68, is now “not totally verbal.” He says that in the first one to three minutes, Willis knows who he is. Adding that Willis was a “voracious reader,” but he’s not reading now. “All those language skills are no longer available to him, and yet he’s still Bruce,” Caron continues. “When you’re with him, you know that he’s Bruce, and you’re grateful that he’s there,” he continued, “but the joie de vivre (joy of life) is gone.” According to Caron, working with Willis, he saw firsthand how much he “just adored waking up every morning and trying to live life to its fullest. So the idea that he now sees life through a screen door, if you will, makes very little sense.”
RELATED: Bruce Willis’ Wife Emma Pleads For Paparazzi To Stop Yelling At Him
In February, Willis’ wife Emma Heming, ex-wife Demi Moore, and kids Rumer, Scout, Tallulah, Mabel, and Evelyn shared in a joint statement on social media that his condition had gotten worse. They explained he’d been diagnosed with frontotemporal dementia (FTD). Frontotemporal disorders are the result of damage to neurons in the frontal and temporal lobes of the brain. The following symptoms can result, including unusual behaviors, emotional problems, trouble communicating, difficulty with work, or difficulty with walking. “Unfortunately, challenges with communication are just one symptom of the disease Bruce faces. While this is painful, it is a relief to finally have a clear diagnosis.”
America’s 50 Favorite Actors Of All Time Ranked By Positive Opinion
Laila Abuelhawa is the Top 40 and Hip-Hop pop culture writer for Beasley Media Group. Being with the company for over three years, Laila's fierce and fabulous red-carpet rankings have earned her a feature on 'The Late Show with Stephen Colbert!' Her favorite stories are those surrounding the latest in celebrity fashion, television and film rankings, and how the world reacts to major celebrity news. With a background in journalism, Laila's stories ensure accuracy and offer background information on stars that you wouldn't have otherwise known. She prides herself in covering stories that inform the public about what is currently happening and what is to come in the ever-changing, ever-evolving media landscape. | |||||
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Glenn Gordon Caron (born April 3, 1954), sometimes credited as Glenn Caron, is an American writer, director, and producer, best known for the television series Moonlighting in the 1980s and Medium in the 2000s. He lives in Los Angeles, California.
Biography
[edit]
Caron was born to a Jewish family[1] in Oceanside, New York. After graduating from the State University of New York at Geneseo in 1975, Caron studied with Del Close and The Second City in Chicago before working at an advertising agency.[2]
While at the ad agency he was invited by NBC to write a pilot for the network. The pilot did not receive a series order, but Caron's work impressed writer-producer James L. Brooks, who invited him to join the writing staff of Taxi, although he only worked on one episode.
Caron subsequently coproduced the first 12 episodes of Remington Steele (NBC, 1982-'87) before leaving to form his own company, Picturemaker Productions. Caron created Moonlighting (ABC, 1985-'89), a worldwide hit that revitalized the career of Cybill Shepherd and launched the career of Bruce Willis. Between its third and fourth seasons, Caron directed his first feature film, Clean and Sober (1988), starring Michael Keaton. He was fired by ABC from Moonlighting before the start of its fifth (and final) season, reportedly because Shepherd demanded it.[3] Caron then directed three more feature films — Wilder Napalm (1993), starring Dennis Quaid and Debra Winger, and written by Vince Gilligan, who later created the AMC series Breaking Bad; the Warren Beatty-Annette Bening vehicle Love Affair (1994), a remake of the 1939 film of the same name; and Picture Perfect (1997), starring Jennifer Aniston — before returning to television in 1999 as the creator of the short-lived series Now and Again (CBS, 1999-2000).[4]
In 2001 Fox ordered 13 episodes of the Caron-created romantic comedy Fling. Seven episodes were shot, but the network became unhappy with the direction of the series during production and canceled it before any of those episodes could be broadcast.[5] Four years later Caron created Medium for NBC. He also served as executive producer of the show, wrote several episodes and directed the series's pilot episode. It ran for seven seasons, with the last two airing on CBS.[6]
In 2008 Caron wrote a pilot for CBS titled The Meant to Be's,[7] about a woman who dies only to find herself sent back to Earth to help people get their life back on track. However, it wasn't given a series order.
In 2013 Caron wrote a pilot for a proposed Fox series titled The Middle Man. Set in the 1960s, a Boston FBI agent and his Irish-American informant take on the Italian-American mafia. Ben Affleck was attached to direct the pilot episode,[8] but it was never filmed. The following year Fox ordered a pilot for The Cure, a medical drama to be cowritten and coproduced by Caron and New Yorker writer Malcolm Gladwell,[9] but it too was never filmed. Caron was also attached to write a pilot for ITV Studios in 2016 based on Alan Glynn's novel Paradime.[10]
Caron wrote and produced episodes of the first and second seasons of the FX series Tyrant, and in the spring of 2017 he joined CBS's Bull as a consulting producer before becoming the series's showrunner at the beginning of season two.[11] In May 2021, it was announced that Caron would be departing Bull, as well as ending his deal with CBS Studios.[12][13][14]
Awards
[edit]
Caron received the 2007 Outstanding Television Writer Award at the Austin Film Festival.[15] He also won a Writers Guild of America award for his 1985 pilot script for Moonlighting and was nominated for four Primetime Emmy Awards for Moonlighting between 1986 and 1987.[16]
Personal life
[edit]
Caron has been married to his second wife, Tina DiJoseph, since 2006; they have one child. Caron has three children from his first marriage. He is the founder-owner of Picturemaker Productions.[17]
Sexual harassment controversy
[edit]
On December 19, 2018, The Boston Globe published an op-ed by actress Eliza Dushku in which she claimed she was fired by Caron from the CBS series Bull in 2017 after she confronted its star, Michael Weatherly, about sexually charged remarks he had made to her while filming the final three episodes of the show's first season.[18] Caron had been hired as a consulting producer for those three episodes, prior to becoming Bull's showrunner and an executive producer for season two. Dushku had been expected to join the series full-time in season two. CBS paid her $9.5 million to settle her claims of wrongful dismissal and sexual harassment.[19] Dushku signed a nondisclosure agreement as part of her settlement, but after news of the settlement leaked and Weatherly and Caron gave statements to The New York Times — "The idea that our not exercising her option to join the series was in any way punitive just couldn't be further from the truth," said Caron — Dushku said she felt compelled to respond, writing, "The narrative propagated by CBS, actor Michael Weatherly, and writer-producer Glenn Gordon Caron is deceptive and in no way fits with how they treated me on the set of the television show Bull and retaliated against me for simply asking to do my job without relentless sexual harassment."[20] Prior to his exit from Bull in 2021, CBS launched an investigation regarding the departures of multiple writers from the show and whether or not Caron allegedly "fostered a disrespectful work environment during his four-year tenure."[21]
Filmography
[edit]
Television
[edit]
as Writer
[edit]
Year Title Notes 1979 Taxi (ABC) Episode: "The Great Race" 1980 Good Time Harry (NBC) Episode: "Harry Kisses Death on the Mouth" (cowritten by Steve Gordon) 1980–1981 Breaking Away (ABC) Episodes (3):
— "Knowing Her" (1980) (story by Joel Clark)
— "Grand Illusion" (1980) (story by John Steven Owen)
— "La Strada" (1981) (story by Caron and Steve Tesich) 1982 Fame (NBC) Episode: "Alone in a Crowd" 1982–1983 Remington Steele (NBC) Episodes (4):
— "Signed, Steeled and Delivered" (1982)
— "Etched in Steele" (1982)
— "Hearts of Steele" (1983) (story by Charles Rosin)
— "To Stop a Steele" (1983) 1984 Concrete Beat (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1985–1988 Moonlighting (ABC) (created by Caron; 66 episodes) Episodes (7):
– two-hour pilot episode (1985)
– "Brother, Can You Spare a Blonde?" (1985)
– "Twas the Episode Before Christmas" (1985)
– "The Bride of Tupperman" (1986)
– "The Straight Poop" (1987)
– "I Am Curious ... Maddie" (1987) (cowritten by Jeff Reno; story by Roger Director, Charles H. Eglee, Karen Hall, and Ron Osborn)
– "A Trip to the Moon" (1987)
– "A Womb with a View" (1988) (cowritten by Charles H. Eglee)
Writers Guild of America Award for Episodic Comedy (1986)
Nominated — Primetime Emmy Award for Outstanding Writing in a Drama Series (1986, 1987) 1986 Long Time Gone (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1999–2000 Now and Again (CBS) (created by Caron; 22 episodes) Episodes (3):
— "Origins" (1999)
— "On the Town" (1999)
— "Over Easy" (1999) 2001 Fling (Fox) (created by Caron) Seven episodes were shot, but the series was canceled before it ever aired. 2008 The Meant to Be's (CBS) pilot episode not picked up as a series; unaired 2005–2011 Medium (NBC, 2005-'09; CBS, '09-'11) (created by Caron; 130 episodes) Episodes (10):
— pilot episode (2005)
— "Suspicions and Certainties" (2005)
— "A Couple of Choices" (2005) (cowritten by Michael Angeli)
— "When Push Comes to Shove: Part 2" (2005)
— "Knowing Her" (2006)
— "Four Dreams: Part 1" (2006) (cowritten by Javier Grillo-Marxuach)
— "Four Dreams: Part 2" (cowritten by Javier Grillo-Marxuach)
— "And Then" (2008)
— "It's a Wonderful Death" (2010) (cowritten by Robert Doherty and Craig Sweeny; story by Shaun Kasser, Samir Mehta, and Sweeny)
— "Me Without You" (2011) (cowritten by Robert Doherty and Craig Sweeny) 2014–2015 Tyrant (FX) Episodes (4):
— "My Brother's Keeper (2014)
— "What the World Needs Now " (2014) (story by Arika Lisanne Mittman)
— "Enter the Fates" (2015)
— "Inside Men and Outside Women" (2015) 2017–2021 Bull (CBS) Episodes (11):
— "How to Dodge a Bullet" (2017) (cowritten by John A. Norris; story by Norris)
— "Dirty Little Secrets" (2017) (cowritten by David Hoselton; story by Hoselton)
— "Benevolent Deception" (2017) (cowritten by Mark Goffman; story by Goffman)
— "School for Scandal" (2017)
— "Reckless" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "Death Sentence" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "The Ground Beneath Their Feet" (2018)
— "Pillar of Salt" (2019) (cowritten by Nichole Millard and Kathryn Price)
— "Labor Days" (2019)
— "My Corona" (2020)
— "The Ex Factor" (2020) (cowritten by Marissa Matteo)
as Producer
[edit]
Year Title Notes 1980–1981 Breaking Away Supervising Producer (7 episodes) 1982–1983 Remington Steele Supervising Producer (12 episodes) 1984 Concrete Beat Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1985–1988 Moonlighting Executive Producer (53 episodes)
Nominated — Primetime Emmy Award for Outstanding Drama Series (1986, 1987) 1986 Long Time Gone Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1999–2000 Now and Again Executive Producer (22 episodes) 2001 Fling Executive Producer (7 episodes) 2005–2011 Medium Executive Producer (130 episodes) 2008 The Meant to Be's Executive Producer (pilot episode not picked up as a series; unaired) 2014–2015 Tyrant Executive Producer (21 episodes) 2017–2021 Bull Consulting Producer (3 episodes, May 2017)
Executive Producer (80 episodes)
as Director
[edit]
Year Title Notes 1999 Now and Again Episode: "Origins" 2001 Fling unknown episodes 2005 Medium pilot episode 2018–2020 Bull Episodes: "Death Sentence," "Pillar of Salt," "Safe and Sound," "My Corona"
Film
[edit]
as Writer
[edit]
Year Title Notes 1989 The Making of Me short film created for Disney World's Epcot Center 1997 Picture Perfect cowritten by Paul Slansky and Arleen Sorkin; story by May Quigley, Slansky, and Sorkin
as Director
[edit]
Year Title Notes 1988 Clean and Sober 1989 The Making of Me short film created for Disney World's Epcot Center 1993 Wilder Napalm 1994 Love Affair 1997 Picture Perfect
References
[edit] | ||||
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] | null | [] | 2022-04-22T21:16:16+00:00 | Love Affair, Glenn Gordon Caron[1], Warren Beatty, Annette Bening, Katharine Hepburn, Garry Shandling, Chloe Webb, Pierce Brosnan, Kate Capshaw, Original Movie poster | en | Moviemem Original Movie Posters | https://moviemem.com/products/movie-posters-general/love-affair-original-one-sheet-movie-poster-warren-beatty-annette-bening-katharine-hepburn/ | Love Affair (1994)
Directed by Glenn Gordon Caron[1].
With Warren Beatty, Annette Bening, Katharine Hepburn, Garry Shandling, Chloe Webb, Pierce Brosnan, Kate Capshaw
Love Affair is a 1994 American romantic drama film and a remake of the 1939 film of the same name. It was directed by Glenn Gordon Caron and produced by Warren Beatty from a screenplay by Robert Towne and Beatty, based on the 1939 screenplay by Delmer Daves and Donald Ogden Stewart, based on the story by Mildred Cram and Leo McCarey.
Reviews of this product: | |||||
7959 | dbpedia | 3 | 62 | https://chicagoreader.com/film/an-affair-to-forget/ | en | An Affair to Forget | [
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"Jonathan Rosenbaum"
] | 1994-10-27T09:00:00+00:00 | * LOVE AFFAIR (Has redeeming facet) Directed by Glenn Gordon Caron Written by Robert Towne and Warren Beatty With Beatty, Annette Bening, Katharine Hepburn, Garry Shandling, Chloe Webb, Pierce Brosnan, and Kate Capshaw. The writing and directing credits for Love Affair are legally correct but historically, aesthetically, and ethically wrong. A more accurate account of […] | en | Chicago Reader | https://chicagoreader.com/film/an-affair-to-forget/ | * LOVE AFFAIR
(Has redeeming facet)
Directed by Glenn Gordon Caron
Written by Robert Towne and Warren Beatty
With Beatty, Annette Bening, Katharine Hepburn, Garry Shandling, Chloe Webb, Pierce Brosnan, and Kate Capshaw.
The writing and directing credits for Love Affair are legally correct but historically, aesthetically, and ethically wrong. A more accurate account of where the movie comes from, in terms of characters, plot, dialogue, and even camera placement, would have to cite the story written by Leo McCarey and Mildred Cram for Charles Boyer and Irene Dunne, inspired by an extended trip McCarey and his wife took to Europe. According to McCarey, seeing the Statue of Liberty slide into view as the ship approached the New York harbor gave birth to the plot: a man and a woman, each engaged to someone else, meet on such a liner, bound for Europe from New York, and fall in love. On their way back they make a date to meet at the top of the Empire State Building six months hence if they’ve both been able to shake loose from their commitments and if the man, a wealthy playboy who’s never held a job in his life, has been able to find work and thus make himself worthy.
Out of this kernel came a screenplay by Delmer Daves and Donald Ogden Stewart, with additional input and last-minute rewriting by Daves and director McCarey, and a masterpiece among tearjerkers, the 1939 Love Affair. Further changes were made 18 years later, when McCarey did a remake with Cary Grant and Deborah Kerr called An Affair to Remember; 37 years after that, Warren Beatty hired Robert Towne to assist him in writing a remake starring himself and his wife, Annette Bening.
As for the directing credit, one has to bear in mind that, since Beatty is both producer and star, he was the one in control, and this is his final cut. The nominal director, Glenn Gordon Caron–a TV veteran whose previous features are Clean and Sober and Wilder Napalm–has a cut of his own that isn’t being released. The release version (and apparently Caron’s too) closely matches both McCarey originals not only in terms of scenes and dialogue but also in terms of mise en scene, including even certain camera placements and movements. So it’s highly questionable whether, auteuristically speaking, the 1994 Love Affair can be said to have any director at all.
When McCarey was asked toward the end of his life which of his two versions he preferred, he opted unequivocally for the first, a wise choice. Here he told the whole story in a brisk and tidy 87 minutes, whereas An Affair to Remember, the better-known version, is nearly half an hour longer. Each version reflects the fashion of its time. The sprawling languor of most 50s CinemaScope pictures has a lot to do with showing off production values and filling out the wide rectangular frame (an effort lost on viewers seeing the film on TV today, unless they come across a letterboxed version on cable or laser disc). Part of the difference can be explained too by Grant’s desire to give his role more comic detail, which means that more time is spent clowning around–although paradoxically the second version ends only with tears, while the first ends with tears and laughter, perhaps because there was generally more snap, crackle, and irreverence in 30s movies.
Still, for all the excesses and other weaknesses of the 1957 movie (and there are plenty), it is the one that reduces me to jelly at its key moments–perhaps because it’s the version I saw first, the one made in my own era. For the same reason, I might well be underestimating the possible effect of the Beatty version on someone who hasn’t seen the previous two, though it’s hard to believe this movie could register with the same impact.
Speaking recently to the Chicago Tribune’s Michael Wilmington, Beatty essentially defended his decision to offer a second remake by comparing himself to a concert singer selecting a popular repertory item to perform. “You sing a concert for Wagnerian stuff, Italian grand opera, and you do German lieder,” he said. “And then, at a certain point, you sing ‘Melancholy Baby’ or ‘Danny Boy.'” Setting aside the question of what the equivalents to Wagner, Italian grand opera, and German lieder are in Beatty’s previous oeuvre, what is most telling about his analogy is the assumption that certain classic movies, like certain classic tunes, can be appropriated, detached from their original makers and performers.
Beatty has already appropriated one classic film title, Heaven Can Wait–belonging first to one of Ernst Lubitsch’s loveliest late works (1943)–for his remake of the less-than-classic Here Comes Mr. Jordan 16 years ago. But this time he’s going after bigger game. Apart from the issue of his success or failure, it’s fascinating to see what some of the changed details tell us about the differences between 1939, 1957, and the present–as well as the differences between McCarey and Beatty.
All three versions begin with news reports about the recent engagement of the playboy hero. In 1939 these are radio broadcasts in the United States, France, and England; in 1957 they’re TV broadcasts in the United States, Italy, and England (beginning with Robert Q. Lewis, a familiar TV presence in that period, and ending with a repetition of a gag from 1939 involving a bemused British announcer); and in 1994 they’re all videotape replays of news reports on various American TV shows, beginning with Entertainment Tonight, being watched and commented on by the hero’s manager cum personal assistant (Garry Shandling). And the hero needs a manager/assistant in Beatty’s version because he’s no longer gainfully unemployed; here he’s a former football star working as a TV sportscaster. This time, in short, the only news that matters is American news, and the comedy is transposed from the news reports themselves to their evaluation as sound bites.
Now that the hero is a playboy with a job, his need to find a vocation after he falls in love must be defined differently. In McCarey’s mawkish conception, he becomes a serious artist, which entails living in a garret and working as a billboard painter until he finally sells his first canvas–an improbable but necessary solution because one of his paintings figures centrally in the film’s climax. Beatty’s hero is a hobbyist painter, which makes the same climax possible, but finding a new vocation means giving up his TV job to coach football at an obscure east-coast college. This means he has to check into more modest quarters–hardly a garret–at the plush Essex House whenever he comes to New York.
Much more consequential than these changes are the ones involving transportation and religion. A luxury ocean-liner cruise from New York to Europe no longer seems as plausible, so Beatty and Towne substitute a first-class flight from New York to Sydney, Australia, that becomes grounded in the South Seas, where the hero and heroine board a Russian ship. A pivotal meeting with the hero’s grandmother in Europe in the earlier versions (beautifully played first by Maria Ouspenskaya and then by Cathleen Nesbitt) now becomes a star turn for Katharine Hepburn, coaxed out of retirement to play the hero’s aunt in Tahiti.
In both McCarey versions, the grandmother has a private chapel where the hero and heroine go together to pray. It’s easy to see why Beatty–who isn’t a practicing Catholic, as McCarey was–decided to delete this scene, but I think it can be argued that everything that follows, in both this sequence and the remainder of the film, feels different and means less because of this omission.
For McCarey, this scene is the turning point of the story, for emotionally complex reasons. The hero is anything but devout, but the sight of Terry McKay (the name of the heroine in all three versions) praying devoutly beside him opens up a new world of possibilities–a world of faithfulness, devotion, marriage, and children–that he struggles to achieve for the remainder of the movie. His own discomfort and embarrassment in the chapel, which McCarey exploits semicomically, is a key ingredient in both the 1939 and 1957 scenes; in both, after Terry crosses herself, the hero does the same but then awkwardly dovetails the gesture into straightening his tie. It’s a beautiful, fleeting moment that for me defines the essence of McCarey’s genius, helping to explain why Jean Renoir once remarked that McCarey understood people better than anyone else in Hollywood.
Lacking a religious context for the lovers, Beatty needs some sentimental equivalent, and what he relies on, ultimately, is star auras. Implicitly and explicitly, he cues the audience by means of his own reputation as a former ladies’ man, Bening’s reputation as the woman who inspired him to settle down and have children, and Hepburn’s reputation as a freethinker who’s lived a long, illustrious life. (The self-referentiality extends to other details as well: making the hero a former football star obviously refers back to Beatty’s lead part in Heaven Can Wait, as well as to his brief stint in college football.) It’s a substitution that can work for viewers only if they regard movie stardom with the same hushed awe that McCarey inspired in relation to religious faith.
Then there’s the issue of whether Beatty is a viable equivalent to Boyer and Grant. In my view, he’s fighting a losing battle–though Bening is adept as Terry. Indeed, I think it could be argued that not once in the history of movies has a masterpiece resulted when a movie’s star retained final cut without being the director. And one can cite cases, like Swing Shift and The Natural, when that setup has had ruinous effects. As for remakes, it stands to reason that if you try to redo a work of art without the original artist, you’re bound to damage the artistry as well. | |||||
7959 | dbpedia | 3 | 35 | https://www.facebook.com/EnnioMorricone.gr/videos/love-affair-movie-trailer/1753632421332763/ | en | "Love Affair" is a 1994 American romantic drama film and a remake of the 1939 film of the same name. It was directed by Glenn Gordon Caron and produced... | [] | [] | [] | [
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7959 | dbpedia | 2 | 4 | https://www.latimes.com/archives/la-xpm-1994-10-10-ca-48716-story.html | en | Whose Labor of Love Is ‘Love Affair’? : Movies: Glenn Gordon Caron is the director, but Warren Beatty got the final cut. Hollywood gossips are asking who really did the directing. | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg | [
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"ROBERT W. WELKOS"
] | 1994-10-10T00:00:00 | Glenn Gordon Caron, the director of the soon-to-be-released Warren BeattyAnnette Bening movie "Love Affair," has heard the buzz going around Hollywood, and it bothers him. | en | /apple-touch-icon.png | Los Angeles Times | https://www.latimes.com/archives/la-xpm-1994-10-10-ca-48716-story.html | Glenn Gordon Caron, the director of the soon-to-be-released Warren BeattyAnnette Bening movie “Love Affair,” has heard the buzz going around Hollywood, and it bothers him. The rumor for weeks has been that Beatty--not Caron--really directed the film.
“I’m the director of this film,” Caron insisted in an interview. “Under scrutiny, the rumors fall apart.”
Yet as the Warner Bros.’ release heads toward its Oct. 21 opening, it has become increasingly clear that “Love Affair” is not quite Caron’s movie.
Not only did Beatty produce, co-write (with Robert Towne) and star in the movie (with his actress wife Bening), he was given the “final cut” over the director in the editing room--a rare contractual guarantee given to only a handful of powerful producers and stars.
That means that Beatty--not Caron or Warner Bros.--has the ultimate say over which version of the film will go to the theaters.
Beatty is an accomplished director in his own right, having won an Academy Award for best director for his 1981 film “Reds,” but industry observers agree it is a sensitive and potentially tension-provoking situation when a producer or star has final say over a director. The director is generally considered the creative force behind a movie.
Beatty, asked Friday in a telephone interview about the arrangement, told The Times: “I don’t believe in participating in that kind of analysis before a movie opens. ‘Love Affair’ is a picture that I like very much, made by the collaboration of extremely gifted people. I’m happy with it, and the director is happy with it. I don’t see the point in elaborating.”
Caron is perhaps best known as the creator and producer of the hit 1980s TV series “Moonlighting,” which starred Bruce Willis and Cybill Shepherd. Caron made his feature-film directing debut with the powerful 1988 drama “Clean and Sober,” starring Michael Keaton and released by Warner Bros. Last year, he directed “Wilder Napalm,” a critical and box office flop.
In a telephone interview, Caron said he did not object to Beatty having final cut on “Love Affair,” although he did not deny that there were times when the two did not see eye to eye. He explained: “I had my cut. We sat down together, looked at my cut, and there were a number of things he wanted to do. At a certain point, he pressed on. It became clear there were things we didn’t agree on, that we were never going to come together on. He exercised his prerogatives to do those things he wanted. It was totally fair.”
Caron added that, given Beatty’s accomplishments, “it would be foolish not to at least listen. As the process continued, he had things he wanted to do.”
Caron would not elaborate on what the disagreements were about, but he added that they were “nothing of consequence, nothing of substance.”
Beatty said: “It was my impression we didn’t disagree on anything. . . . I’ve never wound up in a disagreement with any director I’ve produced a picture for.”
Some Hollywood insiders, however, say Beatty’s signature is all over the movie.
“The director wasn’t even allowed in the editing room,” said one high-profile agent, “and there’s some question about who really directed this movie.”
Asked if Caron did in fact direct the movie, Beatty responded: “Of course; he’s the director.”
Had Beatty usurped his role as director, Caron said, people on the set would have noticed and “it would have become public very fast.”
When it comes to determining whether a producer will get final cut, “a lot depends on the particular success of a director,” the source said. For instance, Beatty did not have final cut on “Bugsy,” in which he starred and was a producer, given Barry Levinson’s stature as a director.
According to one prominent Hollywood lawyer: “There are a handful of powerful producers who have a contractual final cut behind a director of a certain level.” Over the years, that select group has included such hyphenate filmmakers as Steven Spielberg, Sydney Pollack, Jim Brooks and Oliver Stone, who sometimes take off their director hats to produce other filmmaker’s movies.
In addition, a few A-list actors such as Kevin Costner and Clint Eastwood can sometimes negotiate final-cut deals on movies they star in and produce.
“It’s different with every deal, and it really depends on who and what you’re talking about,” said one agent who represents top talent. As for producers getting final cut, he said that although it’s not unprecedented, “it’s not usual.”
A spokesman for the Directors Guild of America said that there is no blanket rule against allowing producers the final cut but that the DGA would not like to see it become a common practice.
DGA spokesman Chuck Warn said of Beatty: “He’s a multiply talented individual who won an Oscar as a director and is one of the major movie stars of all time. In this situation, it’s not a problem. If it became a practice where producers were attempting to go around the terms of the collective bargaining agreement and we saw it as a virus in the creative process, then the DGA would be on the scene.”
Beatty has been in the forefront of efforts to strengthen the hand of directors. In 1985, for example, he won a significant artists’ rights battle after ABC wanted to cut his “Reds” for a network showing, so that it would end in time for the late evening news.
The final-cut issue has stirred the passions of filmmakers for years. Only a dozen or so filmmakers have final-cut privileges written in their contracts; however, all directors are guaranteed cuts under the Directors Guild bargaining agreement.
“As part of the contract, the director is allowed to cut his movie after it has been screened or previewed somewhere, and then, based on the audience reaction, he can make a second cut,” one source said. “As a practical matter, what is happening is most directors are taking about three cuts to fine-tune their movies.”
The studios usually retain the right to final cut, and directors fume if some studio executive steps in and invokes it.
“Love Affair” is a remake of the 1939 Leo McCarey movie starring Irene Dunne and Charles Boyer; it was followed by the 1957 classic “An Affair to Remember,” starring Cary Grant and Deborah Kerr.
The Beatty-Bening film involves a man and woman who fall unexpectedly and deeply in love while they’re on a trip in the South Pacific, though both are engaged to others. When they return to the United States, they agree to have no contact with each other for three months, and then meet at the top of the Empire State Building. But Bening’s character is injured on her way to the rendezvous and Beatty’s character, not knowing what happened, assumes she chose not to honor her commitment.
Beatty wrote the script with Towne before Caron came on board in February of 1993. According to published reports, Beatty originally wanted to direct the picture himself but opted for Caron so that he could work on “developing the characters to their potential” and his performance.
Still, the big question in Hollywood circles remains: Why didn’t Beatty just direct the movie to begin with?
Beatty, who is in New York on a press junket for “Love Affair,” sidestepped the question Friday, saying he was dashing off to tape “Late Show With David Letterman.” | ||
7959 | dbpedia | 3 | 54 | https://www.scottryanproductions.com/product/moonlighting-an-oral-history/ | en | Moonlighting: An Oral History | [
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] | null | [] | 2020-08-29T14:38:19+00:00 | In the spring of 1987, over sixty million viewers tuned in to watch Maddie Hayes (Cybill Shepherd) and David Addison (Bruce Willis) “get together” in one of the most famously controversial scenes i… | en | Scott Ryan Productions | https://www.scottryanproductions.com/product/moonlighting-an-oral-history/ | In the spring of 1987, over sixty million viewers tuned in to watch Maddie Hayes (Cybill Shepherd) and David Addison (Bruce Willis) “get together” in one of the most famously controversial scenes in television history on Moonlighting, ABC’s groundbreaking series about an epically mismatched pair of private detectives . Two years later, the show was canceled due to low ratings. What happened? In Moonlighting: An Oral History, author Scott Ryan (The Last Days of Letterman) interviews over twenty members of the cast and creative team to get to the bottom of this perplexing mystery, uncovering hilarious, provocative, poignant, and sometimes flat-out crazy never-before-told stories about what went on behind the scenes during production of this unforgettable series. Cybill Shepherd, Allyce Beasley, Curtis Armstrong, creator Glenn Gordon Caron, producer Jay Daniel, writers, directors, editors, and more—they’re all here, piecing together the incredible story of late scripts, backstage fights, pregnancies, and broken bones, all told for the first time. Enjoy the cases, the chases, and all the conversations in Moonlighting: An Oral History.
Order the Kindle version of Moonlighting here.
The real story of this pioneering television series and the extraordinary behind-the-scenes challenges, battles, and rewards has never been told — until now. Author Scott Ryan (The Last Days of Letterman, thirtysomething at thirty: an oral history, The Blue Rose, Scott Luck Stories) interviews over twenty people, including the actors, writers, directors, and producers who made Moonlighting such a dynamic, unforgettable show, delving deep into their thoughts and feelings as they relive this magical moment in pop culture history in this full color oral history.
Description
Purchasing the book here will get you a signed a copy by Author Scott Ryan. Support a small business over Amazon.
Follow on Facebook and Twitter for updated information.
Order the Kindle version of Moonlighting here.
If you want an AUDIO BOOK VERSION of the book Click below.
This book will be FULL COLOR with pictures from behind the scenes and publicity photos from the set.
Purchasing the book here will get you a signed a copy by Author Scott Ryan.
Follow on Facebook and Twitter for updated information. | |||||
7959 | dbpedia | 0 | 6 | https://en.wikipedia.org/wiki/Glenn_Gordon_Caron | en | Glenn Gordon Caron | https://en.wikipedia.org/static/favicon/wikipedia.ico | https://en.wikipedia.org/static/favicon/wikipedia.ico | [
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"Contributors to Wikimedia projects"
] | 2005-07-18T15:19:11+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Glenn_Gordon_Caron | American television director, producer and writer (born 1954)
Glenn Gordon Caron (born April 3, 1954), sometimes credited as Glenn Caron, is an American writer, director, and producer, best known for the television series Moonlighting in the 1980s and Medium in the 2000s. He lives in Los Angeles, California.
Biography
[edit]
Caron was born to a Jewish family[1] in Oceanside, New York. After graduating from the State University of New York at Geneseo in 1975, Caron studied with Del Close and The Second City in Chicago before working at an advertising agency.[2]
While at the ad agency he was invited by NBC to write a pilot for the network. The pilot did not receive a series order, but Caron's work impressed writer-producer James L. Brooks, who invited him to join the writing staff of Taxi, although he only worked on one episode.
Caron subsequently coproduced the first 12 episodes of Remington Steele (NBC, 1982-'87) before leaving to form his own company, Picturemaker Productions. Caron created Moonlighting (ABC, 1985-'89), a worldwide hit that revitalized the career of Cybill Shepherd and launched the career of Bruce Willis. Between its third and fourth seasons, Caron directed his first feature film, Clean and Sober (1988), starring Michael Keaton. He was fired by ABC from Moonlighting before the start of its fifth (and final) season, reportedly because Shepherd demanded it.[3] Caron then directed three more feature films — Wilder Napalm (1993), starring Dennis Quaid and Debra Winger, and written by Vince Gilligan, who later created the AMC series Breaking Bad; the Warren Beatty-Annette Bening vehicle Love Affair (1994), a remake of the 1939 film of the same name; and Picture Perfect (1997), starring Jennifer Aniston — before returning to television in 1999 as the creator of the short-lived series Now and Again (CBS, 1999-2000).[4]
In 2001 Fox ordered 13 episodes of the Caron-created romantic comedy Fling. Seven episodes were shot, but the network became unhappy with the direction of the series during production and canceled it before any of those episodes could be broadcast.[5] Four years later Caron created Medium for NBC. He also served as executive producer of the show, wrote several episodes and directed the series's pilot episode. It ran for seven seasons, with the last two airing on CBS.[6]
In 2008 Caron wrote a pilot for CBS titled The Meant to Be's,[7] about a woman who dies only to find herself sent back to Earth to help people get their life back on track. However, it wasn't given a series order.
In 2013 Caron wrote a pilot for a proposed Fox series titled The Middle Man. Set in the 1960s, a Boston FBI agent and his Irish-American informant take on the Italian-American mafia. Ben Affleck was attached to direct the pilot episode,[8] but it was never filmed. The following year Fox ordered a pilot for The Cure, a medical drama to be cowritten and coproduced by Caron and New Yorker writer Malcolm Gladwell,[9] but it too was never filmed. Caron was also attached to write a pilot for ITV Studios in 2016 based on Alan Glynn's novel Paradime.[10]
Caron wrote and produced episodes of the first and second seasons of the FX series Tyrant, and in the spring of 2017 he joined CBS's Bull as a consulting producer before becoming the series's showrunner at the beginning of season two.[11] In May 2021, it was announced that Caron would be departing Bull, as well as ending his deal with CBS Studios.[12][13][14]
Awards
[edit]
Caron received the 2007 Outstanding Television Writer Award at the Austin Film Festival.[15] He also won a Writers Guild of America award for his 1985 pilot script for Moonlighting and was nominated for four Primetime Emmy Awards for Moonlighting between 1986 and 1987.[16]
Personal life
[edit]
Caron has been married to his second wife, Tina DiJoseph, since 2006; they have one child. Caron has three children from his first marriage. He is the founder-owner of Picturemaker Productions.[17]
Sexual harassment controversy
[edit]
On December 19, 2018, The Boston Globe published an op-ed by actress Eliza Dushku in which she claimed she was fired by Caron from the CBS series Bull in 2017 after she confronted its star, Michael Weatherly, about sexually charged remarks he had made to her while filming the final three episodes of the show's first season.[18] Caron had been hired as a consulting producer for those three episodes, prior to becoming Bull's showrunner and an executive producer for season two. Dushku had been expected to join the series full-time in season two. CBS paid her $9.5 million to settle her claims of wrongful dismissal and sexual harassment.[19] Dushku signed a nondisclosure agreement as part of her settlement, but after news of the settlement leaked and Weatherly and Caron gave statements to The New York Times — "The idea that our not exercising her option to join the series was in any way punitive just couldn't be further from the truth," said Caron — Dushku said she felt compelled to respond, writing, "The narrative propagated by CBS, actor Michael Weatherly, and writer-producer Glenn Gordon Caron is deceptive and in no way fits with how they treated me on the set of the television show Bull and retaliated against me for simply asking to do my job without relentless sexual harassment."[20] Prior to his exit from Bull in 2021, CBS launched an investigation regarding the departures of multiple writers from the show and whether or not Caron allegedly "fostered a disrespectful work environment during his four-year tenure."[21]
Filmography
[edit]
Television
[edit]
as Writer
[edit]
Year Title Notes 1979 Taxi (ABC) Episode: "The Great Race" 1980 Good Time Harry (NBC) Episode: "Harry Kisses Death on the Mouth" (cowritten by Steve Gordon) 1980–1981 Breaking Away (ABC) Episodes (3):
— "Knowing Her" (1980) (story by Joel Clark)
— "Grand Illusion" (1980) (story by John Steven Owen)
— "La Strada" (1981) (story by Caron and Steve Tesich) 1982 Fame (NBC) Episode: "Alone in a Crowd" 1982–1983 Remington Steele (NBC) Episodes (4):
— "Signed, Steeled and Delivered" (1982)
— "Etched in Steele" (1982)
— "Hearts of Steele" (1983) (story by Charles Rosin)
— "To Stop a Steele" (1983) 1984 Concrete Beat (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1985–1988 Moonlighting (ABC) (created by Caron; 66 episodes) Episodes (7):
– two-hour pilot episode (1985)
– "Brother, Can You Spare a Blonde?" (1985)
– "Twas the Episode Before Christmas" (1985)
– "The Bride of Tupperman" (1986)
– "The Straight Poop" (1987)
– "I Am Curious ... Maddie" (1987) (cowritten by Jeff Reno; story by Roger Director, Charles H. Eglee, Karen Hall, and Ron Osborn)
– "A Trip to the Moon" (1987)
– "A Womb with a View" (1988) (cowritten by Charles H. Eglee)
Writers Guild of America Award for Episodic Comedy (1986)
Nominated — Primetime Emmy Award for Outstanding Writing in a Drama Series (1986, 1987) 1986 Long Time Gone (ABC) two-hour pilot episode not picked up as a series; aired as a TV movie 1999–2000 Now and Again (CBS) (created by Caron; 22 episodes) Episodes (3):
— "Origins" (1999)
— "On the Town" (1999)
— "Over Easy" (1999) 2001 Fling (Fox) (created by Caron) Seven episodes were shot, but the series was canceled before it ever aired. 2008 The Meant to Be's (CBS) pilot episode not picked up as a series; unaired 2005–2011 Medium (NBC, 2005-'09; CBS, '09-'11) (created by Caron; 130 episodes) Episodes (10):
— pilot episode (2005)
— "Suspicions and Certainties" (2005)
— "A Couple of Choices" (2005) (cowritten by Michael Angeli)
— "When Push Comes to Shove: Part 2" (2005)
— "Knowing Her" (2006)
— "Four Dreams: Part 1" (2006) (cowritten by Javier Grillo-Marxuach)
— "Four Dreams: Part 2" (cowritten by Javier Grillo-Marxuach)
— "And Then" (2008)
— "It's a Wonderful Death" (2010) (cowritten by Robert Doherty and Craig Sweeny; story by Shaun Kasser, Samir Mehta, and Sweeny)
— "Me Without You" (2011) (cowritten by Robert Doherty and Craig Sweeny) 2014–2015 Tyrant (FX) Episodes (4):
— "My Brother's Keeper (2014)
— "What the World Needs Now " (2014) (story by Arika Lisanne Mittman)
— "Enter the Fates" (2015)
— "Inside Men and Outside Women" (2015) 2017–2021 Bull (CBS) Episodes (11):
— "How to Dodge a Bullet" (2017) (cowritten by John A. Norris; story by Norris)
— "Dirty Little Secrets" (2017) (cowritten by David Hoselton; story by Hoselton)
— "Benevolent Deception" (2017) (cowritten by Mark Goffman; story by Goffman)
— "School for Scandal" (2017)
— "Reckless" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "Death Sentence" (2018) (cowritten by Sarah Kucserka and Veronica West)
— "The Ground Beneath Their Feet" (2018)
— "Pillar of Salt" (2019) (cowritten by Nichole Millard and Kathryn Price)
— "Labor Days" (2019)
— "My Corona" (2020)
— "The Ex Factor" (2020) (cowritten by Marissa Matteo)
as Producer
[edit]
Year Title Notes 1980–1981 Breaking Away Supervising Producer (7 episodes) 1982–1983 Remington Steele Supervising Producer (12 episodes) 1984 Concrete Beat Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1985–1988 Moonlighting Executive Producer (53 episodes)
Nominated — Primetime Emmy Award for Outstanding Drama Series (1986, 1987) 1986 Long Time Gone Executive Producer (two-hour pilot episode not picked up as a series; aired as a TV movie) 1999–2000 Now and Again Executive Producer (22 episodes) 2001 Fling Executive Producer (7 episodes) 2005–2011 Medium Executive Producer (130 episodes) 2008 The Meant to Be's Executive Producer (pilot episode not picked up as a series; unaired) 2014–2015 Tyrant Executive Producer (21 episodes) 2017–2021 Bull Consulting Producer (3 episodes, May 2017)
Executive Producer (80 episodes)
as Director
[edit]
Year Title Notes 1999 Now and Again Episode: "Origins" 2001 Fling unknown episodes 2005 Medium pilot episode 2018–2020 Bull Episodes: "Death Sentence," "Pillar of Salt," "Safe and Sound," "My Corona"
Film
[edit]
as Writer
[edit]
Year Title Notes 1989 The Making of Me short film created for Disney World's Epcot Center 1997 Picture Perfect cowritten by Paul Slansky and Arleen Sorkin; story by May Quigley, Slansky, and Sorkin
as Director
[edit]
Year Title Notes 1988 Clean and Sober 1989 The Making of Me short film created for Disney World's Epcot Center 1993 Wilder Napalm 1994 Love Affair 1997 Picture Perfect
References
[edit] | ||||
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] | null | [] | 2022-10-19T04:56:17+00:00 | Glen Caron had a vision. Here is a detailed history of Moonlighting and how it all began with the casting of Cybill Shepherd & Bruce Willis. | en | Moonlighting The Podcast | https://moonlightingthepodcast.com/blog/howitallbegan/ | THE HISTORY OF MOONLIGHTING
AND HOW IT ALL BEGAN
MOONLIGHTING – AN INTRODUCTION
This Emmy Award Winning American Comedy Drama Television show, Moonlighting aired on ABC from March 3, 1985, to May 14, 1989. The show aired a total of 67 episodes. (The Pilot was classed as two episodes). The stars were Bruce Willis who played David Addison and Cybill Shepherd who played Maddie Hayes as Private Detectives. Allyce Beasley played their quirky receptionist, the glue that kept them together. The show was a mixture of drama, comedy, mystery and romance, and was considered to be one of the first successful and influential examples of Comedy Drama, or “dramedy”, that emerged in the eighties as a distinct television genre.
You can’t have a successful show without a very catchy music theme. The show’s theme song was co-written and performed by jazz singer Al Jarreau and became a huge hit. The show is what skyrocketed Bruce Willis’s career as he was offered the role of John McClane in the blockbuster Die Hard in 1987. The show is also credited with relaunching Cybill Shepherd’s career after a string of lacklustre projects.
One of the most memorable episodes “The Dream Sequence Always Rings Twice” was ranked number 34 on the 1997 TV Guide’s 100 Greatest Episodes of All Time.
In 2007, the series was listed as one of Time Magazine’s “100 Best TV Shows of All-Time“. The relationship between the characters David and Maddie was also included in TV Guide‘s list of the best TV couples of all time.
LET’S TALK ABOUT THE FIRST EVER EPISODE – THE PLOT
The series revolved around two characters, Madolyn “Maddie” Hayes (Shepherd) and David Addison Jr. (Willis) and the cases they investigated. Maddie’s agency was called the Blue Moon Detective Agency because in her previous life as a model, she was known as the Blue Moon Shampoo girl for the commercials she had done. The show, with a mix of mystery, sharp overlapping dialogue, and sexual tension between them, introduced Willis to the world and brought Shepherd back into the spotlight after a nearly decade-long absence. The characters were introduced in this two-hour Pilot Episode.
The show’s storyline begins with a series of financial reverses of Maddie Hayes, the former model who finds herself bankrupt after her accountant embezzles all her liquid assets. She is now left saddled with several businesses she didn’t even know she had. The businesses were maintained as tax write-offs, one of which is the City of Angels Detective Agency, which is currently being run by the carefree David Addison. Between the pilot and the first one-hour episode, David is constantly trying to persuade Maddie to keep the business so that they can run it together as a partnership. The agency is then renamed Blue Moon Investigations because of Maddie formerly being the spokesmodel for the Blue Moon Shampoo Company. In many episodes, she was recognized as “the Blue Moon shampoo girl,” if not by name.
The creator of Moonlighting, Glenn Gordon Caron says in the audio documentary for the Season 3 DVD, that the inspiration for the series was a production of The Taming of the Shrew that he saw in Central Park, New York, which was played by Meryl Streep and Raul Julia. The show parodied the play in the Season 3 (and very expensive) episode “Atomic Shakespeare.”
THE CAST
CYBILL SHEPHERD
Cybill Shepherd as Madolyn “Maddie” Hayes, a chic, smart former high-fashion model. Left bankrupt when her accountant embezzles her money, she is forced to make a living by running the detective agency she owns as a tax write-off. Using her celebrity as a former model, she brings in clients and tries to bring some order to a business previously run without any discipline whatsoever. Glenn Gordon Caron says that by the time he had written 50 pages for the pilot to the show, he realized he was writing the part for Cybill Shepherd. Caron sent her the script and as soon as she read it, she said that she immediately “loved it” and knew that Madolyn Hayes was a part that she wanted to play. Shepherd, Caron and Producer, Jay Daniel arranged to meet at a fancy French restaurant in Los Angeles to discuss it further. During this meeting, she remarked that it was reminiscent of a “Hawksian” comedy. The two had no idea what she was talking about, so she suggested they screen Twentieth Century, Bringing Up Baby, and His Girl Friday, three of her favorites, to see how the overlapping dialogue was handled. A week before shooting of the pilot began, Caron, Shepherd, and Willis watched both of these movies, to study the overlapping dialogue.
BRUCE WILLIS
Bruce Willis as David Addison, a wise-cracking detective running the City of Angels Detective Agency. Faced with the prospect of being put out of business and losing his job, he convinces Maddie that they lost money only because they were supposed to and talks her into rebranding the agency and going into business with him as her partner. It was a long fight for Caron, who had to fight with ABC to hire Willis for the lead role, having already signed Shepherd for the pilot and series. Caron claims he tested Willis about a third of the way through over 2,000 actors, knew “this was the guy” immediately, and had to fight through twice as many more acting tests and readings while arguing with ABC executives before receiving conditional authorization to cast Willis in the pilot. According to Caron, ABC did not feel that viewers would find any sexual tension between Shepherd and Willis believable. In a recent interview Grace Chivell and Shawna Saari on Moonlighting the Podcast, he said that the network did not want the two leads to get romantically involved as no-one would believe that Maddie would fall for someone like David.
ALLYCE BEASLEY
Allyce Beasley played Agnes DiPesto, the agency’s extremely loyal, thoughtful, and quirky receptionist. Agnes loved her job and her employers and took it upon herself to always answers the phone in rhyme, while at the same time offering the agency’s special daily offers. In season two, it is revealed that she lives at 6338 Hope Street. As problems arose with getting Willis and Shepherd on screen due to personal issues and problems behind the scenes, the writers began to focus on the relationship between Agnes and fellow Blue Moon employee Herbert Viola. In the series finale, Agnes berates Maddie and David for not being able to figure out their relationship. This happens as the entire set is dismantled. She leaves by saying, “if there’s a God in heaven, he’ll spin Herbert and me off in our own series.”
CURTIS ARMSTRONG
Curtis Armstrong as Herbert Viola, who started at Blue Moon as an employee from a temp agency. The producers brought Armstrong in to play the role based on his work in Revenge of the Nerds, and Better Off Dead. Their vision was in the hope of expanding the role of Agnes DiPesto by giving her a love interest. This in turn would take some of the pressure off Bruce Willis and Cybill Shepherd. He portrays another very loyal employee who looks up to David Addison and believes he is his greatest mentor. As Herbert begins to shine in his duties, (because he has been delegated many) he gets promoted to junior detective. His debut was in season three in the episode “Yours Very Deadly”. It was not planned that he would stay on, but he went on to appear in 36 of the series’ 67 episodes.
JACK BLESSING
Jack Blessing as MacGillicudy, a Blue Moon employee who became a foil for Viola and a rival for DiPesto’s affections. Debuting in season three, he appeared in 17 of the series’ 67 episodes. He made a memorable appearance in the episode “Here’s looking at you Kid” which was a parody of the 1942 American romantic drama file Casablanca. Blessing played the role that Paul Henreid portrayed in the original, Mr Victor Laszlo. Perfect casting as he resembles Henreid in many ways in the episode.
FORMAT INNOVATIONS
The series was created by Glenn Gordon Caron, one of the producers of the similar Remington Steele, when he was approached by ABC executive Lewis H. Erlicht. Erlicht liked the work Caron had done on Taxi and Remington Steele. Erlicht’s vision for the new series was a detective show featuring a major star in a leading role who would appeal to an upscale audience. Caron wanted to do a romance, to which Erlicht replied “I don’t care what it is, as long as it’s a detective show.”
The tone of the series was left up to the production staff, resulting in Moonlighting becoming one of the first successful TV “dramedies”— dramatic-comedy, a style of television and movies in which there is an equal or nearly equal balance of humor and serious content. The show had constant fast paced, overlapping dialogue between Shepherd and Willis, harking back to classic screwball comedy films such as those of director Howard Hawks. Due to the high standards held by production and the innovative dual qualities, this resulted in its being nominated, for the first time in the 50-year history of the Directors Guild of America, for both Best Drama and Best Comedy in the same year (both in 1985 and 1986)
MOONLIGHTING BROKE THE FOURTH WALL
Moonlighting frequently broke the fourth wall, with many episodes including dialogue that made direct references to the scriptwriters, the audience, the network, or the series itself. (For example, when a woman is trying to commit suicide by jumping into a bathtub with a television playing The Three Stooges, Addison says, “The Stooges? Are you nuts? The network’ll never let you do that, lady!”) Another snippet shows David Addison watching “The Bride of Frankenstein” in his office munching on a bowl of popcorn with his remote sticking out of it. As the Bride does not want to have anything to do with Frankenstein and walks back to her doctor who created her, Addison says; “Sure she wants a doctor, they all want doctors.”
Cold Opens sometimes featured Shepherd and Willis (in character as Maddie Hayes and David Addison), other actors, viewers, or TV critics directly addressing the audience about the show’s production itself. These cold opens were originally borne out of desperation as a way to fill airtime, since the dialogue on the show was spoken so quickly and the producers needed something to fill the entire hour. One example was the first episode of Season Two, “Brother Can You Spare a Blonde” where they introduce the viewers back to another season and Maddie gets angry because the reason, they have to do this cold open is because he talks too fast and that’s why the show is too short. In some episodes, the production crew and sets become involved in the plot.
OFTEN FANTASIZING
The series also at times embraced fantasy; in season two, the show aired “The Dream Sequence Always Rings Twice,” an episode that features two lengthy and elaborately produced black-and-white dream sequences. David and Maddie are told about a murder that occurred in the 1940s by the inheritor of the then-famous nightclub “The Flamingo Cove” where the murder took place. Maddie and David feud over whether the man or woman who was executed for the crime was the real murderer. The two dream sequences present each detective’s version of how the murder took place. They were filmed on black-and-white film stock so that they would look like true period films. After filming was complete Caron says that they had problems trying to find a developer to develop the film, as they did not want to take the liability if it didn’t work. He eventually got MGM labs to develop the film. (On the commentary on the DVD, it is said that they used black-and-white film instead of color so that the network would not later use the color film.) It’s an episode frozen in time, back in the 40’s, the set design, the period costumes, the big band and their instruments, the film noir lighting and cinematography by Gerry Finnerman, and directed by the very talented Peter Werner.
Fearing fan reaction to a popular show being shown in black and white, ABC demanded a disclaimer be made at the beginning of the episode to inform viewers of the “black-and-white” gimmick for the episode. This mimicked the concern of MGM when The Wizard of Oz was released as the first twenty minutes of The Wizards of Oz was in black and white, as well as minutes at the end of the movie. Moonlighting’s producers hired Orson Welles to deliver the introduction, which aired a few days after the actor’s death. He died seven days after the recording. Part of his dialogue was “gather the kids, the dog, grandma and lock them in another room. Then sit back and enjoy this very special episode of Moonlighting.”
“Atomic Shakespeare” features the cast performing a variation of The Taming of the Shrew. David plays the role of Petruchio, Maddie plays Katharina, Agnes plays Bianca (Katharina’s sister) and Herbert plays Lucentio. The episode features Shakespearean costumes and mixes the plot with humorous anachronisms and variations on Moonlighting’s own running gags. The characters perform the dialogue in iambic pentameter, and the episode is wrapped by segments featuring a boy imagining the episode’s proceedings because his mother forced him to do his Shakespeare homework instead of watching Moonlighting. This episode was written by Jeff Reno and Ron Osborn who were regular writers on the show. Caron later said that this was one of the few scripts that he didn’t make many changes on. The only change he made was the ending.
MOONLIGHTING IS FULL OF REFERENCES
In addition, the show mocked its connection to the Remington Steele series by having Pierce Brosnan hop networks and make a cameo appearance as Steele in the episode “The Straight Poop.” The show also acknowledged Hart to Hart as an influence: in the episode “It’s a Wonderful Job,” based on the film It’s a Wonderful Life, Maddie’s guardian angel (played by Richard Libertini) showed her an alternate reality in which Jonathan and Jennifer Hart from the earlier series had taken over Blue Moon’s lease. Although Robert Wagner and Stefanie Powers did not appear in the episode, Lionel Stander appeared in this episode and reprised his role as the Harts’ assistant Max.
Both Shepherd and Willis sang musical numbers throughout the duration of the show. In “The Dream Sequence Always Rings Twice,” Shepherd performed both “Blue Moon” in Maddie’s dream sequence and “I Told Ya I Love Ya, Now Get Out” in David’s, while in “Atomic Shakespeare,” Willis sings The Young Rascals, “Good Lovin”. While filming this scene, Willis had a high fever however soldiered on and filmed the scene. Willis also frequently broke into shorter snippets of songs, such as Money but the Beatles, and “Tighten Up” by Archie Bell and the Drells. All these songs appeared on the Moonlighting Soundtrack.
The episode “Big Man on Mulberry Street” centers around a production dance number set to the Billy Joel song of the same name. The sequence was directed by musical director Stanley Donen and featured the very talented dancer Sandahl Bergman. Willis and Bergman rehearsed for many days for the dance sequence which was a dream sequence for Maddie as she has just found out that David was previously married, which was a bombshell for Maddie, not mention the viewers.
MORE PRODUCTION INFORMATION
Moonlighting was unusual at the time for being one of only three shows, due to FCC regulations limiting the practice, to be owned and produced in-house by a broadcast network (NBC’s Punky Brewster and CBS’s Twilight Zone Revival being the others). This allowed the network greater flexibility in budgeting the show since the “back-end potential” for profits was so much greater with not having to pay a licensing fee to the film studio or independent production company. As a result, ABC gave Caron a lot of control over production. Caron, who was only 31 at the time, however, was a perfectionist and viewed Moonlighting as the filming of a one-hour movie every week. He insisted on using techniques usually reserved for big budget films. To capture the cinematic feel of the films of the 1940s, for example, he would prohibit the use of a zoom lens, opting instead to use more time-consuming moving master cameras that move back and forth on a track and require constant resetting of the lights. Diffusion disks were used to soften Cybill Shepherd’s features, and a special lens needed to be employed so that in a two shot, Maddie would be diffused, and David would not.
Much of the credit for this look and feel can be attributed to the hiring of Gerald Finnerman as the Director of Photography. Finnerman, a second-generation cinematographer, was brought up in the old school of cinematography by working with his father, Perry Finnerman, and later as a camera operator for Harry Stradling on such films as My Fair Lady and The Picture of Dorian Gray. Finnerman would then go on to be the director of photography for the TV series Star Trek and was responsible for creating much of the mood in that show by employing black-and-white lighting techniques for color film. This background meshed perfectly with Caron’s vision for the series and earned him an Emmy Nomination for the black-and-white episode “The Dream Sequence Always Rings Twice”. Hired for the show after the pilot was shot, Finnerman would become involved in virtually every aspect of the show including the scripts, lighting, set design, and even directing some of the later episodes. He went on to work on 58 of the 67 episodes.
Typical scripts for an average one-hour television show were approximately 60 pages, but those for Moonlighting were nearly twice as long due to the fast-talking overlapping dialogue between Maddie and David. While the average television show would take seven days to shoot, Moonlighting would take from 12 to 14 days to complete. This is partly because episodes and dialogue were frequently being written by Caron the same day they were being filmed. This attention to detail contributed to Moonlighting as being one of the most expensive television shows being produced at the time. Where most episodes would cost around $900,000 to produce, Moonlighting was running nearly double that.
The season 2 episode “The Dream Sequence Always Rings Twice” could have been filmed much more cheaply by being shot in color and then decolorized, but Caron insisted on the authentic look of black-and-white film which took 16 days to shoot, bringing the cost of the episode to the then-unheard-of sum of two million dollars. Caron often defended his filming practices in the name of giving the audience what they wanted and producing a quality product. He used the following analogy to illustrate the point, “The thinking in television which makes no damn sense to me, is that a half hour of television costs X, and an hour of television costs Y, no matter what that television is, it strikes me as an insane hypothesis. The parallel is, you’re hungry, whether you go to McDonald’s or whether you go to ’21,’ it should cost the same; they both fill your stomach. It’s nonsense.”
All of this attention to detail resulted in production delays and the show became notorious for airing reruns when new episodes had not been completed in time for broadcast. The first two seasons of Moonlighting focused almost entirely on the two main characters, having them appear in almost every scene. According to Cybill Shepherd, “I left home at 5 A.M. each day. Moonlighting scripts were close to a hundred pages, half again as long as the average one-hour television series. Almost from the moment the cameras started rolling we were behind schedule, sometimes completing as few as sixteen episodes per season, and never achieving the standard twenty-two.
Glenn Gordon Caron partly blamed Cybill Shepherd for production problems:
“I don’t mean to paint her as the sole bearer of responsibility for the discord. But if I said to you, ‘You’re going to have a great new job – it’s a life-defining job – but you’re going to work 14–15 hours a day, and by the way, you’ll never know what hours those are – sometimes you’ll start at noon and work until 3 a.m., other times you won’t know when or where it will be [until the last minute].’ It can be very difficult; it requires an amazing amount of stamina. It’s easier to do if you’re still reaching for the stars, it’s a lot tougher if you’re already a star, if you’ve already reached the top of the mountain.”
Producer Jay Daniel talked about the difficulties between the co-stars in the later seasons:
“Well, I was the guy that more often than not would be the one that would go into the lion’s den when they were having disagreements. I’d sort of be the referee, try to resolve it so that we could get back to work. So, there was that side of it. Everybody knows there was friction between the two of them on the stage. In the beginning, Bruce was just a guy’s guy. Let’s just say he evolved. Over the years, he went from being the crew’s best friend and just being grateful for the work and all of that to realizing that he was going to be a movie star and wanting to move on. Part of that was because of his strained relationship with Cybill. That sometimes made the set a very unpleasant place to be. Cybill – I got along with her very well at times, other times I’d have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six thirty in the morning with pages of dialogue she hadn’t seen before, she’d work very long hours, and then be back in the makeup chair at six thirty the next morning.”
The delays became so great that even ABC mocked the lateness with an ad campaign showing network executives waiting impatiently for the arrival of new episodes at ABC’s corporate headquarters. One episode featured television critic Jeff Jarvis in an introduction, sarcastically reminding viewers what was going on with the show’s plot since it had been so long since the last new episode.
The season three clip show episode “The Straight Poop” also made fun of the episode delays by having Hollywood columnist Rona Barrett drop by the Blue Moon Detective Agency to figure out why David and Maddie couldn’t get along, as the premise to set up the clips from earlier episodes. In the end, Rona convinced them to apologize to one another, and promised the viewers that there would be an all-new episode the following week. The show ended with a passionate kiss between Maddie and David standing behind the tiny Rona Barrett.
Shepherd’s real-life pregnancy and a skiing accident on the skiing slopes of Idaho, in which Willis broke his clavicle, further contributed to production delays. To counter these problems, with the fourth season, the writers began to focus more of the show’s attention on supporting cast members Agnes and Herbert, writing several episodes focusing on the two so that the show would be able to have episodes ready for airing.
RATINGS AND DECLINE
Moonlighting was a hit with TV audiences as well as with critics and industry insiders, with 16 Emmy nominations for the second season which saw Moonlighting tie for 20th place in the Nielsen ratings. In season three, the show peaked at 9th, then dropped off slightly to tie for 12th in the 4th season. By the end of the final season, the show was 49th in the ratings.
The show’s ratings decline is popularly attributed to Episode #14 of Season 3, “I Am Curious… Maddie”, which infamously had Maddie and David consummate their relationship after two and a half years of romantic tension. In commentaries on the third season DVD set, Caron disputed that the event led to the show’s decline, but that a number of other factors led to the series’ decline and eventual cancellation. In the fourth season, Willis and Shepherd had scant screen time together. Jay Daniel explained that:
We had to do episodes where there was no Cybill. She was off having twins. Her scenes were shot early, early on and then you had to integrate them with scenes shot weeks later. You were locked into what those scenes were because of what had already been shot with Cybill.
Bruce Willis was filming Die Hard during this period. When the film became a blockbuster, a film career beckoned and his desire to continue in a weekly series waned. In a series that depended on the chemistry between the two main stars, not having them together for the bulk of the fourth season hurt the ratings. Willis later thanks Cybill Shepherd in the DVD commentary, for getting pregnant so that he was able to go off and film Die Hard. The series lost Glenn Gordon Caron as executive producer and head writer when he left the show over difficulties with the production:
I don’t think Cybill understood how hard the workload was going to be. A situation arose with her, and at a certain point it became clear that… umm… suffice it to say I wasn’t there for the last year and a half.
Shepherd recalled Caron left the show stating that it was either him or her, and he did not think the network would choose him.
When Maddie returned to Los Angeles near the end of the fourth season, the writers tried to recreate the tension between Maddie and David by having Maddie spontaneously marry a man named Walter Bishop (Dennis Dugan), within a few hours of meeting him on the train back to Los Angeles. When Shepherd read the script, she strongly voiced her objection that her character would not do such a thing but was overruled. The move failed to rekindle the sparks between the main characters or capture the interest of the audience, which led to an even further ratings decline. Cybill was right in her view, as in previous episodes, she argued with David about being spontaneous. She believed in planning, looking before you leap and researching the pros and cons. So, this was not in character for Maddie to just get married on a whim.
GOOD THINGS MUST SOMETIMES COME TO AN END – CANCELLATION
Neither Shepherd nor Willis was fully committed to the final season of the show. Bruce Willis, fresh from his Die-Hard success, wanted to further his career and only make films. Cybill Shepherd, having just given birth to twins, had grown tired of the long, gruelling production days and was ready for the series to end.
In the 1988–1989 TV season, the show’s ratings declined precipitously. The March to August 1988 Writers Guild of America Strike cancelled plans for the 1987–1988 Moonlighting season finale to be filmed and aired on TV in 3-D in a deal with Coca-Cola and delayed the broadcast of the first new episode until December 6, 1988. The series went on hiatus during the February Sweeps and returned on Sunday evenings in the spring of 1989. Six more episodes aired before the cancellation of Moonlighting in May of that year.
In keeping with the show’s tradition of “breaking the fourth wall“, the last episode (appropriately titled “Lunar Eclipse“) featured Maddie and David returning from the celebration of Agnes and Herbert’s wedding to find the Blue Moon sets being removed, and an ABC network executive waiting to tell them that the show has been cancelled. The characters then race through the studio lot in search of a television producer named Cy, as the world of Moonlighting is slowly dismantled.
When they find Cy, he is screening a print of “In ‘n Outlaws”, the episode of Moonlighting that had aired two weeks earlier. Once informed of the problem, Cy lectures David and Maddie on the perils of losing their audience and the fragility of romance. Cy was played by Dennis Dugan, the same actor who had played Walter Bishop in Maddie’s marriage storyline — however, Dugan was also the director of the episode, so his acting credit was listed as “Walter Bishop”. His face is not seen in the episode, only in silhouette as he is watching the screen with the light of the projector behind him while he is smoking a cigar. David and Maddie then admit defeat that the show is ending but not before Maddie tells David ‘I can’t imagine not seeing you again tomorrow‘ and then we are treated to a clip montage of previous Moonlighting episodes and then it ends with a message stating that “Blue Moon Investigations ceased operations on May 14, 1989. The Anselmo Case was never solved… and remains a mystery to this day.”
SYNDICATION
As the show had not produced enough episodes to gain a syndication contract, following its original run it was not widely seen until its DVD release, due to a push from Moonlighting Fans and a group of ladies who were determined to get Moonlighting to DVD. It occasionally appeared on cable channels targeting women (including Lifetime and Bravo in the US, and W in Canada) in the 1990s and 2000s. Bravo airings often featured new Claymation promos with Maddie and David using original audio clips from the series. The “Atomic Shakespeare” episode aired on Nick at Nite in 2005 as part of the network’s 20th anniversary celebration. The 1985 ABC Tuesday night line-up was honored with reruns of Whos’ the Boss?, Growing Pains, and Moonlighting, although “Atomic Shakespeare” was from the ’86-’87 season.
BBC Two initially carried the show in the UK from 1986 to 1989, and it ran on Sky1 circa 1991. It has been shown on CB Drama since November 2009. Between 2005 and 2008, the show was frequently shown on the now defunct channel ABC1. In Asia, Moonlighting began airing Seasons 1 and 2 on Rewind Network’s HITS channel in December 2013.
AWARDS AND NOMINATIONS
Moonlighting was nominated for a wide range of awards, including nominations for 40 Emmy Awards of which it won 7. It was also nominated for 10 Golden Globe Awards of which it won 3. Two of which was Shepherd and Willis winning in 1987 for Best Actor/Actress in a Television Series – Musical or Comedy.
PRIME TIME EMMY AWARDS WINS
HOME ENTERTAINMENT – DVD RELEASES
Anchor Bay Entertainment released the original pilot episode on DVD in region 1. Lions Gate Entertainment later released the entire series of Moonlighting, including the pilot episode, on DVD in Region 1. Each release contains bonus features including commentaries and featurettes. As of 2013, these releases have been discontinued and are out of print.
In Regions 2 & 4, Sony Pictures Home Entertainment has released all 5 seasons on DVD, although the Region 4 sets are now out of print. A complete series box set was also released in Region 2 on September 14, 2009.
The series is noticeably unavailable to stream, rent or buy on any service due to the costly music licensing.
PARODIES
Riptide, a once-popular detective series whose ratings had declined to the point of cancellation after airing against Moonlighting in the 1985–1986 television season, aired an episode (the show’s penultimate) in 1986, in which that show’s detectives acted as mentors to “Rosalind Grant” (Annette McCarthy) “Cary Russell” (H.Richard Greene), the bickering stars of a television detective show pilot. Although their names were an allusion to Cary Grant and Rosalind Russell, the characters were written as parodies of Shepherd and Willis, even adopting some of their real mannerisms and clothing styles, and their dialogue contained many nods, both obvious and subtle, to Moonlighting‘s writing style. The episode was explicitly promoted by NBC (Riptide‘s network) as a Moonlighting parody and was publicized as such widely enough that Riptide‘s producers felt obliged to clarify that they liked Moonlighting and intended the episode as an homage. The episode was even titled “If You Can’t Beat ‘Em, Join ‘Em”.
Alvin and the Chipmunks parodied Moonlighting in the Season 6 episode “Dreamlighting”. In it, Brittany has a dream and becomes “Bratty Hayes,” and Alvin becomes “David Alvinson”, detective team. The plot revolves around Alvin trying to stop Brittany from marrying an evil villain – played by Simon.
The series even spawned a porn parody entitled “Moonlusting” in 1987, directed by Henri Pachard and starring Taija Rae as Hattie Mays and Jerry Butler as David Madison, together running the New Poon Detective Agency. The dynamic of the main characters mirrored that of Shepherd and Willis, even down to breaking the fourth wall and addressing viewers directly.
In the first live action “Teenage Mutant Ninja Turtles” film, Moonlighting is mentioned in comparison when Judith Hoag (who plays April O’Neill) and Elias Koteas (who plays Casey Jones) walk into different rooms slamming their respective doors, a behaviour commonly exhibited by the main characters in Moonlighting. Two of the Ninja Turtles witness this behaviour while sitting in the living room and one of them says; “Gosh, it’s kind of like, Moonlighting, isn’t it?”
THE MOONLIGHTING SOUNDTRACK IS RELEASED
Moonlighting: The Television Soundtrack Album was produced by Phil Ramone and Glenn Gordon Caron. It features songs performed on the show by series leads Cybill Shepherd and Bruce Willis, and of course more importantly the very popular series theme song performed by Al Jarreau. That single peaked at number one on the Billboard Adult Contemporary chart on July 25, 1987. Other songs include Chubby Checker’s “Limbo Rock”, The Isley Brothers, “This Old Heart of Mine (is weak for you)”, and “When a Man Loves a Woman” by Percy Sledge.
Moonlighting The Podcast
All about the 80s TV Show Moonlighting | |||||
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] | 2023-10-13T00:00:00 | Bruce Willis continues to face challenges following his dementia diagnosis earlier this year, and is now "not totally verbal." | en | Kiss 95.1 | https://kiss951.com/2023/10/13/bruce-willis-not-totally-verbal/ | Bruce Willis continues to face challenges following his dementia diagnosis earlier this year. The Fifth Element star was diagnosed with aphasia the year prior, which affects a person’s ability to express and understand written and spoken language. Now, his friend Glenn Gordon Caron, who created the ’80s television show Moonlighting, which co-starred Willis and Cybill Shepherd, is giving an update on Willis’ current health status.
Caron told the New York Post in an article published Thursday (October 12) that Willis, 68, is now “not totally verbal.” He says that in the first one to three minutes, Willis knows who he is. Adding that Willis was a “voracious reader,” but he’s not reading now. “All those language skills are no longer available to him, and yet he’s still Bruce,” Caron continues. “When you’re with him, you know that he’s Bruce, and you’re grateful that he’s there,” he continued, “but the joie de vivre (joy of life) is gone.” According to Caron, working with Willis, he saw firsthand how much he “just adored waking up every morning and trying to live life to its fullest. So the idea that he now sees life through a screen door, if you will, makes very little sense.”
RELATED: Bruce Willis’ Wife Emma Pleads For Paparazzi To Stop Yelling At Him
In February, Willis’ wife Emma Heming, ex-wife Demi Moore, and kids Rumer, Scout, Tallulah, Mabel, and Evelyn shared in a joint statement on social media that his condition had gotten worse. They explained he’d been diagnosed with frontotemporal dementia (FTD). Frontotemporal disorders are the result of damage to neurons in the frontal and temporal lobes of the brain. The following symptoms can result, including unusual behaviors, emotional problems, trouble communicating, difficulty with work, or difficulty with walking. “Unfortunately, challenges with communication are just one symptom of the disease Bruce faces. While this is painful, it is a relief to finally have a clear diagnosis.”
America’s 50 Favorite Actors Of All Time Ranked By Positive Opinion
Laila Abuelhawa is the Top 40 and Hip-Hop pop culture writer for Beasley Media Group. Being with the company for over three years, Laila's fierce and fabulous red-carpet rankings have earned her a feature on 'The Late Show with Stephen Colbert!' Her favorite stories are those surrounding the latest in celebrity fashion, television and film rankings, and how the world reacts to major celebrity news. With a background in journalism, Laila's stories ensure accuracy and offer background information on stars that you wouldn't have otherwise known. She prides herself in covering stories that inform the public about what is currently happening and what is to come in the ever-changing, ever-evolving media landscape. | |||||
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Moonlighting: An Oral History © 2021 Scott Ryan
All Rights Reserved.
Reproduction in whole or in part without the author’s permission is strictly forbidden. This book is a scholarly look at Moonlighting and has no affiliation with ABC, ABC Circle Films, or Picturemaker Productions. All photos and/or copyrighted material appearing in this book remain the work of its owners.
Cover design by Scott Ryan
Photo courtesy of ABC Promotions
Inside photos courtesy of ABC Circle Films & ABC Publicity Photos,
IMDb, Debra Frank, Jay Daniel, and Don Giller
Edited by David Bushman
Book designed by Scott Ryan
Published in the USA by Fayetteville Mafia Press
Columbus, Ohio
Contact Information
Email: fayettevillemafiapress@gmail.com
Website: fayettevillemafiapress.com
Follow the Publisher at
@fmpbooks
ISBN: 9781949024265
eBook ISBN: 9781949024272
Also by Scott Ryan
Scott Luck Stories
(2014)
thirtysomething at thirty: an oral history
(2017)
The Last Days of Letterman
(2019)
But, Couldn’t I Do That? Answering Your Questions about Self-Publishing (with Erin O’Neil)
(2021)
Fire Walk With Me: Your Laura Disappeared
(2022)
Edited by Scott Ryan
The Women of David Lynch
(2019)
The Women of Amy Sherman-Palladino
(2020)
The Blue Rose Magazine
(2017-2021)
__________________________________________________
Dedicated to Joyce Ryan. She forced me to watch the pilot of Moonlighting in 1985 and, in doing so, sent me on the path to becoming a writer. Thanks, Mom.
Glenn Gordon Caron Creator, Executive Producer, Writer
Jay Daniel Executive Producer, Director
Roger Director Writer, Producer, Season 4 Showrunner
Cybill Shepherd Cast Member Maddie Hayes
Allan Arkush Director
Bob Butler Pilot Director
Curtis Armstrong Cast Member Herbert Viola
Allyce Beasley Cast Member Ms. Agnes Dipesto
Suzanne Gangursky Production Coordinator
Ron Osborn Writer, Producer
Reuben Cannon Casting Agent
Jeff Reno Writer, Producer
Debra Frank Writer
Melissa Gelineau Assistant
Chic Eglee Writer, Producer, Season 5 Showrunner
Peter Werner Director
Sheryl Main Postproduction
Karen Hall Writer
Neil Mandelberg Editor
Will Mackenzie Director
Dennis Dugan Cast Member Walter Bishop, Director
Chris Leitch Director
Mel Harris Actress
Dana Delany Guest Star
David Patrick Kelly Guest Star
Sandahl Bergman Dancer
Bill Landrum Choreographer
Margie Arnett Maddie’s Stand-in/Photo Double
Ray Wise Guest Star
__________________________________________________
"Isn’t it nice to know a lot? And a little bit not."—Stephen Sondheim
I Know Things Now Into the Woods
__________________________________________________
Television in 1985 was very serious. It was serious about money on Dallas and Dynasty. It was serious about crime on Murder, She Wrote and Spenser: For Hire. Tom Selleck may have flashed a smile in his shorty shorts and Hawaiian shirt on Magnum, p.i., but he always took his investigations very seriously. Television was even serious on its sitcoms. Family Ties was getting serious about alcoholism with guest star Tom Hanks. When Natalie wouldn’t date Tootie’s cousin on The Facts of Life, it turned into an intense lesson about racism. Television had no space for shenanigans of any kind. In the middle of a decade known for collecting the most toys, the viewing population had no appetite for silly—but that was about to change. Enter writer Glenn Gordon Caron and his creation of the television show Moonlighting (1985-1989). Suddenly it was pie fights, rhyming secretaries, and chase scenes. Television was about to get a much needed Boink.
Moonlighting was a detective series (sure it was) starring real-life movie star and model Cybill Shepherd as Maddie Hayes. Maddie was a model turned detective. (Wait, what?) There sure is nothing serious about that idea. She was saddled with unknown real-life bartender Bruce Willis as David Addison. David was a wisecracking detective who may or may not have ever solved a case. Somehow ABC heard this pitch and gave the keys to a network television series, along with a blank checkbook, to Glenn Gordon Caron, whose main credits up to that point were as a supervising producer/writer on Remington Steele and the TV adaptation of Breaking Away. He decided to do a detective series in which the cases wouldn’t be front and center. Instead, it would be an old-fashioned 1940s screwball-comedy love story between the two main characters. Everything old became new again.
The series premiered on March 3, 1985. It was a midseason replacement, so the first season contained only six episodes. These first episodes were normal detective stories in the sense that there was a mystery and they mostly solved them, but it was the dialogue and chemistry between Maddie and David that sparked viewers’ interest.
The first-season finale included an average scene for a detective series at that time, but ended up being anything but typical. The detectives went undercover to try to stop an assassination. When David approached the security guard for entry into the party, he said, We’re looking for a man with a mole on his nose. The guard asked, What kind of clothes do I suppose would be worn by a man with a mole on his nose, who knows? David immediately responded, Did I happen to mention, did I bother to disclose, this man that we are seeking with a mole on his nose, I’m not sure of his clothes, or anything else, except he’s Chinese—a big clue by itself. How’d he do that? Maddie and viewers wondered. Gotta read a lot of Dr. Seuss, Addison quipped.¹ That was the kind of banter that Season 1 brought to the small screen. This was revolutionary. Trust me, Jessica Fletcher didn’t rhyme.
In Season 2, the series became a bona fide hit. It continued with the traditional case format, but started to up the antics in the chase scenes, a staple of detective series in the eighties. On Moonlighting, the criminals and detectives slid across hallways in soapsuds and had a car chase in a hearse, and characters rode around the luggage carousel at an airport. This season contained the Black and White episode, which was introduced by legendary film director Orson Welles. The main characters also started talking to the camera and acknowledging the plot right in the middle of scenes. David and Maddie—not Bruce Willis and Cybill Shepherd—introduced an episode by reading letters from viewers. They danced with the Temptations in another and apologized for a 3D episode gone awry, all before the opening credits. In 1985, prime-time series were not doing cold opens. They didn’t include scenes during the end credits. Television shows existed only between the credits. There were rules that prime time followed. Well, someone forgot to tell that to the Moonlighting writers. In their Christmas episode, snow started falling inside Maddie and Dave’s office, and Maddie and Dave just walked off the set to be met by the entire production staff and their families singing Christmas carols. This season contained the most scripts the series ever produced in a single season: eighteen. This was back when twenty-two to twenty-four episodes were the norm.
In Season 3, the series went from hit to pop culture icon. There was nothing in 1986-1987 as hot as Moonlighting. Also, nothing as hard to find. As production problems increased, new episodes became scarcer than sightings of Cybill and Bruce eating together in the 20th Century Fox commissary. Yes, tabloid stories started to spill out from the set that there was trouble behind the scenes. But even while the rumors splashed across the cover of the National Enquirer, the series continued to churn out creative and radically different episodes from week to week. One episode contained a seven-minute dance sequence set to the Billy Joel song Big Man on Mulberry Street. The dance number was directed by Singin’ in the Rain director Stanley Donen. You don’t complete an undertaking like that and stay on an eight-day shooting schedule. So reruns piled up, and so did the bills. As tensions and pressure rose, the series started to focus more on secretary Ms. Agnes Dipesto² (Allyce Beasley) and introduced her love interest, Herbert Viola (Curtis Armstrong). Someone had to fill those fifty minutes with fast-talking dialogue.
The series even started to make fun of itself. One episode began with Hollywood reporter Rona Barrett declaring, No new episode, AGAIN! It became a mantra for fans who waited patiently from week to week for a fresh episode. Sometimes viewers didn’t find out if the episode was a rerun or an original until they turned on their television set at nine o’clock on Tuesday nights. But that didn’t take any of the shine off the series. ABC, which also owned the series, didn’t contest the missed deadlines or the rising budgets, because the series had such huge ratings that today they would be considered Super Bowl-size ratings. The episode It’s a Wonderful Job had a 26.1 rating and thirty-nine share.³ The biggest price tag came from an episode called "Atomic Shakespeare,’’ which was written in iambic pentameter and featured Maddie and David in the Middle Ages in an homage to the Shakespeare play The Taming of the Shrew. The episode was an Emmy magnet—director Will Mackenzie and writers Ron Osborn and Jeff Reno were all nominated, and Mackenzie won—so ABC was still all in. Later in the season, Mark Harmon guest starred to stand in between David and Maddie. His four-part arc ended in an episode entitled I Am Curious . . . Maddie, in which Maddie and Dave finally had sex. It became the show’s highest-rated episode (over sixty million viewers)⁴ and had the entire country talking in rhyme . . . for a moment.
What happened next? Well, that is the question this book asks. How did a show that was hotter than the Rubik’s Cube or Baby on Board signs get canceled less than two years and twenty-eight episodes after airing its most-watched episode? The media dubbed it the "Moonlighting Curse." The conventional wisdom became that if two main characters from a series got together, the show died. It happened on Moonlighting, so therefore it will happen on The X-Files or Felicity. This is why Castle, Bones, Friends, Downton Abbey, and every show since 1987 delayed, at all logical costs, their main characters getting together. But was this really the cause of the cancellation? I wanted to solve this mystery more than knowing who was the real killer in the Flamingo Cove murder.
In 1987, I was a huge Moonlighting fan, just like half of America. (It’s true that close to half of all television sets were tuned in to watch I Am Curious . . . Maddie.).⁵ The difference was that I stayed a fan in 1988 and 1989, and still am today. I never believed that it was the consummation that consumed my beloved series. Some of my favorite episodes of the series, Cool Hand Dave, Here’s Living with You, Kid, and A Womb with a View, all aired after this moment and during the final two seasons. Something happened, but what? In the fourth season, the two leads appeared together in the season premiere in September 1987, but didn’t share the screen again until February 1988. Why did the writers choose to do this? Who thought America wanted to watch a romantic comedy without its two leads? Who made this decision, and what factors caused it?
The only way to get to the bottom of this mystery was to tackle it like it was the Anselmo case (the unsolved case that the Blue Moon detective agency worked on over the final three years of the series). I needed to do a Herbert Viola type of investigation to get to the bottom of this mystery. I just couldn’t stand the idea of reading another article blaming Moonlighting for a television couple not getting together. I wanted to talk to everyone who had worked in front of and behind the camera and get them to tell me exactly what happened thirty years ago. Easy as picking a locked door while doing the Hokey Pokey.
First step was to see if anyone had already written that book. A quick search showed that no one in over thirty-five years had ever written a book about Moonlighting. A series this popular and there were NO books on it? That’s strange. Curtis Armstrong, who gleefully played Herbert Viola on the series, wrote the following sentence about this Moonlighting fact in his memoir, Revenge of the Nerd: The low points were so low that it may explain why now, after decades, no one has written the real history of the show.⁶ Well that’s not daunting at all.
I began my investigation with the creator himself. Not God, but Glenn Gordon Caron. I had interviewed him in 2015, for The Red Room Podcast, and hoped he would be open to the idea. He gave me his blessing and an updated interview. Then I approached executive producer Jay Daniel. We spoke weekly for a few months over the summer of 2019. We went through the detailed notes he had kept during the filming of the series. Information and answers that had sat unread for years. I proceeded to talk to directors, writers, cast members, postproduction artists, dancers, editors, and everyone and anyone I could find who had worked on the series. I was lucky enough to get to speak with Allyce Beasley (no, she doesn’t just speak in rhymes). She shared so much of her heart, pain, and love for the series. The writers and I went through their scripts. The directors talked about directing an experienced actress and a future action hero. Curtis Armstrong was so thoughtful and had such respect for the series. He was extremely gracious even if this book would cause his memoir to be forever incorrect. (Curtis, you are still the capo di tutti capi⁷ to me.) Cybill Shepherd was more than excited to help me in any way she could. She decided to rewatch the series and called me after watching an episode. Nothing can give your day a boost like looking at your phone and seeing that Cybill Shepherd is calling you. She was a delight, kind, helpful, and a wonderful asset to the book.
This book pieces together those interviews into one combined memory to create the story of Moonlighting. We all know that memory is a tricky thing. People will contradict one another, and I allow it. Memory is better than fact anyway, because it’s created by feelings. One of my favorite quotes from Maya Angelou is They may forget what you said—but they will never forget how you made them feel. This book contains what people felt about creating Moonlighting. What is the danger in that? Well, you could start with the fact that the quote isn’t from Maya Angelou; it’s actually from Carl W. Buehner,⁸ but everyone attributes it incorrectly to Angelou because it feels right. So I have dutifully tried to balance memories with facts, all in the context of the era in which the series aired.
Moonlighting originated in the latter half of the 1980s. It would be an understatement to say times have changed since then. In 2021, the times have changed since I started to write this very sentence. The focus of the interviews was to find out what it was like to make groundbreaking television in the 1980s. There was something going on back then that was unwisely called the Battle of the Sexes. This isn’t a history book about that war, but I think we can all agree both sides were losing badly in the eighties. I have no intention of looking at the plots, characters, and behaviors through the lens of 2021. This is not a critical analysis of the series, but a look at the creative process. Everyone would have behaved differently today, because things are different today, and we are all working to be more inclusive and more sensitive. But if we revise history while we cover it, then we can’t learn from it. So all bad behavior from the past should stay there. Everyone had the best of intentions, and no one set out to hurt anyone or make any sweeping statements about the opposite sex. It was, in the end, a comedy show. David Addison wouldn’t get past even the most lax HR representative today. In the eighties he was revolutionary; today he would be the poster child for the cancel-culture revolution. Some walk by day, some fly by night.⁹
Moonlighting: An Oral History is a look at the series through the words of the people who created it, how the series was shaped and cared for and how it finally slipped away from the hearts and minds of the same American audiences who once had catapulted it to the top. I also had no interest in covering gossip or tawdry tales, so readers will have to look elsewhere for those stories. My interest was to find out how a massively successful series could have so many production problems that, as Bill Carter of The New York Times reported, it used more reruns during its four years on the air than any other series.¹⁰ Why? Can the Anselmo case finally be solved? Find out on tonight’s all new episode of Moonlighting.
So gather the kids, the dog, Grandma, and lock them in another room and sit back and enjoy¹¹ Moonlighting: An Oral History.
If birds do bird and bees do, in fact, bee, there is a good chance the reason they do it is for Maddie Hayes. Maddie, a former cover-girl model, was what the world in the midst of Ronald Reagan’s America feared most—a beautiful woman with remarkable intelligence. As a spokeswoman for Blue Moon shampoo, Maddie Hayes racked up wealth that would have made Gordon Gekko from Wall Street jealous. She was set to retire from her modeling career when she paid a hefty price for trusting her business manager with access to all of her money. He walked away with everything, and she was left with nothing. Well, almost nothing. She was left with a detective agency that was created for her to lose money, as a tax write-off. (If you ask me, she should have known her business manager was shady when he came up with that idea, but it was the decade of greed.) This is the moment where Moonlighting viewers met Maddie Hayes—broke and at the end of her rope. When she walked into the (then named) City of Angels detective agency, she planned to fire the staff and liquidate the assets, but she didn’t quite expect to run into the likes of David Addison—who ever does?
Maddie Hayes was not what television was used to when it came to female characters. She was extremely complex. She was flawed, emotional, a businesswoman, funny, stunningly beautiful, and the boss. These were the traits that writer Glenn Gordon Caron gave Maddie Hayes. But it was movie star Cybill Shepherd (Taxi Driver, The Last Picture Show) who brought her to life.
In 2020, Bob Dylan released a song called I Contain Multitudes. I submit he wouldn’t have had the inclination to write this song in the sixties, or the eighties, when Moonlighting aired, because the idea that people were more than one thing wasn’t news. Today, one narrative is all it seems this culture can handle. You’re either with us or against us. Simple. In the midst of the current one-adjective era, Dylan wanted to remind us that people are complex. That we need to hold more than one thought in our minds at the same time—especially when you are viewing human beings. Bob Dylan wasn’t thinking of Maddie Hayes or Cybill Shepherd when he wrote the following lyric, but it does apply: I fuss with my hair and I fight blood feuds. I contain multitudes.¹ Maddie Hayes was a multitude of complexities.
Glenn Gordon Caron (Creator): I was writing the pilot. I think I was half done with it. And it occurred to me that Maddie Hayes was Cybill Shepherd, but I didn’t really think I could get Cybill Shepherd. Very much to my amazement, my agent read it and felt the same way and somehow knew how to make that connection. Jay Daniel and I had lunch with her.
Jay Daniel (Executive Producer): We met with Cybill Shepherd at a restaurant called La Serre in Studio City in July of 1984. Cybill was late, which was a very Cybill thing to be. She walked in, all dressed in white, and came over to the table. Of course, we stood. She asked us a question. Glenn’s answer was, Hummina, hummina. He could not get any words out.
Glenn Gordon Caron: To me, Cybill Shepherd was very much a movie star. So the idea of putting food in my mouth while I was in her presence, there just was something wrong about that.
Jay Daniel: He was so enamored. And so was I. She was very delightful at that lunch, and we were sold. It didn’t take a whole lot of convincing for the network to say yes. So we had Cybill long before we found David.
Glenn Gordon Caron: Cybill looked at me and said, It’s a Hawksian comedy, isn’t it? I had no idea what a Hawksian comedy was. I had no idea that she was referring to director Howard Hawks.
Roger Director (Writer): Cybill had a longtime relationship and friendship with Peter Bogdanovich [the director of The Last Picture Show and What’s Up, Doc?], so she knew so much about film and knew so much about romantic comedy. So when she walked in to do that part, she was just absolutely perfect for it.
Cybill Shepherd (Maddie Hayes): Glenn had fifty pages done. I immediately thought of Howard Hawks comedies. I got to meet Howard Hawks, but never worked with him. Peter was interviewing him for something. We went out to his house in Palm Springs.
Glenn Gordon Caron: She lived for an extended period of time with Peter Bogdanovich, and he would show her classic American films to teach her the history. So she was much more conversant with this stuff than I was. A lot of what I was doing, I was doing out of instinct, not out of any sense of Oh, there’s an old movie style here. She seemed to understand what it was in ways that even I didn’t.
Roger Director: Cybill has been in some of the greatest movies. And when you look at some of the films that she has been in, no one else could have done The Last Picture Show or Heartbreak Kid.
Allan Arkush (Director): I spent a lot of time talking with Cybill about old movies. We had a long discussion about silent Ernst Lubitsch comedies. She admitted to me in those discussions that she was playing Cary Grant. She said, Cary Grant is the greatest reactive actor in the history of movies. There is never one second on the screen where he’s not thinking or reacting. That’s what she tried to do with Maddie, because Maddie doesn’t have the joke lines.
Bob Butler (Director): I remember believing that Cybill was certainly the straight man. It wasn’t up to her to be funny. It was up to Bruce to be funny. That was the design. That’s always the situation with the comedy couple, one is straight and one is not.
Glenn Gordon Caron: She had read half the script and said, If the second half is as good as the first half, I’d be interested in doing this. That was a huge thing. I was very excited.
Cybill Shepherd: It was very fast-paced. There weren’t any pauses for laughs like in a sitcom. It just moved like wildfire. It reminded me of His Girl Friday and Bringing Up Baby.
Allan Arkush: In a way, Moonlighting is as much reflective of the eighties and a certain kind of feminism as, say, His Girl Friday or The Philadelphia Story are emblematic of the early forties. You kind of synthesize those relationships and these people live in a little fantasy world, as the Moonlighting characters do.
Curtis Armstrong (Herbert Viola): Glenn was playing with Cybill’s persona and bringing as much baggage as he could bring to it. Because if you were of a certain age, Cybill had instant recognition, going back to—really the late sixties, right?—the modeling days. She seemed to be the perfect person to present Maddie Hayes’s character, because everybody at that time had an instinctual knowledge of who she was.
Allyce Beasley (Ms. Dipesto): Maddie was an ex-model who had seen more successful times financially and better times in the limelight. When she takes over the Blue Moon detective agency, she needs that business to survive. Also, she needs that business as her raison d’être, to have something that she could do, to be committed to in the world.
Suzanne Gangursky (Production Coordinator): Maddie definitely had more of the golden ride through life. She became a top model. But when push comes to shove, she’s not going to take crap from anybody. Beneath that beautiful exterior is not an airhead. There’s somebody in there that is sharp and smart and is also nobody’s fool.
Ron Osborn (Writer): Maddie was a generally good person with a very type A personality. As worldly as she was, she needed more of the world exposed to her. It isn’t that she was uneducated or unworldly in any way, shape, or form. She was set in her opinions and probably needed some of those opinions broken down. In the David-versus-Maddie opinion, which was the basis for all the show, it isn’t to say that David was always the right one.
Reuben Cannon (Casting Agent): You have Maddie, who lived by the rules, who played by the rules, who has realized how limited her life has been, because of perhaps self-imposed guidelines she put on herself.
Jeff Reno (Writer): Her veneer was colder, kind of keep her distance, stay at arm’s length from people. She’s also a romantic inside. When the show started she had been horribly wronged by her accountant stealing her money and leaving her this detective agency. She had a lot of adapting to do. She had to find some strength, and she probably had to exercise that strength by being a lot harder and colder. | ||
7959 | dbpedia | 3 | 39 | https://deadline.com/2023/10/bruce-willis-health-update-the-joie-de-vivre-gone-says-moonlighting-creator-1235572327/ | en | Bruce Willis Health Update: “The Joie De Vivre Is Gone,” Says ‘Moonlighting’ Creator | [
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] | 2023-10-13T00:41:46+00:00 | 'Moonlighting' creator Glenn Gordon Caron gave an update on Bruce Willis's health. | en | Deadline | https://deadline.com/2023/10/bruce-willis-health-update-the-joie-de-vivre-gone-says-moonlighting-creator-1235572327/ | Moonlighting creator Glenn Gordon Caron has spoken to Bruce Willis about the ’80s hit dramedy, which is making its streaming debut on Hulu.
He shared a health update on Willis, who played detective David Addison opposite Cybill Shepherd’s Maddie Hayes, who owned the Blue Moon Detective Agency.
Willis, 68, has frontotemporal dementia and retired from acting in 2022.
“The process [to get Moonlighting on streaming] has taken quite a while and Bruce’s disease is a progressive disease, so I was able to communicate with him, before the disease rendered him as incommunicative as he is now, about hoping to get the show back in front of people,” Caron told the New York Post. “I know he’s really happy that the show is going to be available for people, even though he can’t tell me that. When I got to spend time with him, we talked about it and I know he’s excited.”
Caron visits Willis about once a month and keeps in contact with the star’s wife, Emma Heming Willis. Thus, he has a solid perspective on the effects the disease is having on his former star.
“The joie de vivre” Willis was known for “is gone.”
“I have tried very hard to stay in his life,” Caron said. “The thing that makes [his disease] so mind-blowing is [that] if you’ve ever spent time with Bruce Willis, there is no one who had any more joie de vivre than he. He loved life and … just adored waking up every morning and trying to live life to its fullest. So the idea that he now sees life through a screen door, if you will, makes very little sense.”
When they are together, he thinks Willis knows who he is within “the first one to three minutes” of their visit. However, “He’s not totally verbal. He used to be a voracious reader … and he’s not reading now. All those language skills are no longer available to him, and yet he’s still Bruce. When you’re with him you know that he’s Bruce and you’re grateful that he’s there, but the joie de vivre is gone.” | |||||
2417 | dbpedia | 1 | 58 | https://nationalwomenshistoryalliance.org/this-month-in-womens-history/february/ | en | National Women's History Alliance | [
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] | null | [] | 2014-09-25T19:56:04+00:00 | en | National Women's History Alliance | https://nationalwomenshistoryalliance.org/this-month-in-womens-history/february/ | February is Black History Month
Black History Month recognizes and honors important people and events in the history of African-American history. In 1926 noted historian, Carter G. Woodson, originated the idea of “Negro History Week”. Woodson chose the second week of February because it marked the birthdays of two Americans who greatly influenced the lives and social condition of African Americans – former President Abraham Lincoln and abolitionist Frederick Douglass.
The tradition of what became Black History Month greatly influenced the expansion of academic scholarship and the corresponding recognition of the rich history of African Americans
Take the Black Women’s History Challenge
Celebrate Black History Month
February Highlights in US Women’s History
February 1, 1978 – First postage stamp to honor a black woman, Harriet Tubman, is issued in Washington, DC
February 4, 1987 – First “National Women in Sports Day” is celebrated by Presidential Proclamation
February 11, 1989 – Rev. Barbara Harris became the first woman bishop in the American Episcopal Church and in the Anglican Communion worldwide.
February 12, 1869 – The Utah Territorial Legislature passes a bill allowing women to vote
February 15, 1921 – The Suffrage Monument, depicting Susan B. Anthony, Elizabeth Cady Stanton, and Lucretia Mott, sculpted by Adelaide Johnson, is dedicated at the U.S. Capitol
February 15, 1953 – Tenley Albright became the first American woman to win the World Figure Skating championship
February 17, 1870 – Esther Hobart Morris in Wyoming became the first American woman Justice of the Peace
February 24, 1912 – Henrietta Szold founds Hadassah, the largest Jewish organization in American history, focusing on healthcare and education in the Israel and the U.S.
February 24, 1967 – Jocelyn Bell Burnell makes the first discovery of a pulsar, a rapidly rotating neutron star
February 27, 1922 – U.S. Supreme Court upholds the 19th Amendment to the Constitution, which guarantees women the right to vote
February Birthdays
February 1, 1878 (1950) – Hattie Wyatt Caraway, first woman elected to the U.S. Senate (1932, D-AR), first woman to preside over the Senate (1943)
February 1, 1910 (1988) – Ursula Nordstrom, children’s book editor, worked at Harper & Brothers after secretarial course in 1931, became director of the Department of Books for Boys and Girls (1940) where she edited landmark books including Margaret Wise Brown’s Goodnight, Moon, E.B. White’s Charlotte’s Web and Stuart White, Shel Silverstein’s The Giving Tree, Maurice Sendak’s Where the Wild Things Are, and “I Can Read Books” with Elsie Minarick’s Little Bear
February 1, 1930 (1986) – Ruth Ross, magazine editor, helped found inaugural issue of “Essence” (1970), which included articles of leading African-American scholars and writers, however the Black Perspective, first to address issue of race in the media, feared advertising losses and removed her so the magazine became “less black”
February 3, 1821 (1910) – Elizabeth Blackwell, the first fully accredited female doctor in the U.S. (1849), along with her sister Emily, founded the first medical school for women
February 3, 1874 (1946) – Gertrude Stein, poet, author, art critic, famous for her phrase, “A rose is a rose is a rose is a rose”
February 4, 1865 (1921) – Lila Valentine, Southern suffrage leader, introduced kindergartens and vocational training into public education in Virginia, recognized health needs with the Visiting Nurse Association fighting tuberculosis, supported the Equal Suffrage League of Virginia and the National American Woman Suffrage Association after visiting England and realizing that many health issues required women’s voice, made 100 speeches in Virginia
February 4, 1913 (2005) – Rosa Parks, “Mother of the Civil Rights Movement,” her arrest after refusing to give up her seat on a segregated bus in Montgomery, Alabama, sparked a boycott of the bus system, which eventually led to the Supreme Court decision to integrate buses
February 4, 1918 (1995) – Ida Lupino, prolific American woman director and actress, born in England, emigrated to Hollywood in the 1930’s, involved with movies dealing with social issues, bigamy, polio, unwed mothers, and rape more than 40 years before the topics were widely discussed
February 4, 1921 (2006) – Betty Friedan, author and activist, wrote The Feminine Mystique (1963), cofounded the National Organization for Women (NOW) in 1966
February 5, 1905 (1999) – Mirra Komaroysky, Russian born, fled first to Kansas and then to Brooklyn, studied effect of male unemployment in families and conflicts in women’s lives, wrote Women in the Modern World (1953), predating Betty Friedan by 10 years
February 5, 1914 (1994) – Hazel Smith, Mississippi journalist, first woman to win Pulitzer Prize for Editorial Writing (1954), although a segregationist, she supported law and justice and wrote that society must follow the law on integration, which led to bankruptcy and extreme poverty, a TV movie, “A Passion for Justice,” (1994) was based on her life
February 6, 1887 (1985) – Florence Luscomb, architect and reformer, first woman to graduate from MIT (as an architectural graduate) in 1909, gave 222 speeches for woman suffrage in 14 weeks, learned to drive and repair her party’s touring car, sold copies of “The Woman’s Journal,” ardent outdoorswoman, joined ACLU in 1919, helped to derail anti-communism crusade in Massachusetts, NAACP official (1948), ardent opponent of the Vietnam War
February 7, 1867 (1957) – Laura Ingalls Wilder, author of beloved Little House books
February 7, 1918 (1997) – Ruth Sager, scientist, graduate of the University of Chicago, worked on corn genetic research in plants, studied cancer research after 1975, became professor of cellular genetics and chief of the Cancer Genetics Division at Harvard Medical School
February 8, 1911 (1979) – Elizabeth Bishop, poet and writer, graduate of Vassar, won the Pulitzer Prize in 1956, struggled with depression, alcoholism and asthma, wrote on a variety of subjects, probably her most enduring work is Geography III (1976)
February 9, 1849 (1941) – Laura Clay, anti-slavery proponent from childhood, woman’s rights advocate from 1869, president of Kentucky Woman Suffrage Association (1881) and the Kentucky Equal Rights Association, popular lecturer for suffrage but states’ rights position led her to oppose the 19th amendment in Tennessee in 1920
February 9, 1944 – Alice Walker, writer, first African-American woman to win the Pulitzer Prize for fiction, for The Color Purple (1983)
February 10, 1883 (1959) – Edith Clarke, first woman to earn an M. S. in electrical engineering from MIT (1919), first woman professor of electrical engineering (1947), invented the Clarke Calculator, a graphical device for solving power transmission line equations
February 10, 1901 (1992) – Stella Adler, family fled from Russia in 1892 when Yiddish plays were prohibited, debuted in 1922 in New York, developed 2-year curriculum at Stella Adler Acting Studio in New York and Los Angeles, graduates include Marlin Brando and Robert De Nero
February 10, 1907 (1992) – Grace Hamilton, first African-American in the Deep South’s state government, elected to the Georgia General Assembly 1966-84, credited with Andrew Young’s victory in Georgia’s Congressional election in 1980
February 10, 1927 – Leontyne Price, Grammy Award winning opera singer
February 11, 1925 (1998) – Aki Kurose, interned in 1942, the American Friends Service Committee funded her college work, anti-war projects included treatment for cancer victims of Hiroshima, taught peace education in Seattle schools where she used Martin Luther King’s nonviolent example
February 12, 1884 (1980) – Alice Roosevelt Longworth, “Princess Alice,” the first political celebrity of the 20th century, when her father Theodore Roosevelt was asked why he could not discipline her, he explained that he do that or rule the country but he couldn’t do both, as adult she espoused isolationist ideas of America First
February 12, 1926 (1992) – Joan Mitchell, abstract painter, creations included many 6- and 8-foot canvasses with animals, her poetry also included nature and animals subjects
February 13, 1906 (1990) – Pauline Frederick, journalist, first woman network radio correspondent (1939), first woman to moderate a presidential debate (1976)
February 14, 1847 (1919) – Anna Howard Shaw, woman suffrage leader, exceptionally fine orator, licensed as Methodist Protestant minister in 1880, graduated as M.D. in 1886, organizer with Massachusetts Woman Suffrage Association 1888-92, lectured in every state, beloved president of the National American Woman Suffrage Association (1904-15), awarded the Distinguished Service Medal for her work during World War I
February 14, 1891 (1977) – Katherine Stinson, the fourth licensed woman pilot in the country (1912), first to fly mail from Helena, Montana (1913), first woman to “loop the loop” (1915), first woman to fly in Asia, drawing 25,000 to watch in Tokyo
February 14, 1904 (1988) – Jessie O’Connor, journalist, Smith College magna cum laude (1925), reported textile strikes in North Carolina and coal strikes in Harland Co., Kentucky, helped those accused of communism, Vietnam anti-war opposition, and anti-Reagan protests
February 14, 1914 (1976) – Nancy Love, pilot, ferried planes to Canada during World War II as Commander of the Women’s Auxiliary Ferrying Squadron (WAFS) 1940-42, group later absorbed into WASPs
February 15, 1820 (1906) – Susan B. Anthony, inspirational leader of 19th century women’s right movement, national suffrage strategist, lecturer, activist
February 15, 1935 – Susan Brownmiller, writer, also known as Susan Warhaftig, writes novels and conducts historical research, including Against Our Will: Men, Woman and Rape (1975) and a memoir, In Our Time
February 16, 1870 (1927) – Leonora O’Reilly, labor organizer, founding member of the Woman’s Trade Union League, helped found NAACP
February 16, 1905 (1988) – Louise Larson, first Chinese American and first Asian American reporter in a mainstream daily paper (1926), received many awards, wrote memoir Sweet Bamboo (1989)
February 17, 1912 (2005) – Andre Norton, writer, Alice Mary Norton used “Andre” thinking that it would be more salable in science fiction and fantasy, also used pseudonyms “Andrew North” and “Allen Weston,” 50 years later she was named “Grand Dame of Science and Fantasy”
February 17, 1930 – Ruth Rendell, author who under the pseudonym “Barbara Vine” became popular in America for her psychological crime thrillers novels but she is really the English Baroness of Babergh, C. B. E.
February 18, 1931 – Toni Morrison, Pulitzer Prize winning novelist, first African-American to win the Nobel Prize for Literature (1993)
February 18, 1934 (1992) – Audre Geraldine Lorde, writer, authored a book of poetry or essay almost every year, fought sexism and homophobia, joined the struggle for civil rights and feminism, created Kitchen Table Women of Color Press with others in 1988, wrote A Burst of Light to highlight her response to liver cancer
February 19, 1902 (1992) – Kay Boyle, writer and political activist, involvement in anti-Vietnam war demonstrations led to jail sentence in Oakland, CA, considered by some a better writer than Djuna Barnes and Anais Nin but has not yet earned similar acclaim
February 19, 1875 (1957) – Margaret Foley, labor organizer, suffragist, and social worker, she was an out-spoken suffrage activist who would loudly confront anti-suffrage speakers, made a solo balloon flight over Lawrence, Massachusetts, tossing suffrage literature from the basket (1910)
February 19, 1952 – Amy Tan, novelist, mother-daughter relationships are subject of The Joy Luck Club, now in 35 languages, The Kitchen God’s Wife (1991), and The Bonesetter’s Daughter (2001)
February 20, 1805 (1879) – Angelina Grimké, abolitionist, joined the Philadelphia Female Anti-Slavery Society in 1835 and addressed “mixed” audiences in 1837, wrote An Appeal to the Christian Women of the South criticizing slavery in 1836, after which a price was placed on her head should she return to South Carolina
February 20, 1902 (1995) – Katharine Way, Ph. D. in nuclear theory at the University of North Carolina (1938), developed the Way-Wigner formula for fission produced decay, her concern for the health of retirees led to Durban Seniors for Better Health in the City of Medicine
February 21, 1855 (1902) – Alice Freeman Palmer, educator, founded the predecessor organization to the American Association of University Women (AAUW) in 1881
February 21, 1903 (1977) – Anais Nin, began her 69 volumes of journals with a letter to her father, found she liked recording her thoughts in stream of consciousness style, some journals were published in 1966, also wrote novels and D.H. Lawrence: An Unprofessional Study (1932)
February 21, 1927 (1996) – Erma Bombeck, humorist and columnist, began writing obituaries and columns on gardening, eventually wrote books of humor, supported the Equal Rights Amendment, appeared on “Good Morning America” for 11 years
February 21, 1936 (1996) – Barbara Jordan, politician, star debater at Texas State University, served in Texas state legislature 1962-72, elected to the House of Representatives 1973-78 where she sponsored expanding the coverage of the Voting Rights Act and voted to impeach Nixon, taught 17 years at University of Texas, awarded the Presidential Medal of Freedom (1994)
February 22, 1876 (1938) – Gertrude Bonnin (Zitkala-Sha), writer; Sioux Indian activist, founded the National Council of American Indians (1926)
February 22, 1892 (1950) – Edna St. Vincent Millay, first woman to receive the Pulitzer Prize for Poetry (1923)
February 22, 1900 (1996) – Meridal LeSueur, passionate poet and writer of short fiction and essays dealing with unfair labor conditions and the land rights of Southwest and Minnesota Native American tribes
February 23, 1900 (1991) – Elinor Warren, composer, gifted pianist, wrote more than 65 art songs, major works with orchestra are “The Harp Weaver” (1936) and “The Legend of King Arthur” (1970)
February 23, 1904 (1995) – Helen Nearing, determined to live a more simple life, she and her husband Scott learned better techniques for surviving independently and also for getting maple syrup, traveled on lecture circuit where they publicized their The Good Life practices, which they had refined at their Maine homestead and organic garden
February 25, 1910 (1992) – Millicent Fenwick, fashion editor, member of the New Jersey General Assembly (1969-73), earned the nickname “Outhouse Millie” for her fight for better working conditions for migrant workers (including portable toilets), won seat in Congress in 1974 and served three terms, turned up in comic strip “Doonesbury” as “Lucy Davenport,” champion of gun control, campaign spending limits, and ERA
February 26, 1859 (1953) – Louise Bowen, Chicago philanthropist, saved Hull House financially in 1935, funded the Woman’s Club building, demanded removal of health hazards from Pullman Company, obtained minimum wage for women at International Harvester Company and raised $12,000 for families of strikers
February 26, 1921 (1985) – Wilma Heide, educator and women’s studies pioneer, president of National Organization for Women 1971- 72, spearheaded sex discrimination charges against ATT
February 27, 1890 (1989) – Mabel Staupers, graduate of Freedman’s Hospital of Nursing (now Howard University) in 1917, led Harlem Committee of the New York Tuberculosis and Health Association, organized health education, public lectures, free exams and dental care for school children, fought for full racial integration with the help of Frances Bolton, integrated Army and Navy nurses
February 27, 1897 (1993) – Marian Anderson, opera singer, first African-American member of the New York Metropolitan Opera (1955)
February 28, 1898 (1992) – Molly Picon, Yiddish actress, performed around the world beginning with “Baby Margaret” at age 5, entertained troops in Korea and Japan during World War II, renowned for her somersaults and flips well into her seventies, wrote one-woman show, “Hello, Molly” (1979), and an autobiography, Molly (1980)
February 29, 1916 (1994) – Dinah Shore, singer and actress, performed on WSM in college with Frankie Laine, Dennis Day, Frank Sinatra and others, became a regular on Eddie Cantor’s show in 1940, entertained USO troops during World War II (12,000 at Versailles), won first of 10 Emmy Awards in 1955 for “The Dinah Shore Show,” which ran until 1962 | ||||||
2417 | dbpedia | 3 | 41 | https://www.holle.ch/en/goat-milk-formula/ | en | For sensitive digestion of your baby | [
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] | 2023-01-27T15:51:49+00:00 | Holle Organic Goat Milk Formula âï¸ From the start ï¸âï¸ 20 years of experience âï¸ Made in Germany âï¸ NEW in Demeter Quality : More than Organic | de | Holle | https://www.holle.ch/en/goat-milk-formula/ | 20 years of experience - Holle Goat Milk Formula
Parents have been using our Holle milk formulas made from goat milk for their babies for over 20 years. This makes us not only one of the first suppliers of this cow’s-milk alternative, but we have also relied on organic goat milk from the very beginning. This year, we became the first manufacturer to offer infant goat milk formula in Demeter quality.
‘More than 20 years ago, Holle looked into possibilities for parents who didn’t want to give their babies formulas based on cow’s milk. Goat milk presents itself as a natural alternative. Goat milk is extremely easy to digest and has a long tradition as a source of nutrition for babies and children all over the world. We therefore started to develop formulas made from goat milk, which we launched onto the market as special baby food based on goat milk in 2001. Back then, the authorities had not yet approved goat milk as a source of animal protein. This changed in 2014. Holle, however, had already satisfied thousands of parents in Europe with the product long before.’
Udo Fischer
Managing Director and Head of Marketing, Communications and Business Development
Holle Goat Milk promotion
For more baaaaaa
But where does Holle Goat Milk actually come from? And why is it more sustainable?
Our goat milk comes from Demeter farms in the Black Forest and the Sauerland region. We have been campaigning for the use of goat milk in the Black Forest since 2012 and thereby promoting the transition to Demeter farming. This preserves small-scale farms and ensures long-term profitability through stable pricing structures. In addition, goat farming generally makes an important contribution to the climate: in dairy farming, it produces fewer CO2 emissions than dairy cows.
The goat milk obtained from these farms is used for Holle infant milk made from goat milk. We offer our farmers long-term contracts. And demand is steadily increasing.
"2025, we aim to be working with around 20 partner farms throughout the Black Forest, which will mean a total of up to 4,000 goats", states Klaus Brutschin, producer advisor at Holle. | |||||
2417 | dbpedia | 3 | 16 | https://jacobhollefuneralhome.com/tribute/details/8768/Eula-Alexander/obituary.html | en | Obituary of Eula T. Alexander | [
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2417 | dbpedia | 1 | 35 | https://www.encyclopedia.com/politics/legal-and-political-magazines/petition-against-annexation-hawaii | en | Petition Against the Annexation of Hawaii | [
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By: Anonymous
Date: September 11, 1897
Source: "Petition Against the Annexation of Hawaii." Records of the U.S. Senate: National Archives and Records Administration (September 11, 1897) Record Group 46. Courtesy of the National Archives and Records Administration.
About the Photographer: The United States National Archives and Records Administration (NARA) is an independent agency of the U.S. federal government. The NARA is responsible for documenting and preserving governmental and historical records such as presidential proclamations and executive orders, Congressional acts, and federal regulations.
INTRODUCTION
In 1891, Queen Lili'uokalani (1838–1917) was the reigning monarch of Hawaii (locally spelled Hawai'i). However, the previous government—led by her brother King David Kalakaua (1836–1891) from 1874 to 1891—had continuing disputes with American and European businesspersons who were doing business in Hawaii, primarily in the agricultural industry as owners of sugar cane plantations. By the end of the 1890s, non-native white farmers and businesspersons had taken control over most of Hawaii's privately held land.
King Kalakaua's primary goal was to preserve Hawaii's culture, which ran against powerful American and European goals. During this time, the Hawaiian economy increasingly relied on trade with the United States. Trade agreements eventually helped sugar plantation owners dominate the local economies and national politics. Perceiving the King as dishonest, unreliable, and anti-American, and wanting large tariffs to be removed from their sugar sales, a group of American and European business leaders gained control of the monarch with assistance of an armed militia. A new constitution was implemented—called the Bayonet Constitution because it was signed by Kalakaua against his wishes—which limited the authority of the King's government, focused power with wealthy white land owners, and eliminated many rights from native Hawaiians.
When Queen Lili'uokalani accepted her country's leadership upon her brother's death, she attempted to return power to the native Hawaiians and resume friendly relations with the American and European business and political leaders. However, on January 16–17, 1893, a group of American sugar farmers and business leaders, along with the help of U.S. Minister to Hawaii John Stevens and Marines from the U.S.S. Boston, deposed Lili'uokalani and overthrew her monarchy. They established a new government headed by Sanford Ballard Dole (1844–1926), an attorney, justice, and former advisor to the monarch. Without approval from the U.S. State Department, Stevens recognized the new government and declared Hawaii, as of February 1, 1893, to be a protectorate of the United States.
Immediately, the leaders of the new government negotiated a treaty of annexation with the United States. However, President Grover Cleveland, who had succeeded President Benjamin Harrison in March 1893, did not agree with their imperialistic acts. After deciding that Stevens' actions were inappropriate, Cleveland stopped the treaty and ordered Queen Lili'uokalani to be returned to the throne. Unfortunately, Dole and the Hawaiian revolutionaries ignored his demands, stating that the United States did not have the right to interfere with internal Hawaiian affairs. Instead, they developed plans to make Hawaii an independent republic. On May 30, 1894, a constitutional convention was assembled and, on July 4, 1894, the new constitution took effect with Dole as the country's president. The United States recognized the Republic of Hawaii.
During the next three years, the native Hawaiians protested the overthrow of the Lili'uokalani government and the possible annexation of Hawaii. In particular, on January 5, 1895, native Hawaiian protestors used violence in an attempt to stop annexation plans. However, the violence was quelled by governmental forces, with leaders of the revolt and Queen Lili'uokalani jailed.
In March 1897, William McKinley, who succeeded Cleveland as president, held the opposite view of Cleveland—he wanted to annex Hawaii. On June 16, 1897, McKinley and Hawaiian representatives signed a treaty of annexation. However, native male Hawaiians formed the Hui Hawaii Aloha Aina (loosely translated as Hawaiian Patriotic League) and native female Hawaiians formed the Hui Hawaii Aloha Aina o Na Wahine in order to block the annexation. The two groups conducted a petition drive from September 11 to October 2, 1897, hoping to show the U.S. government that most Hawaiians were opposed to annexation. They collected over 21,000 signatures from natives on the five main Hawaiian islands—or more than fifty percent of all native Hawaiians. The Petition Against Annexation helped lobbying efforts to convince members of the U.S. Congress not to ratify the annexation treaty. On February 27, 1898, only forty-six senators voted for annexation, less than the two-thirds majority needed for approval.
PRIMARY SOURCE
PETITION AGAINST ANNEXATION OF HAWAII
See primary source image.
SIGNIFICANCE
The struggle to stop annexation by members of the Hawaiian Patriotic League and their female counterparts, along with lobbying efforts by the native Hawaiian representatives, did not last long. On February 15, 1898, the U.S.S. Maine was destroyed in Havana harbor in Cuba, which provoked the Spanish American War. With much of the fighting around the Philippine Islands, the United States needed a fueling station and naval base in the Pacific Ocean. U.S. political and military leaders saw that Hawaii was best positioned strategically for those needs. The U.S. Congress—needing only a simple majority in both houses—approved the annexation of Hawaii. The president signed the resolution on July 7, 1898, and the transfer of power was held on August 12, 1898. On June 14, 1900, Hawaii became a U.S. territory, with its people now considered U.S. citizens and Dole appointed territorial governor. The resolution ceded 1.8 million acres (728,400 hectares) of the Hawaiian lands—nearly fifty percent of the total—to the United States. However, the native Hawaiians and their government never directly relinquished their claims, nor were they ever compensated for their lands and possessions.
From 1900 to 1959, Hawaii remained a U.S. territory. Hawaii was admitted as the fiftieth state of the United States on August 21, 1959. Active opposition to statehood occurred on that day in Hawaii.
The petition against annexation of Hawaii by the United States on September 11, 1897, was an attempt by native Hawaiians to preserve their cultural heritage, to maintain their national identity, and to prevent further power to be gained by white businesspersons. The majority of native Hawaiians were against annexation of their land to the United States. However, the actions of the white businesspeople driven by their monetary goals were stronger than the actions of the native Hawaiian people with their cultural goals.
On November 23, 1993, the U.S. Congress passed a joint resolution that was signed by President William Clinton. The Apology Resolution, named Public Law No. 103–150, acknowledged that the United States acted improperly in its role supporting the overthrow of Hawaii, and acknowledged the ramifications of the illegal overthrow in 1893. The apology was a first step in the reconciliation process of the United States toward Hawaii.
Now, in the early years of the twenty-first century, citizens of Hawaii are divided with respect to their future and their state's relationship with the United States. Three major divisions have arisen with the following desires: (1) a country-within-a-country arrangement, similar to the one granted to the American Indians and Alaska Natives, (2) secession from the United States, with independent nationhood status, and (3) abolishment of any Native Hawaiian entitlement programs. Civil rights and self-determination continue to be difficult questions being asked by Hawaiians. As the petition against the annexation of Hawaii showed in 1897, Hawaiians still struggle to preserve their culture, heritage, and identity. Some believe that native Hawaiians have been able to preserve their culture, while others believe that because of the large number of immigrants and the U.S. domination of their land, native Hawaiians have lost their identities. Some even consider native Hawaiians as outsiders in their own land. Over the years, native Hawaiians have lost economic and political power to more affluent immigrant inhabitants.
FURTHER RESOURCES
Books
Bell, Roger John. Last Among Equals: Hawaiian Statehood and American Politics. Honolulu, Hawaii: University of Hawaii Press, 1984.
Liliuokalani, Queen of Hawaii. Hawaii's Story by Hawaii's Queen. Rutland, Vt.: C.E. Tuttle Co., 1964.
Tate, Merze. The United States and the Hawaiian Kingdom: A Political History. New Haven, Conn.: Yale University Press, 1965.
Web sites
Hawaii Advisory Committee to the U.S. Commission on Civil Rights, National Asian American Pacific Islander Mental Health Association. "Reconciliation at a Crossroads: The Implications of the Apology Resolution and Rice v. Cayetano for Federal and State Programs Benefiting Native Hawaiians." June 2001. <http://www.naapimha.org/issues/Reconciliation-Crossroads.pdf> (accessed May 31, 2006).
PBS (Public Broadcasting Service) Online, WGBH Educational Foundation. "Hawaii's Last Queen." <http://www.pbs. org/wgbh/amex/hawaii> (accessed May 31, 2006). | |||||
2417 | dbpedia | 3 | 94 | https://monoskop.org/Alexander_Kluge | en | Alexander Kluge | [
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... | null | [] | null | Wiki for Arts and Studies | en | /favicon.ico | null | Alexander Kluge (1932) is a German author and film director.
Kluge was born in the town of Halberstadt in the vicinity of Magdeburg in 1932, the son of a doctor. After completing his high school education in Berlin, he studied Law, History and Music at universities in Marburg and Frankfurt am Main and received his doctorate in Law in 1956. During his studies in Frankfurt, Kluge became acquainted with Theodor Adorno at the Institute for Social Research where he performed legal services and began to write stories. It is through his discussions with Adorno in particular that Kluge became interested in film, despite the fact that Adorno was not himself fond of film. As Kluge has recalled in an interview, "[Adorno] sent me to Fritz Lang in order to protect me from something worse, so that I wouldn't get the idea to write any books. If I were turned away, then I would ultimately do something more valuable, which was to continue to be legal counsel to the Institute". In 1958 Adorno introduced Kluge to Fritz Lang, who was filming Der Tiger von Eschnapur and Das indische Grabmal (1958-1959) in Berlin. Legend has it that Kluge found the experience rather tiresome and began to write stories in the studio cafeteria, stories that would eventually become material for his own films. (Source)
Filmography[edit]
(directed films; in German unless noted otherwise)
Publications[edit]
(in German unless noted otherwise)
Books[edit]
Die Universitäts-Selbstverwaltung. Ihre Geschichte und gegenwärtige Rechtsform, Frankfurt am Main: Klostermann, 1958. Dissertation.
Lebensläufe, Stuttgart: Goverts, 1962; new ed., exp., Frankfurt am Main: Suhrkamp, 1986. Fiction. Incl. "Anita G.".
Attendance List for a Funeral: Stories, trans. Leila Vennewitz, New York: McGraw-Hill, 1966, 203 pp; rev. ed. as Case Histories: Stories, New York: Holmes & Meier, 1988, xix+203 pp. (English)
Biografie, trans. Enrico Filippini, Milan: A. Mondadori, 1966, 312 pp. (Italian)
Życiorysy, trans. Joanna and Janina Jonscher, Warsaw: Wydaw. Ministerstwa Obrony Narodowej, 1966, 286 pp. (Polish)
Anita G., suivi d'autres nouvelles, trans. Anne Gaudu, Paris: Gallimard, 1967, 243 pp. (French)
Personakter, trans. Elsie and Håkan Tollet, Stockholm: Norstedt, 1967, 220 pp. (Swedish)
Životopisy, trans. Jitka Bodláková, Prague: Svoboda, 1969, 194 pp. (Czech)
Schlachtbeschreibung, Olten/Freiburg im Breisgau: Walter, 1964; 2nd ed., Frankfurt am Main: Suhrkamp, 1993. Fiction.
Slaget, trans. Elsie and Håkan Tollet, Stockholm: Norstedt, 1965, 307 pp. (Swedish)
Stalingrad: description d'une bataille, trans. Anne Gaudu, Paris: Gallimard, 1966, 284 pp. (French)
Taistelukuvaus, trans. Aaro Lassi, Helsinki: Tammi, 1966, 297 pp. (Finnish)
The Battle, trans. Leila Vennewitz, New York: McGraw-Hill, 1967, 255 pp. (English)
Organizzazione di una disfatta. Stalingrado, Milan: Rizzoli, 1967, 271 pp. (Italian)
Slaget: En dokumentarisk skildring af slaget om Stalingrad, trans. Mogens Boisen, Copenhagen: Gyldendal, 1967, 240 pp. (Danish)
Die Artisten in der Zirkuskuppel, ratlos; Die Unglaubige; Projekt Z; Spruche der Leni Peickert, Munich: Piper, 1968.
Gli artisti sotto la tenda del circo, perplessi - L'incredula - Progetto C - Detti di Leni Peickert, trans. Bruna Bianchi and E. Filippini, intro. Pier Paolo Pasolini, Milan: Garzanti, 1969. (Italian)
with Oskar Negt, Öffentlichkeit und Erfahrung. Zur Organisationsanalyse von bürgerlicher und proletarischer Öffentlichkeit, Frankfurt am Main: Suhrkamp, 1972. Excerpt. Publisher. [6]
Offentlighet og erfaring: til organisasjonsanalysen av borgerlig og proletarisk offentlighet, trans. Rolf Reitan, forew. Carsten Kyhn and Rolf Reitan, Nordisk Sommeruniversitet, 1974, xxiv+320 pp. NB. (Norwegian)
Sfera pubblica ed esperienza: per un'analisi dell'organizzazione della sfera pubblica borghese e della sfera pubblica proletaria, trans. Teodoro Scamardi, pref. Pier Aldo Rovatti, Milan: Mazzotta, 1979, 228 pp. (Italian)
"The Public Sphere and Experience: Selections", trans. & forew. Peter Labanyi, October 46, Fall 1988, pp 60-82. [7] (English)
Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, forew. Miriam Hansen, trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff, University of Minnesota Press, 1993, 305 pp; repr., London: Verso, 2016, xliv+305 pp. (English)
Lernprozesse mit tödlichem Ausgang, Frankfurt am Main: Suhrkamp, 1973; 4th ed., 1988. Sci-fi.
Massdöden i Venedig och andra läroprocesser med dödlig utgång, trans. Margaretha Holmqvist, Stockholm: PAN/Norstedt, 1977, 183 pp. (Swedish)
Learning Processes with a Deadly Outcome, trans. Christopher Pavsek, Duke University Press, 1996, xiv+112 pp. (English)
"Mass Death in Venice", trans. Jeffrey S. Librett, New German Critique 30 (Autumn 1983), pp 61-63. Excerpt. (English)
Gelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt am Main: Suhrkamp, 1975.
Neue Geschichten, Hefte 1-18: "Unheimlichkeit der Zeit", Frankfurt am Main: Suhrkamp, 1977. Review: Enzensberger (1978).
Nuove storie: "spaesato nel tempo", trans. Giuliano Bernini, Milan: Feltrinelli, 1982, 431 pp. (Italian)
"Selections from New Stories, Notebooks 1-18 'The Uncanniness of Time' ", October 46 (Autumn 1988), pp 103-115. Excerpt. (English)
Die Patriotin. Texte/Bilder 1–6, Frankfurt am Main: Zweitausendeins, 1979, 480 pp.
"On Film and the Public Sphere", trans. Thomas Y. Levin and Miriam B. Hansen, New German Critique 24/25 (Fall/Winter 1981-82), pp 206-220; repr. in Kluge, Raw Materials for the Imagination, 2012, pp 33-49. Excerpts. (English)
with Oskar Negt, Geschichte und Eigensinn, I. Geschichtliche Organisation der Arbeitsvermögen; II. Deutschland als Produktionsöffentlichkeit; III. Gewalt des Zusammenhangs, Frankfurt am Main: Zweitausendeins, 1981, 1283 pp; repr., Frankfurt am Main: Suhrkamp, 1993. [8] TOC. [9] [10]
History and Obstinacy, ed. & intro. Devin Fore, trans. Richard Langston, Zone Books, 2014, 541 pp. Introduction. (English)
Die Macht der Gefühle, Frankfurt am Main: Zweitausendeins, 1984.
Der Angriff der Gegenwart auf die übrige Zeit, Frankfurt am Main: Syndikat, 1985, 112 pp.
"The Assault of the Present on the Rest of Time", trans. Tamara Evans and Stuart Liebman, New German Critique 49 (Winter 1990), pp 11-22. Excerpts. (English)
with Klaus von Bismarck, Günter Gaus, and Ferdinand Sieger, Industrialisierung des Bewußtseins. Eine kritische Auseinandersetzung mit den "neuen" Medien, Munich: Piper, 1985, 220 pp. [11]
with Oskar Negt, Maßverhältnisse des Politischen. 15 Vorschläge zum Unterscheidungsvermögen, Frankfurt/Main: Fischer, 1992; Steidl, 2016, 336 pp. Publisher. [12]
Die Wächter des Sarkophags. 10 Jahre Tschernobyl, Hamburg: Rotbuch, 1996.
with Heiner Müller, Ich schulde der Welt einen Toten: Gespräche, Hamburg: Rotbuch, 1996, 110 pp.
Esprit, pouvoir et castration: entretiens inédits (1990-1994), trans. Marianne Beauviche and Eleonora Rossi, postf. Jean Jourdheuil, Paris: Editions théâtrales, 1998, 74 pp. [13] (French)
"Character Armour and Mobile Warfare", trans. Philip Thomson, in Kluge, Raw Materials for the Imagination, 2012, pp 365-368. Trans. of "Charakterpanzer und Bewegungskrieg", pp 85-91 in German edition. (English)
with Heiner Müller, Ich bin ein Landvermesser. Gespräche mit Heiner Müller. Neue Folge, Hamburg: Rotbuch, 1996, 180 pp.
Profession arpenteur: entretiens, nouvelles série (1993-1995), trans. Eleonora Rossi and Jean-Pierre Morel, postf. Jean-Pierre Morel, Paris: Editions théâtrales, 2000, 127 pp. [14] (French)
Chronik der Gefühle, 2 vols., Frankfurt am Main: Suhrkamp, 2000. 1. Basisgeschichten; 2. Lebensläufe. Contains Schlachtbeschreibung, Lernprozesse mit tödlichen Ausgang, Lebensläufe and Neue Geschichten.
Chronique des sentiments, trans. & intro. Pierre Deshusses, Paris: Gallimard, 2003, 248 pp. (French)
Ur känslornas historia, trans. Lars Bjurman, Eslöv: Symposion, 2003, 224 pp. (Swedish)
Khronika chuvstv [Хроника чувств], trans. S. Romashko, Moscow: Novoe literaturnoe obozrenie (Новое литературное обозрение), 2004, 384 pp. (Russian)
Chronique des sentiments, I. Histoires de base, trans. Anne Gaudu, et al., Paris: POL, 2016. Publisher. (French)
Chronique des sentiments, II, trans. Anne Gaudu, et al., Paris: POL, 2018. (French)
Crónica dos Sentimentos I: Histórias de Base, Lisbon: BCF Editores, 2019. (Portuguese)
Crónica dos Sentimentos II: A queda para fora da realidade, Lisbon: BCF Editores, 2021. (Portuguese)
Facts & Fakes, 4 vols., eds. Christian Schulte and Reinald Gußmann, Berlin: Vorwerk 8, 2000-02.
with Oskar Negt, Der unterschätzte Mensch. Gemeinsame Philosophie in zwei Bänden, 2 vols., Frankfurt am Main: Zweitausendeins, 2001. 1. Suchbegriffe / Öffentlichkeit und Erfahrung / Massverhältnisse des Politischen; 2. Geschichte und Eigensinn. Contains Suchbegriffe (26 conversations and interviews first published in a book format), Öffentlichkeit und Erfahrung, Die Maßverhältnisse des Politischen (upd. & rev. ed. of Negt's and Kluge's critique of Realpolitik), and Geschichte und Eigensinn.
O que há de político na política? relações de medida em política; 15 propostas sobre a capacidade de discernimento, trans. João Azenha jún, São Paulo: UNESP, 1999, 316 pp. (Brazilian Portuguese)
Verdeckte Ermittlung. Ein Gespräch mit Christian Schulte und Rainer Stollman, eds. Christian Schulte and Rainer Stollman, Berlin: Merve, 2001.
Die Kunst, Unterschiede zu machen, Frankfurt am Main: Suhrkamp, 2003.
Die Lücke, die der Teufel lässt. Im Umfeld des neuen Jahrhunderts, Frankfurt am Main: Suhrkamp, 2003.
The Devil's Blind Spot: Tales From the New Century, trans. Martin Chalmers and Michael Hulse, New York: New Directions, 2004, viii+322 pp. [15] Contains 173 of the 500 stories in the original German edition. (English)
El hueco que deja el diablo historias del nuevo siglo, trans. Daniel Najmías, Barcelona: Anagrama, 2007, 377 pp. (Spanish)
with Dirk Baecker, Vom Nutzen ungelöster Probleme, Berlin: Merve, 2003.
Fontane – Kleist – Deutschland – Büchner: Zur Grammatik der Zeit, Berlin: Wagenbach, 2004.
La grammaire du temps: Theodor Fontane, Heinrich von Kleist, Anna Wilde, G. E. Lessing, Jürgen Habermas, Heiner Müller, trans. Anne-Elise Delatte, Harmattan, 2003, 158 pp. (French)
Tür an Tür mit einem anderen Leben. 350 neue Geschichten, Frankfurt am Main: Suhrkamp, 2006.
Geschichten vom Kino, Frankfurt am Main: Suhrkamp, 2007. [16]
Cinema Stories, trans. Martin Brady and Helen Hughes, New York: New Directions, 2007, 111 pp. [17] (English)
120 historias del cine, trans. Nicolás Gelormini, ed. Carla Imbrogno, Buenos Aires: Caja Negra, 2010, 307 pp. (Spanish)
Antico come la luce, trans. Simone Costagli, Rome: L'orma, 2016. (Italian)
Der Luftangriff auf Halberstadt am 8. April 1945 [1977], Frankfurt am Main: Suhrkamp, 2008, 139 pp; new ed., comm. Thomas Combrink, Berlin: Suhrkamp, 2014, 134 pp. [18] First appeared in Kluge, Neue Geschichten, 1977; repr. in Kluge, Chronik der Gefühle, Bd. II, 2000, pp 27-82. Publisher.
"The Air Raid on Halberstadt, 8 April 1945", trans. Reinhard Mayer, Semiotext(e) 11 (1982), pp 306-315; repr. in Kluge, Raw Materials for the Imagination, 2012, pp 155-160. Extract. (English)
Air Raid, trans. Martin Chalmers, afterw. W. G. Sebald, London: Seagull, 2014, 144 pp. [19] (English)
Ataque aéreo a Halberstadt, el 8 de abril de 1945, trans. José Luis Arántegui, Boadilla del Monte: Antonio Machado, 2014, 132 pp. (Spanish)
Nachrichten aus der ideologischen Antike: Marx - Eisenstein - Das Kapital, Frankfurt am Main: Suhrkamp, 2008, 60 pp. DVD booklet.
Idéologies: des nouvelles de l'Antiquité: Marx et Eisenstein sous le même toit, trans. & ed. Bénédicte Vilgrain, Courbevoie: Théâtre typographique, 2014, 128 pp. [20] Trans. of booklet with additional interviews. (French)
with Joseph Vogl, Soll und Haben. Fernsehgespräche, Berlin: diaphanes, 2009.
"Tsunami of Emotion: On Puccini’s Tosca", trans. Robert Savage, in Kluge, Raw Materials for the Imagination, 2012, pp 378-386. Trans. of "Tsunami der Emotion. Über Tosca von Puccini", pp 73-84. (English)
Crédit et débit: entretiens télévisés, trans. Magali Jourdan and Mathilde Sobottke, Paris: diaphanes, 2013, 77 pp. (French)
Das Labyrinth der zärtlichen Kraft. 166 Liebesgeschichten, Frankfurt am Main: Suhrkamp, 2009.
with Gerhard Richter, Dezember, Berlin: Suhrkamp, 2010, 123 pp. Publisher. (German)
December: 39 Stories, 39 Pictures, trans. Martin Chalmers, London: Seagull, 2012, 118 pp. [21] (English)
Décembre, Zurich: diaphanes, 2012, 128 pp. (French)
Das Bohren harter Bretter - 133 politische Geschichten, Berlin: Suhrkamp, 2011. [22]
Ṯuqb al-alwāḥ aṣ-ṣalba 133 ḥikāya sīyāsīya, trans. ʻAlā ʻĀdil, al- Qāhira Ṣifṣāfa, 2014, 295 pp. (Arabic)
He has the heartless eyes of one loved above all else / Er hat die herzlosen Augen eines über alles Geliebten, trans. Christopher Jenkin-Jones, Ostfildern: Hatje Cantz, 2011, 10 pp. Published in conjunction with Documenta 13. (English)/(German)
Das fünfte Buch: Neue Lebensläufe. 402 Geschichten, Berlin: Suhrkamp, 2012. [23] (German)
"The Fifth Book. New Case Histories. 402 Stories", trans. Martin Chalmers, 2012. Trans. of pp 7-22. (English)
Personen und Reden, Berlin: Wagenbach, 2012. (German)
Die Entsprechung einer Oase. Essay für die digitale Generation, Berlin: Mikrotext, 2013. (German)
"Wer ein Wort des Trostes spricht, ist ein Verräter." 48 Geschichten für Fritz Bauer, Berlin: Suhrkamp, 2013. (German)
with Gerhard Richter, Nachricht von ruhigen Momenten, Berlin: Suhrkamp, 2013, 135 pp. Publisher. (German)
30. April 1945 – Der Tag, an dem Hitler sich erschoß und die Westbindung der Deutschen begann, Berlin: Suhrkamp, 2015, 316 pp. Publisher. (German)
30 April 1945: The Day Hitler Shot Himself and Germany's Integration with the West Began, trans. Wieland Hoban, afterw. Reinhard Jirgl, London: Seagull, 2015, 160 pp. Excerpts. [24] (English)
Gärten der Kooperation / Gardens of Cooperation, Stuttgart: Würtembergischer Kunstverein, 2017, 199 pp. Exh. catalogue. [25] [26] (German)/(English)
Alexander Kluge. Pluriversum, ed. Museum Folkwang, Leipzig: Spector Books, 2017, 200 pp. Exh. catalogue. Publisher. (German)
Alexander Kluge. Pluriverse, ed. Museum Folkwang, Leipzig: Spector Books, 2018, 200 pp. Publisher. (English)
Temple of the Scapegoat: Opera Stories, trans. Isabel Fargo Cole, Donna Stonecipher, and Martin Chalmers, New York: New Directions Publishing, 2018, xii+193 pp. (English)
with Ben Lerner, Schnee über Venedig, Leipzig: Spector Books, 2018, 300 pp. Publisher. (German)
The Snows of Venice, Leipzig: Spector Books, 2018, 300 pp. Publisher. (English)
editor, Die Macht der Musik. Die Oper: Tempel der Ernsthaftigkeit, Leipzig: Spector Books, 2019, 87 pp. Exh. catalogue. Publisher. (German)
The Labyrinth of Tender Force: 166 Love Stories, trans. Wieland Hoban, London: Seagull Books, 2019, 576 pp. Publisher. (English)
Das Jahr 1990 freilegen. Volte Expanded, ed. Jan Wenzel, Leipzig: Spector Books, 2019, 592 pp. With 32 texts by Alexander Kluge. Publisher. (German)
with Ferdinand von Schirach, La Chaleur de la raison. Dialogue entre deux intellectuels allemands, Paris: Gallimard, 2019. (French)
Trotzdem, Munich: Luchterhand Literaturverlag, 2020, 80 pp. (German)
Russland-Kontainer, Berlin: Suhrkamp, 2020, 436 pp. Publisher. (German)
Konteyner "Rossiya" [Контейнер "Россия"], trans. Aleksandr Markin, Moscow: Garage Museum, 2021, 415 pp. (Russian)
Russia Container, trans. Alexander Booth, London: Seagull Books, 2022, xv+382 pp. (English)
with Joseph Vogl, Senkblei der Geschichten. Gespräche, Berlin: Diaphanes, 2020, 205 pp. Interviews. (German)
editor, Das dünne Eis der Zivilisation. Oper: Der Tempel der Ernsthaftigkeit, Leipzig: Spector Books, 2020, 87 pp. Exh. catalogue. Publisher. (German)/(English)
with Georg Baselitz, Parsifal Kontainer, Leipzig: Spector Books, 2020, 180 pp. Publisher. (German)
Parsifal Container, Leipzig: Spector Books, 2020, 160 pp. Publisher. (English)
Parsifal-container, Leipzig: Spector Books, 2020, 180 pp. Publisher. (French)
Anyone who utters a consoling word is a traitor : 48 stories for Fritz Bauer, trans. Alta L. Price, London: Seagull Books, 2020, 123 pp. Short stories. (English)
Napoleon Kommentar: "Ein Mensch aus Trümmern gegossen", ills. Georg Baselitz, Leipzig: Spector Books, 2021, 448 pp. Publisher. (German)
Napoléon. Histoires et Commentaires, ills. Georg Baselitz, Leipzig: Spector Books, 2021, 446 pp. Publisher. (French)
Alexander Kluge: política dos sentimentos / Alexander Kluge: Politics of Emotions, eds. António Preto and Vincent Pauval, Porto: Fundação de Serralves, 2021, 263 pp. Exh. catalogue. Publisher. (Portuguese)/(English)
with Jonathan Meese, Schramme am Himmel. Nachrichten vom Helden Hagen, Leipzig: Spector Books, 2022, 344 pp. Publisher. (German)
Zirkus / Kommentar, Berlin: Suhrkamp, 2022, 176 pp. Publisher. (German)
Das Buch der Kommentare. Unruhiger Garten der Seele, Berlin: Suhrkamp, 2022, 400 pp. Publisher. (German)
with Peter Laudenbach, Zum Himmel, zur Hölle, zum Mehrwert. Interviews 2021-2001 und ein Gespräch von Alexander Kluge mit Christoph Schlingensief, ed. Manfred Rothenberger, Fürth: Starfruit, 2022, 151 pp. Publisher. (German)
with Katharina Grosse, Das SEPARATRIX Projekt. Volte expanded #10, Leipzig: Spector Books, 2022, 704 pp. Publisher. (German)
The SEPARATRIX Project. Volte Expanded #10, Leipzig: Spector Books, 2022, 704 pp. Publisher. (English)
Selected essays (books and journal issues)[edit]
October 46: "Alexander Kluge: Theoretical Writings, Stories and an Interview", ed. Stuart Liebman, MIT Press, Fall 1988, 218 pp. (English)
New German Critique 49: Special Issue on Alexander Kluge, New York: Telos, 1990, 196 pp. (English)
In Gefahr und größter Not bringt der Mittelweg den Tod. Texte zu Kino, Film, Politik, ed. Christian Schulte, Berlin: Vorwerk 8, 1999; 3rd ed., 2011, 280 pp. [27]
Raw Materials for the Imagination, ed. Tara Forrest, Amsterdam University Press, 2012, 440 pp. (English) Review: Fairfax (2013).
L'utopie des sentiments: essais et histoires de cinéma, ed. Dario Marchiori, trans. Christophe Jouanlanne and Vincent Pauval, Lyon: Presses universitaires de Lyon, 2014, 223 pp. Publisher. (French)
El contexto de un jadín: Discursos sobre las artes, la esfera pública y la tarea de autor, ed., trans. & intro. Carla Imbrogno, Buenos Aires: Caja Negra, 2014. (Spanish)
Difference and Orientation: An Alexander Kluge Reader, ed. Richard Langston, Cornell University Press, 2019, 533 pp. (English)
Selected articles and interviews[edit]
"Das politische als Intensität alltäglicher Gefühle", in Freibeuter, Berlin, 1979, pp 56-62. Speech on the occasion of the award of the Fontane Prize for literature. The text is a transcript of a partly improvised speech.
"The Political as Intensity of Everyday Feelings", trans. Andrew Bowie, Cultural Critique 4 (Autumn 1986), pp 119-128; repr. in Kluge, Raw Materials for the Imagination, 2012, pp 283-290. (English)
"The Sharpest Ideology: That Reality Appeals to its Realistic Character", trans. David Roberts, On the Beach 3/4 (Summer 1984), pp 23-24; repr. in Kluge, Raw Materials for the Imagination, 2012, pp 191-196. (English)
"Die Macht der Bewußtseinsindustrie und das Schicksal unserer Öffentlichkeit. Zum Unterschied von machbar und gewalttätig", in Bismarck et al., Industrialisierung des Bewußtseins, 1985, pp 51-129; abridged as "Warum Kooperation zwischen Film und Fernsehen? Zur Mainzer Erklärung", in Neue Medien contra Filmkultur?, ed. Kraft Wetzel, Berlin, Volker Spiess, 1987, pp. 237-244. [28] The "Mainz Manifesto," coauthored by Heinz Ungureit, Guenter Rohrbach, Gunther Witte, and Kluge, was read on October 26, 1983, during the television criticism conference held at Mainz.
"Why Should Film and Television Cooperate? On the Mainz Manifesto", trans. Stuart Liebman, October 46 (Autumn 1988), pp 96-102. Trans. of 1987 abridged version. (English)
"Debatte über den Dokumentarfilm (Gespräch mit Klaus Eder)", in Kluge, In Gefahr und größter Not bringt der Mittelweg den Tod, 1999, pp 269-282.
"Debate on the Documentary Film: Conversation with Klaus Eder, 1980", trans. Robert Savage, in Kluge, Raw Materials for the Imagination, 2012, pp 197-208. (English)
with Jeff Mills, "Godfather des Techno", in Kluge, Verdeckte Ermittlung, ed. Berlin: Merve, 2001, pp 127-139.
"Jeff Mills: Godfather of Techno", trans. Robert Savage, in Kluge, Raw Materials for the Imagination, 2012, pp 369-377. (English)
"At the 2003 International Security Conference", trans. Kurt Beals, N+1 2 (Spring 2005), pp 109-120; repr. in Kluge, Raw Materials for the Imagination, 2012, pp 291-301. (English)
"Reading and Writing: How can I live? What can I know? What does the future hold?", in The New Alphabet: Opening Days, Berlin: Haus der Kulturen der Welt, 2019, pp 33-46. (English)
Literature[edit]
Rainer Lewandowski, Die Filme von Alexander Kluge, Hildesheim & New York: Olms Presse, 1980.
Text+Kritik 85-86: "Alexander Kluge", ed. Heinz L. Arnold, Munich: Text & Kritik, 1985; new ed., 2011, OL.
Peter C. Lutze, Alexander Kluge: The Last Modernist, Detroit: Wayne State University Press, 1998. (English)
Christian Schulte, Winfried Sibers (eds.), Kluges Fernsehen: Alexander Kluges Kulturmagazine, Frankfurt am Main: Suhrkamp, 2002.
Michelle Langford, "Great Directors: Alexander Kluge", Senses of Cinema 27 (Jul 2003). (English)
Jane de Almeida (ed.), Alexander Kluge: o quinto ato, São Paulo: Cosac & Naify, 2007. (Brazilian Portuguese)
Fredric Jameson, "Marx and Montage", New Left Review 58 (Jul-Aug 2009), PDF. (English)
Tara Forrest, The Politics of Imagination: Benjamin, Kracauer, Kluge, Bielefeld: transcript, 2015, 198 pp. [29] (English)
Philipp Ekardt, Toward Fewer Images: The Work of Alexander Kluge, MIT Press (October Books), 2018, xxxi+410 pp. [30] (English)
Richard Langston, Dark Matter: A Guide to Alexander Kluge and Oskar Negt, London: Verso, 2020, 368 pp. [31] (English)
Éric Lysøe, Vincent Pauval (eds.), Alexander Kluge et la France. Éléments de poétique transculturelle, Clermont-Ferrand: Presses de l'Université Blaise Pascal, 2022, 340 p. Publisher. [32] (French)
[edit] | |||||
2417 | dbpedia | 2 | 37 | http://ecm.ucsd.edu/News.html | en | Engler Lab @ UC San Diego | [
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] | null | [] | null | en | null | News from the Engler Lab
May 2020: Check out the newest publication from the Engler lab in Science Advances.
May 2022: Congratulations to Alex Whitehead and Ben Yeoman for defending their PhD theses!
April 2022: Congratulations to Alyssa Holman for receiving an NIH F31 fellowship!
March 2022: Congratulations to Evan Masutani for defending his PhD thesis!
December 2021: Congratulations to Postdoc Natalie Kirkland on the birth of her baby girl, Ophelia.
November 2021: The Engler lab celebrates our annual "Labsgiving" with the Aguado lab.
May 2021: Congratulations to Evan Masutani for receiving a Radiological Society of North America fellowship!
April 2021: Check out our new podcast episode featuring the work of Alex Whitehead. [AJP Podcast].
March 2021: Congratulations to So Youn Moon for passing her qualifying exam and advancing to the PhD program!
January 2021: Congratulations to former PhD students Andrew Holle and Jennifer Young for starting their faculty jobs at the National University of Singapore!
December 2020: Check out a new publication from the Engler lab in J Cell Science.
September 2020: Congratulations to Afsheen Banisadr for his successful PhD thesis defense!
August 2020: Welcome new PhD students Miranda Barraza from UC San Diego and Alyssa Holman from Cornell University.
July 2020: The Engler lab welcomes Dr. Katherine Birmingham to the lab from her predoctoral training at the Georgia Tech.
April 2020: Congratulations to Pranjali Beri for her successful PhD thesis defense!
January 2020: Check out 2 new publications from the Engler lab in Cancer Research and Advanced Healthcare Materials.
December 2019: Congratulations to Natalie Kirkland, Aileena Nelson, and Evan Masutani for receiving American Heart Association Fellowships.
August 2019: Congratulations to Evan Masutani (MSTP student) for receiving an NHLBI T32 fellowship.
August 2019: Welcome new PhD students Erin LaMontagne from UC Santa Cruz and Gisselle Gonzalez from the University of Arizona.
June 2019: The Engler lab welcomes Dr. Natalie Kirkland to the lab from her predoctoral training at the University College London.
March 2019: We're excited to announce the renewal of our NSF-funded Research Experience for Undergraduates (REU) program. The site was renewed for years 10-12!
February 2019: Check out 4 new publications from the Engler lab, including 2 new patient-derived stem cell papers in Nature Biomedical Engineering.
January 2019: The Engler lab has received new R01 funding from the National Institute on Aging (NIA) to continue our work to study aging's effects on heart function using fruit flies as a unique model system (surprisingly with significant similarity to humans).
December 2018: Congratulations to Aditya Kumar and Chris Plunkett for successful PhD and MS thesis defenses, respectfully.
November 2018: The Engler lab welcomes visiting scholar Paloma Campos as well as celebrates our annual "Labsgiving."
October 2018: Check out the publications from the Engler lab in Nature Reviews Materials [paper].
August 2018: Check out 5 new publications from the Engler lab, including a new mechanobiology paper in Nature [paper].
May 2018: The Engler lab has received new funding from the National Institute of Biomedical Imaging and Bioengineering to develop new team-based bioengineering design courses that expose students to clinical medicine during problem identification.
April 2018: The Engler lab has received new funding from the National Cancer Institute and the Innovative Molecular Analysis Technologies (IMAT) program to develop a new adhesion device to isolate and detect highly metastatic cancer cells.
December 2018: Congratulations to Dr. Engler on the birth of his new son, Charlie. That makes 3 babies this year for the lab. We've been very "re"productive!
February 2018: Congratulations to Dr. Jesse Placone for the birth of his new daughter, Kyla Patricia.
October 2017: Welcome new PhD students Evan Masutani from Stanford, Alexander Whitehead from VCU, and Benjamin Yeoman from SDSU.
July 2017: Congratulations to Dr. Cassi Happe for the birth of her new son, Gus.
July 2017: Congratulations to Peter Min for his successful masterâs thesis defense!
July 2017: Check out two new publications from the Engler lab in MBoCâs special issue on force in cells (links in the publications page).
June 2017: Congratulations to Dr. Cassi Happe for winning the Schulman Early Career Research Award in Cardiology from the Division of Cardiology! Congratulations also to Aditya Kumar for being named an AHA Predoctoral Fellow.
May 2017: Congratulations to Ayla Sessions for her successful PhD thesis defense!
March 2017: Welcome new masters student Christopher Plunkett and PhD student Bibiana Matte.
October 2016: Welcome new masters student Jaimie Mayner from UCLA.
August 2016: Congratulations to Jesse Placone who was awarded an National Institutes of Health NRSA fellowship.
August 2016: Welcome new postdoc Dr. Jesse Placone from Johns Hopkins and UMD.
June 2016: Congratulations to Evan Teng for his appointment as an NHLBI predoctoral trainee. The Engler lab has also received new funding from the National Cancer Institute to investigate how the slow change in stiffness of the extracellular environment drives epithelial-to-mesenchymal transition (EMT).
May 2016: 4 new papers just published by Engler lab members. Check them out!
April 2016: Congratulations to Pranjali Beri and Afsheen Banisadr for their NSF Graduate Research Fellowship awards. Former rotation students Anthony Vu and Anastasia Gromova also were awarded NSF fellowships.
April 2016: The Engler lab welcomes new graduate students Evan Teng and Pranjali Beri!
March 2016: The Engler lab announces new National Science Foundation funding for a Research Experience for Undergraduates (REU) program. Check out the application site here.
February 2016: Congratulations to Cassandra Happe who was awarded an National Institutes of Health NRSA fellowship.
January 2016: The Engler lab welcomes Gus William Happe, son of postdoc Dr. Cassandra Happe, into the world on January 21st! Congratulations to mom and son.
December 2015: More new papers just published by Engler lab members. Check them out!
October 2015: 3 new papers just published by Engler lab members. Check them out!
September 2015: The Engler lab welcomes new bioengineering MS student Peter Min.
June 2015: The Engler lab welcomes new PhD student Afsheen Banisadr to the lab from the BMS program in the School of Medicine.
June 2015: The Engler lab announces a new publication in Science Translational Medicine, a paper in Cell Stem Cells along with 3 other stem cell and biomaterial papers.
May 2015: Congratulations to Cassandra Happe and Ayla Sessions who were both awarded American Heart Association fellowships. Congratulations to Hermes Taylor-Weiner and Jessica Wen for their successful thesis defenses.
March 2015: The Engler lab announces a new publication in Nature Cell Biology along with several other clinical and basic science papers. Congratulations to Gaurav Kaushik for his successful thesis defense.
February 2015: Check out our latest journal cover on skeletal muscle stem cells. Click here
October 2014: Congratulations to Ludovic Vincent for his successful thesis defense. | |||||||
2417 | dbpedia | 1 | 54 | https://www.coursehero.com/file/110626835/CL-Reading-The-1897-Petition-Against-the-Annexation-of-Hawaiipdf/ | en | [] | [] | [] | [
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2417 | dbpedia | 1 | 0 | https://www.onthisday.com/birthdays/date/1898/february | en | Famous People Born in February 1898 | [
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] | null | [] | 1898-02-12T00:00:00 | Celebrate the birthdays of 34 famous people, historical figures and celebrities born in February 1898 like Leó Szilárd, Enzo Ferrari and Bertolt Brecht. | en | /apple-touch-icon.png | On This Day | https://www.onthisday.com/birthdays/date/1898/february | Josephina Johanna "Fien" de la Mar, Dutch actress (Theatre De la Mar), born in Amsterdam, Netherlands (d. 1965)
Alvar Aalto, Finnish architect (Finlandia House) and designer, born in Kuortane, Finland (d. 1976)
Feb 3 Lillian "Lil" Hardin Armstrong, American jazz pianist, composer, and bandleader, born in Memphis, Tennessee (d. 1971)
Feb 3 Pavel Urysohn, Ukrainian mathematician, born in Odessa, Russian Empire (d. 1924)
Morgan Lee "Dock" Boggs, American folk and blues singer and banjo player, born in Norton, Virginia (d. 1971)
Andrés Soriano, Spanish Filipino industrialist (San Miguel Brewery, Philippine Airlines), born in Manila, Spanish Philippines (d. 1964)
Bertolt Brecht
German poet and playwright (Mother Courage), born in Augsburg, Bavaria
Joseph Kessel, French journalist and writer (Army of the Shadows), born in Villa Clara, Argentina (d. 1979)
Feb 10 Judith Anderson [Frances Margaret Anderson], Australian actress (Laura, Rebecca, Tycoon), born in Adelaide, South Australia (d. 1992)
Feb 10 Robert Keith [Rolland Keith Richey], American character actor (Guys and Dolls; The Wild One; Battle Circus; Branded), born in Fowler, Indiana (d. 1966)
Leó Szilárd
Hungarian-German-American nuclear physicist (Manhattan Project) and peace activist, born in Budapest, Hungary, Austro-Hungarian Empire
Roy Harris, American composer (When Johnny Comes Marching Home: An American Overture), born near Chandler, Oklahoma (d. 1979)
Feb 12 Wallace Ford [Samuel Jones Grundy], British actor (Freaks, Harvey, Spellbound, Deputy), born in Bolton, Lancashire, England (d. 1966)
Neville Pearson, English publisher (Country Life), born in Frensham, England (d. 1982)
Fritz Zwicky, Swiss astronomer (supernova, dark matter), born in Varna, Bulgaria (d. 1974)
Allen Woodring, American runner (d. 1982)
Feb 15 Totò [Antonio Clemente], Italian actor (Motorizzate, Noi Duri) commonly referred to as the most popular Italian comedian of all time, born in Naples, Italy (d. 1967)
Katharine Cornell, German actress (Barretts of Wimpole St), born in Berlin, Germany (d. 1974)
Tom Lowry, New Zealand cricket batsman (7 Tests, 2 x 50s; first NZ Test captain), President NZ Thoroughbred Breeders Association 1951-65, born in Fernhill, New Zealand (d. 1976)
Enzo Ferrari
Italian racing car driver and founder of the Scuderia Ferrari Grand Prix motor racing team and sportscar manufacturer Ferrari, born in Modena, Italy
K'Tut Tantri [Muriel Stuart Walker] Scottish-American broadcaster during Indonesian National Revolution, born in Glasgow, Scotland (d. 1997)
Feb 18 Luis Muñoz Marín, Puerto Rican poet (d. 1980)
Feb 18 Walter Herbert [Seligmann], German-American conductor, impresario (Houston Grand Opera, 1955- 72; San Diego Opera, 1965-77), and world champion bridge player, born in Frankfurt, Germany (d. 1975)
Lauwrens Voorthuyzen [Lou de Palingboer], Dutch religious sect leader, born in Breezand, Netherlands (d. 1968)
Vasily Vainonen, Russian ballet dancer and choreographer (Gayaneh), born in Saint Petersburg, Russia (d. 1964)
Anton de Kom, Surinamese worker's union leader and resistance fighter, born in Paramaribo, Suriname (d. 1945)
Reinhard Herbig, German archaeologist (Etruscan, Ancient Greece and Rome), (d. 1961)
Kurt Tank, German aircraft designer (WWII Luftwaffe planes), born in Bromberg, Germany (d. 1983)
William Astbury, English physicist and chemist (pioneer in molecular biology), born in Longton, England (d. 1961)
Julien de Valckenaere, Belgian poet, born in Ghent, Belgium (d. 1958)
Allison Danzig, American sports writer (Tennis Pictorial History), born in Waco, Texas (d. (1987)
Feb 27 Bronislaw Rutkowski, Belarusian organist, pedagogue, and composer, born in Komaje, Russian Empire (now Belarus) (d. 1964)
Molly Picon, Yiddish actress (Milk & Honey), born in New York City (d. 1992)
Feb 28 Zeki Rıza Sporel, Turkish soccer striker (16 caps; Fenerbahçe), born in Istanbul, Turkey (d. 1969) | ||||
2417 | dbpedia | 2 | 40 | http://gfhandel.org/handel/chron1.html | en | GFHandel.org | [
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] | null | [] | null | null | Chronology of George Frideric Handel's
Life, Compositions, and his Times
1685-1721
Abbreviations used for locations:
CG : London, Covent Garden Theatre
DLT : London, Drury Lane Theatre
FHC : Foundling Hospital Chapel
KT : London, King's Theatre, Haymarket
LIF : Lincoln's Inn Fields
LTH : London, "Little Theatre" in the Haymarket
NMH : Dublin, Mr. Neal's Musick Hall (or the Great Music Hall), Fishamble Street
QT : London, Queen's Theatre, Haymarket
TaG : Theater am Gänsemarkt, Hamburg
WA : Westminster Abbey
NOTE 1: Dates included below for British locations are represented in the Old Style (Julian) up until September 1752 and subsequently in the New Style (Gregorian or continental style). For locations on the Continent, the New Style was used as early as 1700 and in Italy prior to this date. According to the old Julian calendar the year changed on March 25 -- the Feast of the Annunciation. [For example, 31 March 1751 (new style) converts to 20 March 1751 (old style).] NOTE 2: ( ) = numbers in parentheses represent GFH's approximate age in years.
1672
James, Duke of York I (future James II) converts to Catholicism.
1681
14 March : The composer Georg Philipp Telemann is born (-1767). [Magdeburg]
1683
23 April : Georg Händel (1622-97) (valet du chambre and barber-surgeon to Johann Adolf I, Duke of Saxe-Weissenfels), and Dorothea Taust (1651-1730) marry. [St. Bartholomew's Church, Giebichenstein, suburb of Halle, Saxony]
1685
6 February : Charles II dies. [Whitehall Palace, London.]
James II
(Reign: 1685-89)
22 April : Accession of the Roman Catholic James II.
23 February : GFH is born to Georg Händel (63) and Dorothea (34). [Halle, Saxony]
24 February : Christened Georg Friederich Händel. [Marktkirche, Halle]
21 March : Johann Sebastian Bach is born. (-1750) [Eisenach]
23 April : Coronation of James II.
12 June : The Duke of Monmouth (illegitimate child of Charles II) and a small group of supporters invade England at Lyme Regis.
6 July : Battle of Sedgemoor; Monmouth is defeated.
15 July : Monmouth is beheaded.
26 October : Domenico Scarlatti is born. (-1757)
1687 (2)
22 March : Jean-Baptiste Lully (54) dies following an inadvertent self-inflicted injury to his foot (by a staff with which he would beat time for his musicians) followed by the rapid development of gangrene. [Paris]
6 October : Dorothea Sophia Händel (-1718), GFH's sister, is born.
1688 -- "The Glorious Revolution"...The "Nine Years War" begins (3)
10 June : James, Prince of Wales (-1766), is born. (Referred to later as "The Old Pretender". Also known as the "Jacobite James III.") This raises concerns among English leaders that an English Catholic monarchy will continue. [St. James's Palace, London]
June 30 : The "Immortal Seven" (William Cavendish, Charles Talbot, Thomas Osborne, Bishop of London Henry Compton, Edward Russell, Henry Sidney, and Richard Lumley) secretly invite William of Orange (nephew and son-in-law of James II, defender of the Protestant Faith) to invade England.
14 September (Old Style) : Louis XIV invades the Rhenish Palatinate thereby beginning the "Nine Years War" (also known as the "War of the League of Augsburg").
30 September : William of Orange accepts the invitation to invade England. (See June 30, 1688.)
5 November : The Prince of Orange lands with an army of 15,000 at Torbay. Marches on Exeter.
9 December : James, Prince of Wales, and his mother, Princess Mary of Modena, leave for France.
11 December : King James II flees London for France, stopping to throw the Great Seal of England into the Thames.
12 December : James II is captured by English fisherman near Sheerness, on the Isle of Sheppey, and is returned to London.
16 December : James II is returned to London.
23 December : James II escapes.
25 December : James II reaches France.
Agostino Steffani (1654-1728) is appointed Kapellmeister to the Elector of Hanover.
NOTE: For more on The Glorious Revolution, click here.
1689 -- England enters the "Nine Years War" (4)
28 January : The Commons resolves that James II has abdicated the government and that the throne is thereby vacant and against a "popish prince".
13 February : The Parliament formally offers William of Orange and Mary (his wife and James II's daughter) the English crown.
William III
(Reign: 1689-1702)
Mary II
(Reign: 1689-94)
14 February William and Mary are proclaimed King William III and Queen Mary II after accepting the Declaration of Rights (which determines the line of royal succession). [Banqueting Hall, Whitehall Palace]
March 12 (old style): James II lands with 5000 French forces supplied by Louis XIV. [Kinsale, Ireland]
4 April : The Crown of Scotland is declared forfeit.
11 April : Willliam and Mary are crowned King and Queen of England and Ireland. [WA]
7 May : England declares war on France.
11 May : William and Mary formally accept the Scottish throne.
12 May : Treaty of Vienna is signed between Holy Roman Emperor Leopold I and The United Provinces of the Low Countries to undo the annexations of Louis XIV and restore the peace settlements of Westphalia (1648) and of the Pyrenees (1659). During the next 18 months they are joined by England, Brandenburg, Saxony, Bavaria, Hanover, Savoy, and Spain to form the Grand Alliance.
17 July : Jacobite rebels in the Highlands (under Dundee and the Viscount Graham of Claverhouse) defeat William's forces at the Battle of Killiecrankie.
9 December : England accedes to the Great Alliance and thereby enters the the "Nine Years War". (In America, the conflict involving French and British forces is referred to as "King William's War".)
Henry Purcell's (1659-1695) opera Dido and Aeneas first performed by the "young gentlewomen" of Josias Priest's boarding school. [Chelsea]
1690 (5)
10 January : Johanna Christina Händel (-1709), GFH's sister, is born. [Halle]
1 May : Scottish Jacobite forces defeated at Cromdale.
14 June : William lands in Ireland and advances on Dublin.
1 July : William defeats the outnumbered Franco-Jacobite arm at the Battle of the Boyne. Dublin falls to William.
4 July : James II flees to France.
5 September : William returns to England.
Accademia degli Arcadi (Arcadian Academy) is founded. [Rome]
1691 (6)
12 July : The Jacobites are defeated. [Aughrim, Ireland]
3 October : Treaty of Limerick is signed. The Irish Jacobites surrender. Those who remain loyal to James II -- the "Wild Geese" -- leave for France.
1692 -- Apprenticeship (7)
Young Georg visits the Saxon court at Weissenfels with his father, where Duke Johann Adolf hears GFH play the organ. The duke advises GFH's father to have his son properly tutored.
GFH begins to receive composition lessons from the organist at the Marienkirche, Friedrich Wilhelm Zachow (1663-1712). [Halle]
1693-7 (exact year unknown)
GFH and his father visit the court of the Electress Sophia Charlotte of Brandenburg. The elector proposes sending him to Italy for further instruction. The offer is declined due to his father's failing health. [Berlin]
1693 (8)
On or around this year, the composer Giovanni Bononcini (1670-1747) is employed by the Colonna princes of Rome.
1694 (9)
28 December : Mary II dies of smallpox. [Kensington Palace, London]
1695 (10)
21 November : Henry Purcell (36) dies.
1696 (11)
14 February : Plot by Sir John Fenwick and Jacobites to kill William III is uncovered.
1697-- The "Nine Years War" ends (12)
21 January : Sir John Fenwick is executed.
14 February : Georg Händel (75) dies.
10 September (old style) : The "Nine Years War" ends with the signing of the Treaty of Ryswick. The treaty secures peace between Louis XIV of France on the one side, and on the other William III of Orange (acting for Great Britain), and the United Provinces of the Low Countries, and Charles II of Spain. Louis XIV restores his conquests and recognizes William III as the King of England.
William Congreve (1670-1729) writes: "Music hath charms to soothe the savage breast, To soften rocks, or bend a knotted oak." from The Mourning Bride. Act i. Sc. 1.
1698 (13)
Marc-Antoine Charpentier (1643-1704) is appointed maître de musique. [Sainte Chapelle, Paris]
Johann Joseph Fux (1660-1741) is appointed court composer to Emperor Leopold I. [Vienna]
1699-1700 (14-15)
Date of earliest datable composition: Trio sonata in G minor, Op. 2 No. 2 (HWV 387).
1700 (15)
30 July : Anne's (future Queen) last surviving child, William, Duke of Gloucester, dies.
21 October : Charles II, the last Spanish Habsburg monarch, dies. His will, the contents of which are public knowledge, makes Louis XIV's grandson, Philip, Duke of Anjou, the King of Spain (hence, Philip V), on the condition that the country is neither divided nor united with France. Louis XIV backs his grandson's claim to the Spanish throne -- in violation of the Second Partition Treaty.
November : Philip V is crowned King of Spain.
John Blow (1649-1708) is appointed first Composer of the Chapel Royal and John Eccles (ca. 1668-1735) Master of the King's Musick. [London]
1701 -- The "Act of Settlement" lays the way for Hanoverian succession (16)
Meets Georg Philipp Telemann (1681-1767). [Leipzig]
12 June : "Act of Settlement" provides for the future Hanoverian succession in Britain -- assuming no Protestant heir exists or unless "The Old Pretender" abjures Roman Catholicism.
27 August (old style) : A Grand Alliance is formed between Great Britain, Holland, Austria, Denmark, Prussia, Hanover, and Savoy-Piedmont (and later Portugal) against a coalition of France, Spain, and a number of small Italian and German principalities. A conflict develops over the legitimacy of the succession of Philip V to the Spanish crown. On the Habsburg side, Charles III, the Spanish "pretender," also lays claim to the throne. The Grand Alliance's aim is to counteract Louis XIV's France and the southern German states.
6 September :
James II dies of a cerebral hemorrhage while in exile. [Chateau of St. Germain-en-Laye, France]
Louis XIV proclaims James's son ("James III") the rightful next king of Britain. Louis' action alarms the British, drawing the two countries closer to the brink of military conflict.
Friedrich I, grandfather of Friedrich II ("Frederick the Great"), is crowned King of Prussia.
1702 -- College studies...The "War of the Spanish Succession" begins (17)
10 February : Enrolls at the University of Halle. It is not known which faculty he attended.
7 March : William III signs an Act of Attainder and Abjuration against James, "The Old Pretender."
Anne
(Reign: 1702-14)
8 March :
William III (51) dies following a fall from his horse (which he had confiscated from the Jacobite Sir John Fenwick) which had stumbled on a molehill at Hampton Court. [Kensington Palace, London]
He is succeeded by his sister-in-law and daughter of James II, Anne of Denmark (37).
13 March : Appointed organist at a Calvinist cathedral for an honorarium of 50 thaler a year, plus free lodging; succeeds Johann Christoph Leporin. [Domkirche, Halle]
15 March : John Churchill, 1st Duke of Marlborough (1650-1722), appointed Captain-General of the Forces.
April : Coronation of Queen Anne.
7 May : Britain, the Dutch Republic and the Habsburgs declare war on France. The "War of the Spanish Succession" begins. As the conflict spreads into North America, it is known there as "Queen Anne's War." The European conflict is also referred to as "Marlborough's War."
Reinhard Keiser (1674-1739) appointed Director of the Theater am Gänsemarkt. [Hamburg]
1702 or later
Meets the composers Giovanni Bononcini and Attilio Ariosti (1666-1729) at the court of the Elector of Brandenburg. [Berlin]
1703 -- Hamburg & Mattheson (18)
16 May : Portugal joins the Alliance
June -- July : Arrives in Hamburg.
9 July : Meets Johann Mattheson (1681-1764). [St. Mary Magdalene, Hamburg]
Joins the opera orchestra as violinist and harpsichordist. [TaG]
August : GFH and Mattheson visit the organist/composer Dietrich Buxtehude (1637-1707) to explore succeeding him as organist of the Marienkirche in Lubeck. One of the conditions is for Buxtehude's successor to marry his daughter; both decline to do so (as does J.S. Bach 2 years later).
Antonio Vivaldi (1678-1741) is appointed maestro di violino at the Ospedale della Pietà . [Venice]
J.S. Bach takes up organ post at the Neukirche. [Arnstadt]
Agostino Steffani is appointed Kapellmeister to the Elector of Palatine [Düsseldorf].
1704 -- The lure of opera seria...The first duel...Saved by a button! (19)
17 February : St. John Passion is performed. [Hamburg]
Composes Almira (HWV 1).
Marc-Antoine Charpentier dies (circa 59). [Paris]
Heinrich Biber dies (59). [Salzburg]
Jeremiah Clarke (ca. 1674-1707) and William Croft (1678-1727) are jointly appointed organists of the English Chapel Royal.
4 August : English capture Gibraltar.
13 August : Battle of Blenheim : The Duke of Marlborough defeats the French, driving them from Germany.
5 December : Refuses to turn over the harpsichord to Johann Mattheson during performance of Mattheson's opera, Cleopatra. This leads to a sword duel between the two. It is told that during the swordplay, GFH was saved by a button on his coat that deflected Mattheson's mortally-directed blade. [TaG]
30 December : Mattheson and GFH reconcile. They dine and attend a rehearsal of Almira (HWV 1) together. According to Mattheson, "[we] became better friends than ever".
1705 (20)
8 January : Almira (HWV 1), GFH's first opera, premieres. [TaG]
25 February : Nero (HWV 2) premieres. [TaG]
1706 -- Italy is the catalyst! (21)
Composes Florindo (HWV 3) and Daphne (HWV 4).
August : Leaves for Italy; probably visits Florence first at the invitation of the Prince of Tuscany (Gian Gastone de' Medici; 1671-1737; who GFH met in Hamburg) before continuing on to Rome. (NOTE: According to the English musicologist Donald Burrows, Mainwaring, Handel's first biographer, incorrectly identifies the Prince as Ferdinando de' Medici, Gian Gastone's older brother. Ferdinando is not known to have visited Hamburg.)
Between 1706 - 1710 -- Cantatas and cardinals
Composes approximately 100 chamber cantatas while living in Italy.
1707 (22)
14 January : Arrives in Rome before this date.
12 February : Completes composition of Il delirio amoroso (HWV 99) on or before this date.
March - April : Composes Il trionfo del Tempo e del Disinganno (HWV 46a).
April : Completes composition of Dixit Dominus (HWV 232).
May - October : Employed as household musician to Marchese Francesco Maria di Ruspoli (primarily to compose canatas for meetings of the Arcadian Academy) [Bonelli Palace, Rome]
May :
Composes the cantata Diana cacciatrice (HWV 79).
Habsburg armies under Charles III (later Holy Roman Emperor Charles VI) threaten "The Eternal City" (Rome). Ruspoli raises a militia in defense of the city. Pope Clement XI is forced to drop his endorsement of the Bourbon heir and recognize Charles III as the rightful heir to the Spanish throne.
May 1 : Scotland and England unite under the "Act of Union".
June :
Composes the cantata Armida abbandonata (HWV 105).
Il trionfo del Tempo e del Disinganno (HWV 46a) is performed. [Palace of Cardinal Pietro Ottoboni, Rome]
8 July : Completes Laudate pueri dominum in D major (HWV 237).
13 July : Completes Nisi Dominus (HWV 238).
15-16 July : GFH's settings of the 2 psalms, a motet, and 2 antiphons are performed during the vesper services for the feast-day of the Madonna del Carmine (Our Lady of Mount Carmel). Commissioned by Cardinal Carlo Colonna. [Church of Santa Maria di Monte Santo, Rome]
October : The cantata Clori, Tirsi e Fileno (HWV 96) is performed.
November :
Leaves Rome. Returns to Florence.
Rodrigo (HWV 5) premieres. [Teatro Civico Accademico in the Via del Cocomero, Florence]
J.S. Bach appointed organist at the Blasiuskirche. [Mühlhausen]
Winter : Travels to Venice. Probably meets Prince Ernst August of Hanover (brother of the Elector).
1708 -- Opera Seria takes flight in London (23)
23 January : The Lord Chamberlain issues orders giving QT exclusive rights to perform operas.
January : Florindo (HWV 3) and Daphne (HWV 4) are performed in GFH's absence. [TaG]
March : James III, the Old Pretender, lands in Scotland; a French fleet sent to assist him is repulsed by Admiral Byng. James III returns to France.
3 March : Returns to Rome on or before this date. [Bonelli Palace, Rome]
8 April (Easter Sunday) : La Resurrezione (HWV 47) is performed. Arcangelo Corelli (1653-1713) leads orchestra. Margherita Durastanti (soprano) sings role of S. Marie Maddalena. She is replaced the next day by the castrato Pippo owing to papal complaint as women were forbidden to perform on public stage in Rome at this time. [Bonelli Palace, Rome]
May : Travels to Naples. Stays there approximately 10 weeks.
16 June : Completes score to Aci, Galatea e Polifemo (HWV 72) -- believed to be intended for the wedding of the Duke of Alvito.
July : Composes Aminta e Fillide (HWV 83).
12 July : Completes composition of Se tu non lasci amore (HWV 201a).
14 July : Aminta e Fillide (HWV 83) is performed. [Naples]
Returns to Ruspoli. [Bonelli Palace, Rome]
19 July : Wedding of the Duke of Alvito and Donna Beatrice Sanseverino.
August :
Composes La Lucrezia (HWV 145).
Composes Hendel, non può mia musa (HWV 117).
9 September : The cantata Olinto pastore, Tebro fiume, Gloria (HWV 143) is performed. [Rome]
Antonio Caldara (circa. 1670-1736) is appointed Ruspoli's Maestro di Cappella (a post coveted by GFH). Caldara remains in Ruspoli's service until 1716.
28 October : Queen Anne's husband, Prince George of Denmark (1653-), dies. [Kensington Palace, London]
14 December : The castrato Nicolini gives début performance in London. [QT]
The British organist/composer John Blow (59) dies.
J.S. Bach appointed court organist at Weimar.
1709 -- The second duel...Invitation to visit London...Handel begets a sobriquet (24)
First British Copyright Act.
Date ? : Cardinal Pietro Ottoboni (1667-1740) holds a keyboard "trial of skill" between Domenico Scarlatti and GFH. At the conclusion of the contest, GFH is judged the better organist, while Scarlatti is deemed the superior harpsichordist.
16 July : Johanna Christine Händel (GFH's sister) dies.
Autumn : Returns to the court of Prince Ferdinando of Tuscany. [Florence]
9 November : Prince Ferdinando writes a letter of recommendation concerning GFH to Prince Carl von Neuburg, Governor of Tyrol, in Innsbruck.
By December : GFH arrives in Venice. Meets the English ambassador, the Duke of Manchester, who invites GFH to visit London.
26 December (?) or later : Agrippina (HWV 6) is first performed. During the performance, the audience reportedly calls out "Viva il caro Sassone!" (trans., "Long Live the Beloved Saxon") [Teatro San Giovanni Grisostomo, Venice]
Agostino Steffani is appointed Apostolic Vicar of North Germany. [Hanover]
1710 -- Departs Italy for Hanover, but London beckons (25)
10 January : GFH's music is first heard in London when orchestral works from Rodrigo (HWV 5) are performed as incidental music in The Alchymist (HWV 43). [QT]
? late February : Departs Venice.
early March : Arrives in Innsbruck. Declines Prince Carl von Neuburg's offer of a court position. Travels on to Hanover.
4 June : Arrives in Hanover on or before this date.
16 June : Appointed Kapellmeister (possibly arranged by Agostino Steffani) to Georg Ludwig, Elector of Hanover (future King George I), at a salary of 1000 thaler under the condition of acceptance that GFH receive an immediate 12-month leave of absence to London.
Completes Apollo e Dafne (HWV 122) [Hanover].
August - September :
Travels to Halle to pay respects to his mother and Zachow.
Visits the Elector of Palatine where he is well received. [Düsseldorf]
22 November : The "South Sea Company" is formed by the Tory government of Harley to trade with Spanish America, and to offset the financial support which the Bank of England had provided previous Whig governments. [London]
November -- December : Leaves Düsseldorf and travels via The Netherlands to England, arriving in London.
The British composer Thomas Arne (-1778) is born. [London]
1711 -- Queen's Theatre...Return to Hanover (26)
The Habsburg Holy Roman Emperor Joseph I dies unexpectedly. His brother, the Spanish "pretender" King Charles III (1685-1740), succeeds him as Emperor Charles VI.
24 February : Rinaldo (HWV 7a) premieres. [QT]
2 June : Opera season at QT closes with performance of Rinaldo (HWV 7a).
June : Leaves London for Germany; visits Düsseldorf en route to Hanover.
17 June : The Elector of Palatine writes a letter to the Elector of Hanover apologizing for Handel detention explaining that he sought GFH's opinion on some musical instruments.
July : In a letter GFH comments that he's learning English.
19 November : Johanna Friederika Michaelsen (GFH's niece), second child of his sister Dorothea Sophia and Michael Dietrich Michaelsen, is born.
23 November : GFH visits Halle for the baptism of his niece Johanna and stands as godfather.
31 December : Lord Marlborough dismissed as Captain-General.
The British composer William Boyce (-1779) is born. [London]
Vivaldi's Opus 3, "L'Estro Armonico", is published.
1712 -- Return to London! (27)
7 January : Johann Christoph Schmidt (later John Christopher Smith, the younger) is born. [Ansbach, Germany]
23 January : Rinaldo (HWV 7a) is revived -- in GFH's absence. [QT]
16 July : English-French truce.
7 August : Friedrich Wilhelm Zachow (48) dies.
Autumn : Receives permission from the Elector of Hanover to return to London "on condition that he return within a reasonable time." (source : John Mainwaring -- Handel's first biographer)
Early October : Returns to London for next opera season -- stays with "Mr. Andrews of Barn-Elms" (now Barnes, in Surrey) and later at Burlington House (Piccadilly) with Richard Boyle, the Earl of Burlington (until 1716).
24 October : Completes composition of Il pastor fido (HWV 8a).
22 November : Il pastor fido (HWV 8a) premieres. [QT]
19 December : Completes composition ofTeseo (HWV 9); dedicates it to Lord Burlington.
1713 -- Swindled by Swiney!...The "War of the Spanish Succession" ends...The Hanoverian Succession is legitimized (28)
8 January : Arcangelo Corelli (59) dies. [Rome]
10 January : Teseo (HWV 9) premieres. [QT]
On the 2nd performance night of Teseo (HWV 9), the theater manager, Owen Swiney (1676-1754), flees to Italy with the box office receipts:
"Mr Swiny Brakes & runs away, & leaves ye Singers upaid ye Scenes & Habits also unpaid for. The Singers were in Some confusion but at last concluded to go on with ye operas on their own accounts, & divide ye Gain amongst them."
Swiney was promptly replaced by the Swiss, John Jacob Heidegger (1666-1749).
13 January : Completes Utrecht Te Deum (HWV 278).
January -- February : Composes Jubilate ("Utrecht ") in D major (HWV 279) and Birthday Ode for Queen Anne (HWV 74).
6 February : Birthday Ode for Queen Anne (HWV 74) to be performed, but perhaps wasn't.
31 March - 2 July : The Treaties (or Peace) of Utrecht are signed bringing the "War of the Spanish Succession" to a close. The Holy Roman Emperor Charles VI (formerly, the "pretender" Charles III) succeeds. The British, fearing that victory over France will now result in the predominance of the Habsburgs in European affairs, dissolve the Grand Alliance. In the treaty, Louis XIV recognizes George I as king of Great Britain and cedes the North American territories of Nova Scotia (except Cape Breton Island), Newfoundland, and Hudson Bay to the British. He also agrees to the transfer of the Spanish Netherlands to Austria and grants mutual most-favored-nation status to Britain and the Dutch Republic. Britain obtains Gibraltar and Minorca. The French cede French St. Kitts. France recognizes the Protestant succession in Britain and agrees to expel "James III."
April -- May : Probably composed Silla (HWV 10).
19 April : The "Pragmatic Sanction" is promulgated by the Holy Roman emperor Charles VI with the intent that all his Habsburg kingdoms and lands descend as an integral whole without partition. It stipulated that his undivided heritage go to his eldest son, should he have one, or, failing a son, to his eldest daughter and then, if she should die without issue, to his deceased brother Joseph I's daughters and their descendants. (NOTE: A son was born to Charles in 1716 but died in the same year, and Charles's subsequent children were both daughters -- Maria Theresa, born in 1717, and Maria Anna, born in 1718).
6 May : Rinaldo (HWV 7a) is revived. [QT]
GFH is dismissed from Hanoverian post.
2 June : Silla (HWV 10) is performed (?) [QT or Burlington House (?)]
7 July : Utrecht Te Deum (HWV 278) is performed. [St. Paul's Cathedral, London]
13 July : Spain concludes a treaty ceding Gibraltar to Great Britain and granting the British sole rights (via the South Sea Company) to the slave trade in the Spanish colonies in the Americas. The Assiento (the monopoly of supplying slaves to Spanish American colonies) is abandoned.
28 December : Queen Anne grants GFH a pension of £200 per annum.
François Couperin's first book of "Pièces de clavecin" is published.
1714 -- Enter House of Hanover, Exit House of Stuart...When a theater changes its name (29)
1 August :
Queen Anne dies following a lifelong battle with porphyria and having suffered a series of strokes. [Kensington Palace, London]
The Elector of Hanover (great-grandson of James I) is proclaimed King George I.
18 September : George I arrives in England.
George I
(Reign: 1714-27)
26 September & 17 October : Te Deum (probably Queen Caroline; HWV 280) and anthem (probably O sing unto the Lord a new song; HWV 249a) are performed to mark the arrival of the Hanoverian family. [Chapel Royal, St. James's Palace]
October : James Brydges (1674-1744) is given the title, Earl of Carnarvon (later Duke of Chandos).
23 October : Opera season opens at KT. (QT renamed KT owing to the accession of George I.)
30 December : Rinaldo (HWV 7a) is revived. [KT]
Francesco Geminiani (1687-1762) arrives in London.
J.S. Bach promoted to "conzertmeister" at Weimar. Begins first cycle of sacred cantatas.
Domenico Scarlatti (1685-1757) is appointed maestro of the Cappella Giulia. [Rome]
Vivaldi's "La Stravaganza" is published in Amsterdam by Ãtienne Roger.
Corelli's 12 Concerti Grossi, Opus 6, are published posthumously.
1715 = "The Fifteen" -- The First Jacobite Rebellion (30)
Composes Brockes Passion (HWV 48) (?)
April -- May (?) : Completes composition ofAmadigi di Gaula (HWV 11); GFH dedicates it to his London host, Lord Burlington.
25 May : Amadigi di Gaula (HWV 11) premieres. [KT]
23 July : Opera season closes prematurely due to the first Jacobite rebellion to restore the House of Stuart.
22 August : George I travels by barge on the Thames between Whitehall and Limehouse. GFH's music may have been performed during this excursion. (See below for Water Music.)
1 September : Louis XIV, King of France, dies; he is succeeded by his 5-year-old great-grandson Louis XV, under the regency of the Duke of Orléans.
6 September : Earl of Mar raises Stuart standard at Braemer.
13 November : Jacobites are defeated at Preston and Sheriffmuir.
22 December : James III, the "Old Pretender", lands in Scotland. [Peterhead]
Johann Joseph Fux (1660-1741) is appointed Hofkapellmeister at the Habsburg court. [Vienna]
1716 -- An old friend is recruited (31)
1 February : Opening of the London opera season is delayed due to Jacobite unrest.
10 February : James III leaves Scotland having failed to enlist support for the rebellion in England.
16 February : Amadigi di Gaula (HWV 11) is revived. [KT]
20 June : Concerto Grosso in F major, Op 3 No 4a (HWV 315) premieres between acts of Amadigi di Gaula (HWV 11). [KT]
7 July : George I departs for Hanover.
(date ?) GFH travels to Germany visiting Halle and then on to Ansbach where he visits with his old friend, Johann Christoph Schmidt (subsequently changes name to John Christopher Smith; 1683-1763). GFH persuades Schmidt to leave his trade (wool merchant) and return with him to London as his treasurer and copyist.
End of 1716 : Returns to London.
8 December : Opera season opens.
1717 -- The Water Music sets sail...London opera goes on holiday...Respite at Cannons (32)
4 January : The "Triple Alliance" is formed between England, France, & Holland to uphold the Treaty of Utrecht and to oppose Spanish ambitions in France and Italy.
5 January : Rinaldo (HWV 7a) is revived. [KT]
16 February : Amadigi di Gaula (HWV 11) is revived. [KT]
21 March : For the third performance of Amadigi di Gaula (HWV 11), a new scene is introduced.
5 June : For the last performance of Rinaldo (HWV 7a), the French dancer Marie Sallé (10) appears for the first time in one of GFH's operas.
29 June :
Opera season closes.
No more opera in London until 1720.
17 July : The King travels by barge on the river Thames from Whitehall to Chelsea. The Water Music (HWV 348-50) is performed three times during that trip. According to a report sent to Berlin by Friedrich Bonet, the Prussian Ambassador to London:
"About eight in the evening the King repaired to His barge, into which were admitted the Duchess of Bolton, Countess Godolphin, Mad. de Kilmanseck (sic. Kielmansegge), Mrs Were and the Earl of Orkney, the Gentleman of the Bedchamber in Waiting. Next to the King's barge was that of the musicians, about 50 in number, who played on all kinds of instruments, to wit trumpets, horns, hautboys (oboes), bassoons, German flutes, French flutes, violins, and basses; but there were no singers. The music had been composed especially by the famous Handel, a native of Halle, and His Majesty's Principal Court Composer. His Majesty approved of it so greatly that he caused it to be repeated three times in all, altogether each performance last an hour -- namely twice before and once after supper. The evening was all that could be desired for the festivity, the number of barges and above all of boats filled with people desirous of hearing was beyond counting. In order to make this entertainment the more exquisite, Mad. de Kilmanseck had arranged a choice supper in the late Lord Ranelagh's villa at Chelsea on the river, where the King went at one in the morning. He left at three o-clock and returned to St. James's about half past four. The concert cost Baron Kilmanseck £150 for the musicians alone. Neither the Prince nor the Princess (of Wales) took any part in this festivity."
19 July : London newspaper article from the "Daily Courant"
"On Wednesday Evening, at about 8, the King took Water at Whitehall in an open Barge, wherein were also the Dutchess of Bolton, the Dutchess of Newcastle, the Countess of Godolphin, Madam Kilmarnock (sic. Kielmansegge), and the Early of Orkney. And went up the River towards Chelsea. Many other Barges with Persons of Quality attended, and so great a Number of Boats, that the whole River in a manner was cover'd; a City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, who play'd all the Way from Lambeth (While the Barges drove with the Tide without Rowing, as far as Chelsea), the finest Symphonies, compos'd express for this Occasion, by Mr Hendel, which his Majesty liked so well, that he caus'd it to be plaid over three times in going and returning. At Eleven his Majesty went a-shore at Chelsea, where a Supper was prepar'd, and there was another fine Consort of Musick, which lasted till 2; after which His Majesty came again into his Barge and return'd the Same Way, the Music continuing to play til he landed."
4 August : Arrives at Cannons (near Edgeware in Middlesex) on or before this date. He enters the service (as composer-in-residence) of James Brydges (1674-1744), Earl of Carnarvon (later the 1st Duke of Chandos). He joins there the Master-of-the-Music, the German composer, Johann Christoph Pepusch (1667-1752).
James Brydges
(Duke of Chandos)
Begins to compose the Chandos Anthems (HWV 246-56).
25 September : James Brydges writes to Dr. Arbuthnot :
Mr. Handle has made me two new anthems very nobles ones & Most think they far exceed the two first. He is at work for 2 more and some Overtures to be plaid before the lesson.
(NOTE: The first two of which James Brydges refers are O Sing unto the Lord a new song (HWV 249b) and As Pants the hart (HWV 251b). The second pair consisted of Let God arise (HWV 256a) and My Song shall be alway (HWV 252). The next pair (about which "he is at work") were probably Have mercy upon me (HWV 248) and O be joyful in the Lord (HWV 246). It is likely In the Lord put I my trust (HWV 247) and I will magnify thee (HWV 250c) were completed before the winter. The remaining anthems were probably written during 1718.)
Begins to compose the Te Deum ("Chandos" or "Cannons") in B flat major (HWV 281).
JS Bach is appointed Kapellmeister at Prince Leopold's court at Anhalt-Cöthen after having been dismissed in disgrace from Weimar following a 1-month imprisonment.
1718 -- The Chandos Anthems are born..."War of the Quadruple Alliance" begins (33)
Completes the Chandos Anthems (HWV 246-56); they are subsequently performed. [St. Lawrence's Church, Cannons]
"The Oratorium" (Esther) (HWV 50a) is probaby composed and performed. [Cannons?]
16 May : A new concerto (unidentified) by GFH is performed. [DLT]
May -- June (?) : Composes Acis and Galatea (HWV 49a); it is subsequently performed. [Cannons?]
2 August : The "Quadruple Alliance" is formed once the Holy Roman Empire joins the "Triple Alliance" of England, France, and The Dutch Republic. The purpose of the Alliance is to prevent Spain from altering the terms of the Treaty of Utrecht. (See 1713.) Spain had seized control of Sardinia and Sicily (assigned to Austria and Savoy, respectively, by the Utrecht treaty). With the backing of the Quadruple Alliance, the British fleet brought Austrian troops to Sicily, and the French sent troops to occupy northern Spain.
8 August : His younger sister Dorothea dies. The funeral oration includes the consolatory text, "I know that my Redeemer liveth." [Halle] (See 19 February, 1719.)
Maurice Greene (1696-1755) appointed organist at St. Paul's Cathedral. [London]
1719 -- The Royal Academy of Music is born...Handel recruits new singers on the Continent (34)
February : Royal Academy of Music founded to establish Italian opera in London. Heidegger is named manager of the Academy; Paolo Rolli is named chief librettist; Roberto Clerici is named scenic designer and machinist.
19 February : GFH writes to his widowed brother-in-law, Michael Dietrich Michaelsen:
"It is greatly to my regret that I find myself kept here by affairs of the greatest moment, on which (I venture to say) all my fortunes depend; but they have continued much longer than I had anticipated."
23 March : Brockes Passion (HWV 48) is performed. [refectory of Hamburg Cathedral]
29 April : James Brydges, Earl of Carnarvon (47), is given the title Duke of Chandos.
14 May : Lord Chamberlain (Thomas Holles, Duke of Newcastle) commands GFH to hire singers for the opera on behalf of the Royal Academy of Music. GFH is sent
"forthwith to repair to Italy, Germany or such other Place or Places as you shall think proper, there to make Contracts with such Singer or Singers as you shall judge fit to perform on the English Stage....That Mr. Hendel engage Senezino (sic.) as soon as possible to Serve the said Company and [f]or as many Years as may be."
Late May : Leaves for the continent; visits the elector of Palatine's court at Düsseldorf; travels on to Halle and stays with his family. J.S. Bach, travelling from Cöthen, narrowly misses meeting up with GFH.
15 July : Reaches Dresden on or before this date. Writes to the Earl of Burlington, that he is
"waiting for the engagements of Sinesino (sic.), Berselli and Guizzardi (sic., Guicciardi) to be concluded."
27 July : Royal charter for the Royal Academy of Music is issued.
21 November : Leopold Mozart is born.
30 November : In his absence, the Royal Academy of Music appoints GFH "Master of the Orchester with a Sallary."
Giovanni Bononcini (living in Rome at the time) is invited to compose for the Royal Academy of Music (Earl of Burlington).
1720 -- "War of the Quadruple Alliance" ends...Margherita Durastanti and "Senesino" arrive...The "South Sea Bubble" collapses...The Royal Academy of Music opens (35)
Returns to London.
Margherita Durastanti arrives in London.
17 February : The Treay of The Hague is signed. The allies force Philip V (King of Spain) to renounce his claims in Italy and France; Victor Amadeus II of Savoy gives up Sicily to Austria in exchange for Sardinia. Tuscany, Parma, and Piacenza are assured to Charles VI (Holy Roman Emperor). This concludes the War of the Quadruple Alliance.
March (?) : Composes Radamisto (HWV 12a).
April : Robert Walpole forms his parliamentary administration -- which he maintains until 1742. (He is considered by most England's first Prime Minister.)
2 April :
the Royal Academy of Music's first season opens with Giovanni Porta's Numitore. [KT]
This is Margherita Durastanti's London début performance.
27 April :
Radamisto (HWV 12a) premieres -- attended by George I and the Prince of Wales. GFH dedicates the score to the King. [KT]
This is Margherita Durastanti's first London performance of a work by GFH.
14 June : Granted royal warrant for sole right to publish his music for the next 14 years. (Due to on-going piracy problems, the warrant is deemed ineffectual and is dropped in 1724.)
25 June : Opera season closes.
7 July : J.S. Bach's first wife, Maria Barbara (35) is buried. The cause for her death remains unknown to this day. At the time of her death, J.S. Bach is away "taking the waters" at Carlsbad for a prolonged visit. As explained by his son Carl Philipp Emanuel Bach, "The news that she had been ill and died reached him only when he entered his own house."
Margherita Durastanti (soprano) announces that she is pregnant.
End of September: Francesco Bernardi (alto-castrato; called "Senesino"), Mateo Berselli (soprano-castrato), and Maddalena Salvai (soprano) arrive in London.
Autumn : Bononcini arrives in London.
October - December : The "South Sea Bubble" collapses bringing economic ruin to many investors. GFH also loses money including many of the noble patrons of the Royal Academy of the Music -- including the Duke of Chandos. Walpole minimizes the national economic damage from this financial crisis.
14 November : Suites des Pièces pour le Clavecin, Premier Volume ("First Collection"), GFH's first volume of keyboard music, is published by John Cluer. It includes a dedication to the English nation and seems to make clear reference to publication piracy :
"I have been obliged to publish Some of the following Lessons, because Surrepticious [sic] and incorrect Copies of them had got Abroad. I have added several new ones to make the Work more useful which if it meets with a favourable Reception; I will Still proceed to publish more, reckoning it my duty, with my Small Talent, to serve a Nation from which I have receiv'd so Generous a Protection." -- G.F. Handel
19 November :
The Royal Academy of Music's 2nd opera season opens with Giovanni Bononcini's Astarto, which runs for 24 performances! [KT]
This is Senesino's (alto-castrato) début London performance.
28 & 31 December :
Radamisto (HWV 12b) is greatly revised for a new cast. [KT]
This is Senesino's (alto-castrato) début performance in an opera composed by Handel.
31 December : Charles Edward Louis John Philip Casimir Sylvester Maria Stuart (-1788) is born to James III, "The Old Pretender." (Charles is later referred to as "The Young Pretender." He is also referred to as "Bonnie Prince Charlie" and the "Jacobite Charles III".) [Palazzo Muti, Rome]
1721 -- A contest! (36)
23 March : Completes composition of Act 3 of Muzio Scevola (HWV 13). (NOTE: The directors of the Royal Academy decided to settle the incipient rivalry between its three house composers by inviting each to submit one act of a composite opera. Act 1 was composed by Filippo Amadei; Act 2 was composed by Giovanni Bononcini; Act 3 was composed by GFH.) Handel is deemed the victor of the contest.
The contemporary British satirist John Byrom (1691-1763) writes with reference to the Handel-Bononcini rivalry (This feud put the Bononcinists against the Handelists. The Duke of Marlborough and most of the nobility favored Bononcini; but the Prince of Wales, with Alexander Pope and Dr. John Arbuthnot, supported Handel) :
Some say, compar'd to Buononcinny
That Mynheer Handel's but a Ninny.
Others aver, that he to Handel
Is scarcely fit to hold a Candle:
Strange that this difference there should be
Twixt Tweedle-dum and Tweedle-dee!(NOTE: The last two lines have been attributed to Jonathan Swift and Alexander Pope.)
24 March : J.S. Bach dedicates concertos to the Margrave Christian Ludwig of Brandenburg.
2 April : Advertisements appear in both the Daily Courant and Daily Post:
At the King's Theatre in the Hay-Market, Saturday next, being the 11th Day of April, will be perform'd a new opera call'd MUTIUS SCAEVOLA. Tickets will be deliver'd on Friday, at Mr. White's Chocolate House in St. James Street.
11 April : The première of Muzio Scevola (HWV 13) is interrupted by the announcement of the birth of the Duke of Cumberland to the royal family.
15 April : Muzio Scevola (HWV 13) premires. [KT]
5 July : A new cantata, probably Crudel tiranno amor (HWV 97), is sung by Margherita Durastanti (soprano) at her benefit concert. [KT]
1 November : Opera season opens.
25 November : Radamisto (HWV 12b) is revived. [KT]
28 November : Completes composition of Floridante (HWV 14).
9 December : Floridante (HWV 14) premieres. [KT]
JS Bach marries 2nd wife, Anna Magdalena Wilcke.
Telemann invited by the city of Hamburg to become Kantor of the Johanneum and Director Musices (musical director) of the city's five main churches.
Domenico Scarlatti joins the court of the King of Portugal. [Lisbon] | ||||||||
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James Hubbell: Architecture of Jubilation
March 9, 2024 - August 4, 2024
In southern California, between the influences of San Diego, Tijuana and the Pacific; among mountains, manzanita, boulders and oaks, lives a man who builds a world he wants to live in - where the aesthetic is a reflection of nature - and philosophy and art are a way of life. Artist James Hubbell has a 70-plus-year career as a contemporary master who expresses himself through nature-inspired art, architecture and functional objects and spaces. Using stone and glass, paint and pen, wood and steel, his works are natural and unconfined. His human and nature-centric design places art in walls, roofs, floors, and furnishings, not separate from, but as extensions of life. In Hubbell’s world, the everyday is elevated to art, and art is for every day.
Hubbell recognizes that it is our cities, buildings, structures - our treatment of our environment -that are perhaps our truest expressions of our views and values, our understanding of the ordering of the universe in which we live. Without great fanfare or financial reward, James Hubbell, the non-architect builder, personally led the design and construction of multiple architectural and fine art projects that accomplished meaningful social and educational transformation in Tijuana and San Diego.
Architectural designer, sculptor, painter, stained-glass artist, community activist - James Hubbell is one of San Diego’s most prolific artists. His Architecture of Jubilation - is an invitation for all of us to create the world we want to live in.
This exhibition was made possible by a collaboration between the San Diego Public Library, the San Diego Commission for Arts & Culture, the Library Foundation SD and the Ilan-Lael Foundation. This Project is an official community initiative of the World Design Capital San Diego/ Tijuana 2024.
San Diego Art Prize
October 28, 2023 - January 14, 2024
The San Diego Art Prize is predicated on the idea that the visual arts are a necessary and rewarding ingredient of any world-class city, and was conceived to promote and encourage dialogue, reflection, and social interaction around San Diego’s artistic and cultural life. This annual award honors artistic expression with a cash prize, exhibition opportunities, and spotlights artists in the San Diego to Ensenada, Mexico region whose outstanding achievements in the field of visual arts merit recognition.
The San Diego Visual Arts Network is pleased to announce the four recipients of the 2023 San Diego Art Prize: Mely Barragán, Anya Gallaccio, Janelle Iglesias, and Joe Yorty. Recipients were nominated by 17 local arts professionals and selected by an esteemed panel of curators from respected institutions: Pedro Alonzo - Adjunct Curator, Dallas Contemporary, Dallas, Texas, Susanna Temkin - Curator at El Museo del Barrio, New York, New York, Kathryn Kraczon - Director of Exhibitions of the Brown Arts Institute (BAI) and Chief Curator of the David Winton Bell Gallery at Brown University, Providence Rhode Island.
Curated by Lara Bullock, Ph.D.
Humanity Showers | Traveling Exhibit at San Diego Public Libraries
2023 - 2025
An ongoing documentary photography project; Jordan Verdin's Dignity on the Streets & Humanity Showers project is a shining example of the intersections of community service and the visual arts.
Brought to various San Diego Public Library locations, Humanity Showers offers the public a collection of over 300 oral histories and portraiture of individuals experiencing homelessness throughout San Diego County.
Behind the Scenes
Waiting Room: Health & Wellness Explored through Contemporary Craft
August 11, 2023 - October 15, 2023
Waiting rooms act as physical objects of containment, an agent of transition, a boundary, or a threshold. Often these liminal spaces invite introspections into our mental, emotional, and physical worlds. What does it mean to care for something? Someone? Ourselves? Expressions of care—or the lack thereof—shape the world in which we live, a world that is often fraught with competing tensions and complexities.
Waiting Room seeks to unpack matters of illness, suffering, and healing. Explored through a range of artistic interpretations and processes including metalwork, fiber art, ceramics, glass and woodworking, the works on view investigate how we express emotional resilience. How we bring our whole selves into the consulting room. Articulated through contemporary craft, the conversation advances the important role of art in communicating our inner states. When something is internal and then externalized into a form, it frees us and allows both our physical and intangible selves to ponder, act, and address. It facilitates deep engagement with sensitive subjects and provides stimulus to influence understanding, liberation, and relief.
Curated by Bonnie R. Domingos and featuring works by Warren Bakley, Charlotte Bird, Richard Burkett, Judith Christensen, Polly Jacobs Giacchina, Linda Litteral, Viviana Lombrozo, Adam John Manley, Kathleen Mitchell, Michelle Montjoy, Kathy Nida, Christian Garcia-Olivo, Gail Schneider, Ross Stockwell, Cheryl Tall, and Vicotria Fu & Matt Rich.
Virtual Tour
Good Natured: Art & the Environment
May 13, 2023 - July 29, 2023
The laws of Nature are not separate from us. They are not a mysterious other; distant and intangible. At a time when vast amounts of scientific data are sounding the alarms of our current poly-crisis (ecology, economy, energy, and equity), our collective experiences implore us to reconsider our environmental impact and the need for reciprocity. Good Natured challenges us to act in this contingent world and ponders the question what it is to be both the problem and the solution.
Explored paradoxically, literally, ironically, and playfully, Good Natured artists make direct interventions; imaginative and unruly, others certain and precise. Manifested in various approaches and materials including painting, sculpture, textile, mixed media, and digital works, the exhibition provides a multisensory and immersive experience that challenges us to see nature and ourselves as sources of regeneration. A catharsis in an age of paralysis.
Curated by Bonnie R. Domingos and featuring works by Trevor Amery, Mariah Armstrong, Stephanie Bedwell, Taylor Chapin, Aaron Glasson, Sofia V. Gonzales, Judit Hersko, Bianca Juarez, Timothy Murdoch, Margaret Noble, Terri Hughes-Oelrich, Catherine Ruane, Tatiana Ortiz-Rubio, and Ruth Wallen.
Virtual Tour
Lost in Translation: A Game of Telephone
February 6, 2023 - April 15, 2023
Inspired in part by the current state of communication breakdown in our country, this exhibition examines the many ways we (mis)interpret or (mis)understand each other through a game of telephone with local artists and authors. The fascinating, touching and humorous interpretations that occur as words are rendered into images and back to words highlights how perception evolves. In a time when social media is rife with frustration and defensiveness, this project asks the participants to set aside judgement and respond to another's world view with compassion, curiosity and/or a sense of humor. Local curator Chi Essary teamed up with Julia Dixon Evans, writer and KPBS/Arts Producer to select and match local artists and authors to play a game of telephone over the last year. The exhibition reveals how these layers of interpretation end up wildly different or surprisingly similar to the beginning, analogous to the challenges we face as human beings to relate to one another.
Featuring works by Alanna Airitam, Wick Alexander, Animal Cracker Conspiracy, MR Barnadas, Phil Beaumont, Ryan Bradford, Carlos Castro, Patrick Coleman, Marisa Crane, Hugo Crosthwaite, De la Torre Brothers, Sheena Rae Dowling, Julia Dixon Evans, Corey Lynn Fayman, Max Feye, Charles Glaubitz, Lily Hoang, Ari Honarvar, Marianella de la Hoz, Lizz Huerta, Beliz Iristay, Lindy Ivey, Kirsten Imani Kasai, Kiik Araki-Kawaguchi, John Purlia, Guro Silva, Jackie Dunn Smith, Miki Vale, and Perry Vasquez.
Virtual Tour
SD Art Prize
September 17, 2022 - January 7, 2023
Dedicated to the idea that the visual arts are a necessary and rewarding ingredient of any world-class city, the SD Art Prize was conceived to promote and encourage dialogue, reflection and social interaction about San Diego’s artistic and cultural life. This annual award honors artistic expression with a cash prize, exhibition opportunities, and spotlights artists in the San Diego to Ensenada, Mexico region whose outstanding achievements in the field of visual arts merit recognition.
The San Diego Visual Arts Network is pleased to announce the four recipients of the 2022 San Diego Art Prize Alida Cervantes, Angélica Escoto, Carlos Castro Arias and Cognate Collective for being selected. Their outstanding creativity, dedication to their work and contributions to our region have made them stand out to the four national and international curators who selected them from the nominations made by 17 local art professionals. This year we are thrilled to introduce the four national and international curators from respected institutions who selected the four recipients. From the San Francisco Museum of Modern Art - Jovanna Venegas, Assistant Curator of Contemporary Art Whitney Museum, New York - Marcela Guerrero, Assistant Curator Frost Art Museum, Florida - Amy Galpin, Chief Curator Mexico City & Vienna, Austria - José Springer, Independent Curator.
Echoes of Africa
June 4, 2022 - August 20, 2022
Echoes of Africa celebrates classical and contemporary artistic traditions by African and African American artists. This two-part exhibition features African artifacts from San Diego Mesa College's World Cultures Art collection coupled with artworks produced by local contemporary artists. A dynamic group of artifacts will be exhibited, featuring objects that demonstrate the mastery of African artisans in metal, wood, ceramics, beadwork, and textiles. The Fine Arts gallery will highlight artworks by contemporary local artists in conversation with select African artifacts, echoing and responding to aspects of their materials, symbolism, and creative process. The exhibition pays tribute to the ongoing cultural and artistic influence of African art on African American artists and celebrates our connections to the spirit and history of African and African American culture.
Curated by Dr. Denise Rogers and features work by Andrea Chung, Angie Jennings, Christopher Lloyd Tucker, Maxx Moses, and Jermaine Adeshola Williams.
Virtual Tour
Occupy Thirdspace II: Plástica y palabra en TJ/SD | Ocupa Tercer Espacio II: Plástica y palabra en TJ/SD
February 19, 2022 - May 7, 2022
Occupy Thirdspace II: Plástica y palabra en TJ/SD explores the relationship between the visual arts and palabra (word). It documents the history of this relationship from the late 1980s to the present, through the work of artists who have lived and worked in Tijuana and San Diego. Palabra as a concept speaks back to the oppressive function of “Language,” as a tool for colonization, assimilation, and exclusion—repurposing, translating, and changing it. Plástica y Palabra represents a collective force of impulses that cross geopolitical, racial, lingual, social, and economic borders. These practices live, give new life, and assign new meaning to their environment.
Ocupa Tercer Espacio II: Plástica y palabra en TJ/SD explora la relación entre las artes visuales y palabra. Documenta la historia de esta relación desde fines de la década de 1980 hasta el presente, a través del trabajo de artistas que han vivido y trabajado en Tijuana y San Diego. Palabra como concepto responde a la función opresiva del "lenguaje," como una herramienta para la colonización, la asimilación y la exclusión—reutilizándolo, traduciéndolo y cambiándolo. Plástica y Palabra representa una fuerza colectiva de impulsos que cruzan fronteras geopolíticas, raciales, lingüísticas, sociales y económicas. Estas prácticas viven, dan nueva vida y asignan un nuevo significado a su entorno.
Curated by Sara Solaimani and features work by David Avalos, Elizabeth Sisco, Louis Hock, Omar Pimienta, Cog•nate Collective, Adriana Trujillo, Jaime Ruiz Otis, Charles Glaubitz, Melissa Cisneros, Marcos Ramírez ERRE, and Comité Magonista Tierra y Libertad.
Sonidero Travesura will be performing LIVE at the gallery opening. The duo is composed of Tijuana native Omar Lizarraga and Dardin Coria.
Behind the Scenes
Call to Serve: Clara E. Breed and the Japanese American Incarceration
September 18, 2021 - January 30, 2022
Clara E. Breed directed the San Diego Public Library for 42 years as a public servant advocating on numerous fronts, including the promotion of youth services, championing a child’s right to read by encouraging international and multicultural collections, undertaking an unprecedented expansion of the City’s Library system, and most significantly, advocating on behalf of the hundreds of Japanese American families that were incarcerated due to Executive Order 9066.
Breed was ahead of her time in her interest to promote cultural understanding and fight prejudice. Her steadfast commitment and activism broadens our insights about the role libraries play in working toward a more equitable, diverse, and inclusionary future.
Call to Serve: Clara E. Breed & The Japanese American Incarceration is co-organized by guest curators Susan Hasegawa, Linda Salem, and the San Diego Public Library. This exhibition was made possible by a collaboration between the City of San Diego Commission for Arts and Culture, the Japanese American National Museum, the Japanese American Historical Society of San Diego, San Diego State University Library, and Simmons University Archives. This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities.
Behind the Scenes
Proudly presenting Behind-the-Scenes of Call to Serve: Clara E. Breed & the Japanese American Incarceration. The virtual tour offers an in-depth review of the exhibit and all materials on loan from the Japanese American National Museum, the Japanese American Historical Society San Diego, San Diego State University, Simmons College Archive, and San Diego Public Library Special Collections.
Exhibition Teaser
Virtual Tour
WW-II Japanese American Incarceration Camp Replica
In 1942 the War Relocation Authority (WRA) had constructed ten centers in the harshest, most desolate places in California, Arizona, Utah, Colorado, Wyoming, Idaho, and Arkansas in order to house all persons of Japanese ancestry who were incarcerated as enemies of the state after the bombing of Pearl Harbor. Although there were no cases of spying or espionage by the Japanese immigrant community or their American-born children, approximately 120,000 persons of Japanese ancestry were forcibly removed from and imprisoned in barbed-wire fenced camps.
Like thousands of young men eager to serve in the military and fight in WW-II, Frank Wada (pictured) volunteered for the army. Born and raised in Southern California, Wada was one of the first volunteers out of Poston, Arizona Incarceration Camp located on the Colorado River Native American Reservation. Wada joined thousands of Japanese Americans to serve in the highly decorated 442nd Regimental Combat Team. Wada, his family and friends built this model barracks to tell the story of their WW- II incarceration.
This replica model, located on the ground floor lobby of the Central Library, was reconstructed as part of the Call to Serve: Clara E. Breed & the Japanese American Incarceration exhibition. This was made possible by the Wada Family. Special thanks to Frank Wada and his son, Greg Wada and Jeanne and Bill Elyea.
Fear No Art: Civic Engagement, Histories, Currencies
February 15 – May 17, 2020
© City of San Diego Civic Art Collection
Fear No Art: Civic Engagement, Histories, Currencies, invites the public to consider artworks in the City of San Diego’s Civic Art Collection and the narratives that emerge when in dialogue with local contemporary artists. Together, these artworks represent a wide range of themes and approaches, which act as a provocation for the viewer to consider concepts such as institutional critique, the ability of art to effectively speak to and for the masses, the specificity of the Civic Art Collection, and the notion of a collection, itself.
Fear No Art is curated by Dr. Lara Bullock and features work by Eric Blau, Donald Borthwick, Mildred Bryant Brooks, Celeste Byers, Collective Magpie, Jung Ho Grant, William Hogarth, Robert Kelly, Leslie William Lee, Jacquelyn Hughes Mooney, John Parot, Cat Chiu Phillips, Charles Reiffel, Zoya Sardashti, Jean Swiggett, Terry Turrell, Jerry O. Wilkerson, and Joe Yorty.
Virtual Tour
Check out our virtual exhibition of Fear No Art: Civic Engagement, Histories, Currencies curated by Dr. Lara Bullock.
Behind the Scenes
Inter-disciplinary artist MR Barnadas of Collective Magpie sits down with us to discuss her work Who Designs Your Race? in the Fear No Art: Civic Engagement, Histories, Currencies exhibition.
Performance artist Zoya Sardashti speaks about her work "To Be Seen & Unseen" in the gallery's exhibition Fear No Art: Civic Engagement, Histories, Currencies curated by Dr. Lara Bullock.
Multi-disciplinary artist John Parot sits down with us to discuss his current work "Chromosexual" in the Fear No Art: Civic Engagement, Histories, Currencies exhibition.
This week in 'Behind the Scenes' illustrator and muralist, Celeste Byers, discusses her work "Survivor Love Letter" with curator Lara Bullock of Fear No Art: Civic Engagement, Histories, Currencies.
Curator, Lara Bullock of Fear No Art: Civic Engagement, Histories, Currencies sits down with interdisciplinary artist Joe Yorty to discuss his work "Stage".
Curator, Lara Bullock of Fear No Art: Civic Engagement, Histories, Currencies sits down with contemporary artist Cat Chiu Phillips to discuss her work "Entertain".
Julius Shulman: Modern San Diego
September 28 – January 19, 2020
© J. Paul Getty Trust
Recognized for his work in Los Angeles and Palm Springs, it is not widely known that between 1934 and 2007, architectural photographer Julius Shulman (1910 – 2009) shot over 200 projects in San Diego. His clients were architects, publishers, construction companies, and developers, and included notable San Diego architects Lloyd Ruocco, Sim Bruce Richards, Henry Hester, and Frederick Liebhardt. Shulman’s work, spanning several decades, documented the region’s evolving 20th century architectural landscape and he played an instrumental role in sharing California’s unique post-War modernism with a wide audience. Through a large number of publications and exhibitions, focused largely on his work in Palm Springs and Los Angeles for architects Frank Lloyd Wright, Pierre Koenig, Charles Eames, and Richard Neutra, interest in Shulman’s work continues to this day. However, his images of San Diego have not been widely shared or published.
Crafting Opportunity: Mid-Century Work from the Collection of Mingei International Museum
May 11 – July 28, 2019
Crafting Opportunity: Mid-Century Work from the Collection of Mingei International Museum is an exhibition of ceramics, furniture, fashion, fiber art, jewelry and metalwork that explores the robust artistic output that followed World War II. Mid-century craft and design in America is a study in creative pluralism, a blurring of the lines between fine and applied arts, craft and production, rustic and modern, functional and conceptual.
The exhibit includes notable works from craftspeople Ellamarie Woolley, Jack Lenor Larsen, Arline Fisch, Maria Martinez, Douglas Deeds, Berta Wright, Harrison McIntosh, Kay Whitcomb, Laura Andreson, and Charles and Ray Eames - many on view for the first time.
The Artist Portrait Project: San Diego Artists 2006-2016
Dec. 15, 2018 – March 17, 2019
Photographer Jennifer G. Spencer spent ten years trying to capture the “creative spirit” of leading San Diego artists through environmental portraiture. The result: An historic record of 50 artists who significantly contributed to our region’s creative culture. The exhibit included additional works from artists Kenneth Capps, Jean Wheat, Helen Redman, Susan Osborn, Joseph Bennett, Jeanne Dunn, James Watts, Anne Mudge, Nilly Gill, Cindy Zimmerman, Robert Treat, and Polly Giacchina.
A Method for Reaching Extreme Altitude
May 26 - Sept. 16, 2018
Featuring the work of eight San Diego artists exploring space art, ranging from scientific to science fiction and otherworldly curiosities. Artists Adam Belt, Matthew Bradley, Sheena Rae Dowling, Andrew McGranahan, Arzu Ozkal, Cheryl Sorg, Jones von Jonestein, and Melissa Walter traverse the outermost reaches of space through diverse mediums and concepts. Their creativity, paired with their search for knowledge, exemplifies the human desire to understand the world and universe we live in.
You Are Here
Feb. 10 - May 6, 2018
The creative energy from within San Diego-area higher education art departments was shifted off campus to the Central Public Library. Diverse works were created by instructors and students in a range of mediums such as painting, mixed media, ceramics, and photography.
Participants included 26 artists representing 13 universities and colleges: David Avalos/Martha Gil, California State University - San Marcos; David Adey/Matthew J. Mahoney, Point Loma Nazarene University; Matthew Hebert/Liz Koerner, San Diego State University; Monique van Genderen/Maya Grace Misra, University of California, San Diego; Brianna Rigg/Bryan Reid, University of San Diego; Jennifer Anne Bennett/Christian Garcia-Olivo, Grossmont Community College; Xuchi Eggleton/Larissa Lopez, Cuyamaca Community College; Siobhán Arnold/Benjamin Poarch, MiraCosta College; Sasha Koozel Jonestein/Corina Bilandzija, Palomar Community College; Wayne Hulgin/Niki Ito, San Diego City College; Wendell M. Kling/Tim Penney, San Diego Mesa College; Jessica McCambly/Hanna Hunter, San Diego Miramar College; Perry Vasquez/Jorge Mendez, Southwestern College.
Dream of the Nineties
Sept. 23 – Dec. 31, 2017
At the end of the 20th century, photographers were keenly aware of the emergence of digital media. This exhibit showed the work of nine San Diegans who used a range of photographic materials and processes to explore the boundaries of expression at the end of the analog era. Eric Blau, Walter Cotten, Steven DePinto, Annette Fournet, Suda House, Richard Lou, James Luna, Han Nguyen and Philipp Scholz Rittermann were all represented.
Weather on Steroids: the Art of Climate Change Science
June 10 - Sept. 3, 2017
Artistic and scientific perspectives merged for a visual dialogue about climate change and the effect of variable weather on local communities. Responding to research from climate scientists at Scripps Institution of Oceanography, visual artists created subjective images of the planet’s upset balance and the impact of extreme weather.
Organized by the La Jolla Historical Society; curated by Tatiana Sizonenko and Science Consultant Alexander Gershunov. Participating artists: Tiersa Cosaert, Judit Hersko, Cheryl E. Leonard, Dana Montlack, Lilleane Peebles, Oscar Romo, M. Luna Rossel, Eva Struble, Paul Turounet, Ruth Wallen and Allison Wiese.
Print Culture: Midcentury Modern Graphic Design in San Diego
December 10, 2016 – May 7, 2017
Print Culture showed fine graphic design created primarily in the 1950's and '60s by professional San Diego artists, many of whom made their living in the defense industry. Some of the works were produced for employers like Convair and NEL, others the artists created for their own purposes, such as greeting cards or print materials to promote their own work. Print Culture was more than an art experience; it was a study of graphic techniques from another era and a lesson in our region's history. Curated by Dave Hampton, featured artists included Bob Matheny, Tom Gould, Bill Noonan, John Baldessari, James Boynton, Barney Reid and Jim Sundell.
Intersecting Lines: The 11th Biannual Drawing Show
September 24 – November 27, 2016
We humans have put ideas into form since the Stone Age. Drawings – scribbles and doodles to sketches and diagrams -- help make our ideas tangible and explain what words cannot. For studio artists, drawing is a fundamental skill, yet the concepts and media they explore and employ are limitless. This show offered thought-provoking, powerful works: anatomy lessons testified to an artist’s prolificacy, collaborative drawings served as artifacts of complex community investigations, figurative work referred to pop culture, political debates and the built environment. Featured artists: Joyce Cutler-Shaw, Dominic Paul Miller, Todd Partridge, Regan Russell, Barbara Sexton.
First Folio! The Book That Gave Us Shakespeare
June 4 – July 7, 2016
In 1623, Shakespeare’s friends collected the Bard’s works and published them in a single volume, known as The First Folio. Without it, 18 plays, including Macbeth and The Tempest, could have been lost. Today, the First Folio is considered one of the world’s most important books with only 235 surviving. The San Diego Public Library and The Old Globe co-hosted the Folio in its only California stop on a national tour organized by the Folger Shakespeare Library, Washington, DC. More than 10,000 visitors viewed the First Folio free of charge in the Art Gallery.
Portrait of Pomeroy
March 12 – May 15, 2016
Library visitors were given access to one of the best-kept secrets of the San Diego art community: Walter Pomeroy’s extensive private collection of works by local artists of the 1950s and 1960s. Pomeroy encouraged young contemporary artists by purchasing from them directly. The resulting collection represents a who’s who of San Diego contemporary artists of the period. Curated by Dave Hampton, artists featured included Martha Alf, John Baldessari, Don Borthwick, Fred Cooper, Dan Dickey, Michael Dormer, Don Dudley, Robert Fries, Ethel Greene, Harold Gregor, Tom Gould, Ed Hatten, Fred Holle, Marj Hyde, Ellis Jacobson, Frank Jones, Dudley Kendall, Sheldon Kirby, Donna Leavitt, Mary Ellen Long, Mark-Elliott Lugo, Bob Matheny, Cliff McReynolds, Richard Allen Morris, Barney Reid, Sarah Roberts, Guy Williams, and Jackson Woolley.
Significant Others
December 19, 2015 – February 28, 2016
Significant Others was an exhibition of work from eight San Diego artists making up four married couples. The artworks on view were as diverse as the dynamics in each relationship. Some couples chose to work as collaborators; others pursued distinctly independent artistic practices and aesthetics. Featured artists included Jean Lowe and Kim MacConnel; Jessica McCambly and John Oliver Lewis; Debby and Larry Kline; and Anna O’Cain and Richard Keely.
Rainmaker
September 19 – November 29, 2015
Works in this exhibit commemorated an unusual moment in our arid region's history and explored the element of water: its presence and absence, its mystery and allure, and the futility and absurdity of our attempts to control it. In 1915, San Diego‘s City Council accepted Charles Hatfield’s offer to make rain; it then poured more than 30 inches in four weeks, wiping out dams, homes and bridges. In 2015, twelve San Diego artists filled the gallery with watery sounds, sculpture, painting, poetry, photography, video and digital animation. Artifacts related to Charles Hatfield were also on view. The exhibition was curated by Susan Myrland and featured Adam Belt, Roman de Salvo, Michael Field, Lisa Hutton, Gabriel Kalmuss-Katz, Dominic Paul Miller, Margaret Noble, Scott Polach, Eva Struble, Joshua Tonies, Jim Wilsterman, and Sheldon Wood.
The Art of Comic-Con
June 20 – September 6, 2015
Since the first convention held in San Diego 45 years ago, Comic-Con has been bringing together comics, movie, and science fiction fans, and creating a lot of great art along the way. Providing unprecedented access to original art by over 60 comics artists, The Art of Comic-Con traced the history of Comic-Con through art and provided a sneak peek into the evolving process of creating comic art. Drawing from Comic-Con's archives, the exhibition highlighted how art serves as an integral tool in promoting the organization’s mission of creating awareness of, and appreciation for, comics and related popular artforms.
[UN]BOUND: Artists’ Books from the Athenaeum Music and Art Library
January 31 – May 31, 2015
In 25 years of collecting, the Erika and Fred Torri Artists’ Books Collection at the Athenaeum has grown into an important resource for artists, researchers, and presses. In this exhibition, visitors had access to more than 50 of the Athenaeum’s rare and diverse books by 36 artists. From conceptual books of the late 1960s to 1970s to fine press limited editions and book objects, [UN]BOUND offered an unprecedented opportunity to discover the book as both object and idea in the hands of San Diego artists.
Hiding in Plain Sight: Eight Voices in Contemporary Photography
September 6, 2014 – January 11, 2015
Hiding in Plain Sight examined the evolving state of contemporary photography, as new tools and new media inspire artists to rethink traditional photographic processes. Using techniques of collage, photographic sequencing, time, and persistence of vision, artists showed how the 175-year-old medium has been shaped into its present form and suggested that it is at the dawn of a new era. Curated by scott b. davis, featured artists included Andy Cross, Amanda Dahlgren, Judith Fox, John Brinton Hogan, Michael Mulno, Han Nguyen, Scott Polach, and Rebecca Webb.
Intersecting lines: The Tenth Invitational Drawing Show
April 26, 2014 – August 24, 2014
Drawing is deeper than lines on a surface, as demonstrated by the convergence of concept, media and process visible in this show. Seven artists challenged assumptions about the medium by working with unexpected materials, such as cut paper, acrylic and glass, as well as the traditional charcoal, ink and graphite. Featured artists included Joshua Eggleton, John Halaka, May‐ling Martinez, Jessica McCambly, Bhavna Mehta, Herbert Olds, and Marisol Rendón.
Renewed: A Short Story about the San Diego Public Library’s Visual Arts Program
Sept. 30, 2013 – March 29, 2014
The first Gallery exhibit in San Diego’s new Central Library celebrated the past success of the Public Library’s Visual Arts Program, and marked a new beginning. The VAP was created by Mark-Elliot Lugo in 1997 and curated by him until 2012. The program demonstrated the library's role as a cultural institution embracing a broad range of disciplines while helping San Diego's mid‐career and older professional artists achieve wider attention. The exhibition was curated by Kathryn Kanjo and featured artists who previously exhibited in the Visual Arts Program, including Faiya Fredman, Suda House, Jeff Irwin, Gail Roberts, Philipp Scholz Rittermann, Lynn Schuette, Ernest Silva and Vicki Walsh. | ||||||
2417 | dbpedia | 1 | 42 | https://www.tarrantcountytx.gov/en/tarrant-county-archives/holdings/named-collections/m/mansfield-historical-society.html | en | Mansfield Historical Society | [
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] | null | [] | null | en | https://www.tarrantcountytx.gov/content/dam/main/favicon.ico | Tarrant County TX | https://www.tarrantcountytx.gov/content/main/en/tarrant-county-archives/holdings/named-collections/m/mansfield-historical-society.html | Information on Britton Cemetery:
The community of Britton, Texas, is split between Tarrant and Ellis Counties. The town was situated on the Texas and New Orleans Railroad. State Highway 34 went through Britton until the new Highway 287 was constructed about four miles west of town in the 1940s.
F. S. Windle built the first and only elevator, encouraging farmers to grow small grain crops. George Magee donated land for a cemetery as well as the Methodist Church. G. W. Maynard donated land for the Baptist Church and built the first store. Garrett Maynard was the first postmaster in 1895.
Britton Cemetery is located in Britton, Texas, on the Ellis County side of town. Inscriptions copied by Beth Harrison Canright and Becky Harrison Bledsoe, 1980. Published 1986 by Mansfield Historical Society, P.O. Box 304, Mansfield, TX 76063; used here with permission.
First marked grave
Nellie Windle (1892 - 1896).
Starting at Northeast Corner: | |||||
2417 | dbpedia | 3 | 20 | https://familie-luyken.de/07Genealogie/11Gen/11051E.htm | en | Ernst Holle | [] | [] | [] | [
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"Hermann Luyken"
] | 2013-12-28T00:00:00 | ../../favicon.ico | null | • Name index
• Home
• Contact
• German
On Ernst Holle:
• Links
Ludwigshafen, 28.12.2013 Ernst Holle, Generation 11, Ref.Nr. 11-051 (BK2519) Branch WA EL
Born: 1.8.1888 in Ratibor/Upper Silesia (then Germany, now Poland)
Died: 8.8.1917 near Ypres (Belgium) (Age: 28 years)
Occupation: Judge (on probation)
Father: Alexander Holle
Mother: Elisabeth R�der
Spouse: Lotte Skutsch
Married: 10.2.1916 in ?
Children:
• Elfriede Holle (1917-?) | |||||||
2417 | dbpedia | 1 | 39 | https://www.history.com/this-day-in-history/americans-overthrow-hawaiian-monarchy | en | Americans overthrow Hawaiian monarchy | [
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"Missy Sullivan"
] | 2010-02-09T12:24:19+00:00 | On the Hawaiian Islands, a group of American sugar planters under Sanford Ballard Dole overthrow Queen Liliuokalani, the Hawaiian monarch, and establish a new provincial government with Dole as president. The coup occurred with the foreknowledge of John L. Stevens, the U.S. minister to Hawaii, and 300 U.S. Marines from the U.S. cruiser Boston were […] | en | HISTORY | https://www.history.com/this-day-in-history/americans-overthrow-hawaiian-monarchy | On the Hawaiian Islands, a group of American sugar planters under Sanford Ballard Dole overthrow Queen Liliuokalani, the Hawaiian monarch, and establish a new provincial government with Dole as president. The coup occurred with the foreknowledge of John L. Stevens, the U.S. minister to Hawaii, and 300 U.S. Marines from the U.S. cruiser Boston were called to Hawaii, allegedly to protect American lives.
The first known settlers of the Hawaiian Islands were Polynesian voyagers who arrived sometime in the eighth century, and in the early 18th century the first American traders came to Hawaii to exploit the islands’ sandalwood, which was much valued in China at the time. In the 1830s, the sugar industry was introduced to Hawaii and by the mid-19th century had become well established. American missionaries and planters brought about great changes in Hawaiian political, cultural, economic, and religious life, and in 1840 a constitutional monarchy was established, stripping the Hawaiian monarch of much of his authority. Four years later, Sanford B. Dole was born in Honolulu, Hawaii, to American parents.
During the next four decades, Hawaii entered into a number of political and economic treaties with the United States, and in 1887 a U.S. naval base was established at Pearl Harbor as part of a new Hawaiian constitution. Sugar exports to the United States expanded greatly during the next four years, and U.S. investors and American sugar planters on the islands broadened their domination over Hawaiian affairs. However, in 1891 Liliuokalani, the sister of the late King Kalakaua, ascended to the throne, refusing to recognize the constitution of 1887 and replacing it with a constitution increasing her personal authority.
In January 1893, a revolutionary “Committee of Safety,” organized by Sanford B. Dole, staged a coup against Queen Liliuokalani with the tacit support of the United States. On February 1, Minister John Stevens recognized Dole’s new government on his own authority and proclaimed Hawaii a U.S. protectorate. Dole submitted a treaty of annexation to the U.S. Senate, but most Democrats opposed it, especially after it was revealed that most Hawaiians did not want annexation. | |||||
2417 | dbpedia | 3 | 77 | https://it.findagrave.com/memorial/146387484/walter-adolph-holle | en | 2005) – Find a Grave Gedenkstätte | [
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] | null | [] | null | WALTER A. HOLLE, 85, a native of Decatur, passed away Wednesday, April 13, 2005, 12:30 a.m., at Woodcrest Nursing Center, following a two year bout with melanoma. Prior to his death, he had also previously resided in Woodburn from 1960-1986, and Gainesville, Fla. from 1986-2003. He was born on October 22, 1919, in... | de | /assets/images/fg-icon.svg | https://de.findagrave.com/memorial/146387484/walter_adolph-holle | Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort.
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2417 | dbpedia | 3 | 2 | http://www.geocities.ws/orion47.geo/WEHRMACHT/LUFTWAFFE/Generalleutnant/HOLLE_ALEXANDER.html | en | Generalleutnant Alexander Holle | [
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2417 | dbpedia | 1 | 97 | https://www.marxists.org/history/usa/pubs/social-democratic-herald-us/ | en | Social Democratic Herald 1898-1913 | [] | [] | [] | [
"Social Democratic Herald",
"newspapers"
] | null | [] | null | Newspaper Archive of Social Democratic Herald | null | Social Democratic Herald
1898-1913
Introduction
The Social Democracy of America (SDA), founded in 1897 by Eugene V. Debs from the remnants of his American Railway Union, was deeply divided between those who favored a tactic of launching a series of colonies to build socialism by practical example and others who favored establishment of a European-style socialist political party with a view to capture of the government apparatus through the ballot box. The June 1898 convention would be the group's last, with the minority political action wing quitting the organization to establish a new organization, the Social Democratic Party of America (SDP).
With the old official organ, The Social Democrat, remaining with the colonizationists, a new newspaper was needed for the new party, and on July 9, 1898, The Social Democratic Herald was born. The paper was published in Chicago under the editorship of Alfred Shenstone Edwards.
The Herald would remain the official organ for the Social Democratic Party with headquarters in Chicago, headed by Theodore Debs, younger brother of Eugene, throughout a long and difficult unification process with dissidents who split from the Socialist Labor Party back in 1899. The two groups would eventually bury their petty jealousies and minor differences and unify forces at a Socialist Unity Convention held in Indianapolis in the summer of 1901 â a meeting which established the Socialist Party of America (SPA).
Rather than decide which of the former official organs would become the official organ of the new SPA, delegates decided to forego such a paper altogether; both The Worker (organ of the former SLP dissidents) and the Social Democratic Herald (organ of the Chicago SDP) became independent publications.
As the Social Democratic Party with headquarters in Chicago had been in a state of membership decline and wound up deeply in debt, the Herald was in no position to continue publication without outside financial assistance. Rather than fold the publication, the paper and its subscriber list were sold to prominent factional leader Victor L. Berger, publisher of German-language newspapers in nearby Milwaukee, Wisconsin, who continued the weekly with A.S. Edwards in the editor's chair.
The final issue of the paper published in Chicago (vol. 4, no. 6) was dated July 27, 1901; the first issue from Milwaukee (vol. 4, no. 7) was dated August 17. During this transition numbering of the publication was botched and whole numbers 159 and 160 were inadvertently repeated. The error was never corrected.
The first four months of the Social Democratic Herald from Milwaukee were believed to have been lost for many years. Eventually a decrepit browning and chipping run of the missing issues surfaced. Lamentably, this imperfect set of issues was incompetently filmed, rendered virtually illegible through poor lighting. This material, running from August through November 1901, has been rendered as legible as possible here via state-of-the-art scanning equipment and software manipulation of the digital images.
The Social Democratic Herald continued weekly publication through September 1913, when it was supplanted by a new Milwaukee English-language daily, the Milwaukee Leader, also published by Victor Berger.
Tim Davenport,
Corvallis, OR
Nov. 2018.
Jump to 1898 | 1899 | 1900 | 1901 | 1902 | 1903 | 1903 | 1904 | 1905
1906 | 1907 | 1908 | 1909 | 1910 | 1911 | 1912 | 1913
1898
Vol. 1, No. 1, July 9, 1898
Vol. 1, No. 2, July 16, 1898
Vol. 1, No. 3, July 23, 1898
Vol. 1, No. 4, July 30, 1898
Vol. 1, No. 5, August 6, 1898
Vol. 1, No. 6, August 13, 1898
Vol. 1, No. 7, August 20, 1898
Vol. 1, No. 8, August 27, 1898
Vol. 1, No. 9, September 3, 1898
Vol. 1, No. 10, September 10, 1898
Vol. 1, No. 11, September 17, 1898
Vol. 1, No. 12, September 24, 1898
Vol. 1, No. 13, October 1, 1898
Vol. 1, No. 14, October 8, 1898
Vol. 1, No. 15, October 15, 1898
Vol. 1, No. 16, October 22, 1898
Vol. 1, No. 17, October 29, 1898
Vol. 1, No. 18, November 5, 1898
Vol. 1, No. 19, November 12, 1898
Vol. 1, No. 20, November 19, 1898
Vol. 1, No. 21, November 26, 1898
Vol. 1, No. 22, December 3, 1898
Vol. 1, No. 23, December 10, 1898
Vol. 1, No. 24, December 17, 1898
Vol. 1, No. 25, December 24, 1898
Vol. 1, No. 26, December 31, 1898
⇑1899
Vol. 1, No. 27, January 7, 1899
Vol. 1, No. 28, January 14, 1899
Vol. 1, No. 29, January 21, 1899
Vol. 1, No. 30, January 28, 1899
Vol. 1, No. 31, February 4, 1899
Vol. 1, No. 32, February 11, 1899
Vol. 1, No. 33, February 18, 1899
Vol. 1, No. 34, February 25, 1899
Vol. 1, No. 35, March 4, 1899
Vol. 1, No. 36, March 11, 1899
Vol. 1, No. 37, March 18, 1899
Vol. 1, No. 38, March 25, 1899
Vol. 1, No. 39, April 1, 1899
Vol. 1, No. 40, April 8, 1899
Vol. 1, No. 41, April 15, 1899
Vol. 1, No. 42, April 22, 1899
Vol. 1, No. 43, April 29, 1899
Vol. 1, No. 44, May 6, 1899
Vol. 1, No. 45, May 13, 1899
Vol. 1, No. 46, May 20, 1899
Vol. 1, No. 47, May 27, 1899
Vol. 1, No. 48, June 3, 1899
Vol. 1, No. 49, June 10, 1899
Vol. 1, No. 50, June 17, 1899
Vol. 2, No. 1, June 24, 1899
Vol. 2, No. 2, July 1, 1899
Vol. 2, No. 3, July 8, 1899
Vol. 2, No. 4, July 15, 1899
Vol. 2, No. 5, July 22, 1899
Vol. 2, No. 6, July 29, 1899
Vol. 2, No. 7, August 5, 1899
Vol. 2, No. 8, August 12, 1899
Vol. 2, No. 9, August 19, 1899
Vol. 2, No. 10, August 26, 1899
Vol. 2, No. 11, September 2, 1899
Vol. 2, No. 12, September 9, 1899
Vol. 2, No. 13, September 16, 1899
Vol. 2, No. 14, September 23, 1899
Vol. 2, No. 15, September 30, 1899
Vol. 2, No. 16, October 7, 1899
Vol. 2, No. 17, October 14, 1899
Vol. 2, No. 18, October 21, 1899
Vol. 2, No. 19, October 28, 1899
Vol. 2, No. 20, November 4, 1899
Vol. 2, No. 21, November 11, 1899
Vol. 2, No. 22, November 18, 1899
Vol. 2, No. 23, November 25, 1899
Vol. 2, No. 24, December 2, 1899
Vol. 2, No. 25, December 9, 1899
Vol. 2, No. 26, December 16, 1899
Vol. 2, No. 27, December 23, 1899
Vol. 2, No. 28, December 30, 1899
⇑1900
Vol. 2, No. 29, January 6, 1900
Vol. 2, No. 30, January 13, 1900
Vol. 2, No. 31, January 20, 1900
Vol. 2, No. 32, January 27, 1900
Vol. 2, No. 33, February 3, 1900
Vol. 2, No. 34, February 10, 1900
Vol. 2, No. 35, February 17, 1900
Vol. 2, No. 36, February 24, 1900
Vol. 2, No. 37, March 3, 1900
Vol. 2, No. 38, March 10, 1900
Vol. 2, No. 39, March 17, 1900
Vol. 2, No. 40, March 24, 1900
Vol. 2, No. 41, March 31, 1900
Vol. 2, No. 42, April 7, 1900
Vol. 2, No. 43, April 14, 1900
Vol. 2, No. 44, April 21, 1900
Vol. 2, No. 45, April 28, 1900
Vol. 2, No. 46, May 5, 1900
Vol. 2, No. 47, May 12, 1900
Vol. 2, No. 48, May 19, 1900
Vol. 2, No. 49, May 26, 1900
Vol. 2, No. 50, June 2, 1900
Vol. 2, No. 51, June 9, 1900
Vol. 2, No. 52, June 16, 1900
Vol. 3, No. 1, June 23, 1900
Vol. 3, No. 2, June 30, 1900
Vol. 3, No. 3, July 7, 1900
Vol. 3, No. 4, July 14, 1900
Vol. 3, No. 5, July 21, 1900
Vol. 3, No. 6, July 28, 1900
Vol. 3, No. 7, August 4, 1900
Vol. 3, No. 8, August 11, 1900
Vol. 3, No. 9, August 18, 1900
Vol. 3, No. 10, August 25, 1900
Vol. 3, No. 11, September 1, 1900
Vol. 3, No. 12, September 8, 1900
Vol. 3, No. 13, September 15, 1900
Vol. 3, No. 14, September 22, 1900
Vol. 3, No. 15, September 29, 1900
Vol. 3, No. 16, October 6, 1900
Vol. 3, No. 17, October 13, 1900
Vol. 3, No. 18, October 20, 1900
Vol. 3, No. 19, October 27, 1900
Vol. 3, No. 20, November 3, 1900
Vol. 3, No. 21, November 10, 1900
Vol. 3, No. 22, November 17, 1900
Vol. 3, No. 23, November 24, 1900
Vol. 3, No. 24, December 1, 1900
Vol. 3, No. 25, December 8, 1900
Vol. 3, No. 26, December 15, 1900
Vol. 3, No. 27, December 22, 1900
Vol. 3, No. 28, December 29, 1900
⇑1901
Vol. 3, No. 29, January 5, 1901
Vol. 3, No. 30, January 12, 1901
Vol. 3, No. 31, January 19, 1901
Vol. 3, No. 32, January 26, 1901
Vol. 3, No. 33, February 2, 1901
Vol. 3, No. 34, February 9, 1901
Vol. 3, No. 35, February 16, 1901
Vol. 3, No. 36, February 23, 1901
Vol. 3, No. 37, March 2, 1901
Vol. 3, No. 38, March 9, 1901
Vol. 3, No. 39, March 16, 1901
Vol. 3, No. 40, March 23, 1901
Vol. 3, No. 41, March 30, 1901
Vol. 3, No. 42, April 6, 1901
Vol. 3, No. 43, April 13, 1901
Vol. 3, No. 44, April 20, 1901
Vol. 3, No. 45, April 27, 1901
Vol. 3, No. 46, May 4, 1901
Vol. 3, No. 47, May 11, 1901
Vol. 3, No. 48, May 18, 1901
Vol. 3, No. 50, June 1, 1901
Vol. 3, No. 51, June 8, 1901
Vol. 3, No. 52, June 15, 1901
Vol. 4, No. 1, June 22, 1901
Vol. 4, No. 2, June 29, 1901
Vol. 4, No. 3, July 6, 1901
Vol. 4, No. 4, July 13, 1901
Vol. 4, No. 5, July 20, 1901
Vol. 4, No. 6, July 27, 1901
Vol. 4, No. 7, August 17, 1901
Vol. 4, No. 8, August 27, 1901
Vol. 4, No. 9, August 31, 1901
Vol. 4, No. 10, September 7, 1901
Vol. 4, No. 11, September 14, 1901
Vol. 4, No. 12, September 21, 1901
Vol. 4, No. 13, September 28, 1901
Vol. 4, No. 14, October 5, 1901
Vol. 4, No. 15, October 12, 1901
Vol. 4, No. 16, October 19, 1901
Vol. 4, No. 17, October 26, 1901
Vol. 4, No. 18, November 2, 1901
Vol. 4, No. 19, November 9, 1901
Vol. 4, No. 20, November 16, 1901
Vol. 4, No. 21, November 23, 1901
Vol. 4, No. 22, November 30, 1901
Vol. 4, No. 23, December 7, 1901
Vol. 4, No. 24, December 14, 1901
Vol. 4, No. 25, December 21, 1901
Vol. 4, No. 26, December 28, 1901
⇑1902
Vol. 4, No. 27, January 4, 1902
Vol. 4, No. 28, January 11, 1902
Vol. 4, No. 29, January 18, 1902
Vol. 4, No. 30, January 25, 1902
Vol. 4, No. 31, February 1, 1902
Vol. 4, No. 32, February 8, 1902
Vol. 4, No. 33, February 15, 1902
Vol. 4, No. 34, February 22, 1902
Vol. 4, No. 35, March 1, 1902
Vol. 4, No. 36, March 8, 1902
Vol. 4, No. 37, March 15, 1902
Vol. 4, No. 38, March 22, 1902
Vol. 4, No. 39, March 29, 1902
Vol. 4, No. 40, April 5, 1902
Vol. 4, No. 41, April 12, 1902
Issue for Vol. 4, No. 42, April 19, 1902, is missing
Vol. 4, No. 43, April 26, 1902
Vol. 4, No. 44, May 3, 1902
Vol. 4, No. 45, May 10, 1902
Vol. 4, No. 46, May 17, 1902
Vol. 4, No. 47, May 25, 1902
Vol. 4, No. 48, May 31, 1902
Vol. 4, No. 49, June 7, 1902
Vol. 4, No. 50, June 14, 1902
Vol. 4, No. 51, June 21, 1902
Vol. 4, No. 52, June 28, 1902
Vol. 5, No. 1, July 4, 1902
Vol. 5, No. 2, July 12, 1902
Vol. 5, No. 3, July 19, 1902
Vol. 5, No. 4, July 26, 1902
Vol. 5, No. 5, August 2, 1902
Vol. 5, No. 6, August 9, 1902
Vol. 5, No. 7, August 16, 1902
Vol. 5, No. 8, August 23, 1902
Vol. 5, No. 9, September 1, 1902
Vol. 5, No. 10, September 6, 1902
Vol. 5, No. 11, September 13, 1902
Vol. 5, No. 12, September 20, 1902
Vol. 5, No. 13, September 27, 1902
Vol. 5, No. 14, October 4, 1902
Vol. 5, No. 15, October 11, 1902
Vol. 5, No. 16, October 17, 1902
Vol. 5, No. 17, October 25, 1902
Vol. 5, No. 18, November 1, 1902
Vol. 5, No. 19, November 8, 1902
Vol. 5, No. 20, November 15, 1902
Vol. 5, No. 22, November 22, 1902
Vol. 5, No. 23, November 29, 1902
Vol. 5, No. 24, December 6, 1902
Vol. 5, No. 25, December 13, 1902
Vol. 5, No. 26, December 20, 1902
Vol. 5, No. 27, December 27, 1902
⇑1903
Vol. 5, No. 28, January 3, 1903
Vol. 5, No. 29, January 10, 1903
Vol. 5, No. 30, January 17, 1903
Vol. 5, No. 31, January 24, 1903
Vol. 5, No. 32, January 31, 1903
Vol. 5, No. 33, February 7, 1903
Vol. 5, No. 34, February 14, 1903
Vol. 5, No. 35, February 21, 1903
Vol. 5, No. 36, February 28, 1903
Vol. 5, No. 37, March 7, 1903
Vol. 5, No. 38, March 14, 1903
Vol. 5, No. 39, March 21, 1903
Vol. 5, No. 40, March 28, 1903
Vol. 5, No. 41, April 4, 1903
Vol. 5, No. 42, April 11, 1903
Vol. 5, No. 43, April 18, 1903
Vol. 5, No. 44, April 25, 1903
Vol. 6, No. 1, May 2, 1903
Vol. 6, No. 2, May 9, 1903
Vol. 6, No. 3, May 16, 1903
Vol. 6, No. 4, May 23, 1903
Vol. 6, No. 5, May 30, 1903
Vol. 6, No. 6, June 6, 1903
Vol. 6, No. 7, June 13, 1903
Vol. 6, No. 8, June 20, 1903
Vol. 6, No. 9, June 27, 1903
Vol. 6, No. 10, July 4, 1903
Vol. 6, No. 11, July 11, 1903
Vol. 6, No. 12, July 18, 1903
Vol. 6, No. 13, July 25, 1903
Vol. 6, No. 14, August 1, 1903
Vol. 6, No. 15, August 8, 1903
Vol. 6, No. 16, August 15, 1903
Vol. 6, No. 17, August 22, 1903
Vol. 6, No. 18, August 29, 1903
Vol. 6, No. 19, September 5, 1903
Vol. 6, No. 20, September 12, 1903
Vol. 6, No. 21, September 19, 1903
Vol. 6, No. 22, September 26, 1903
Vol. 6, No. 23, October 3, 1903
Vol. 6, No. 24, October 10, 1903
Vol. 6, No. 25, October 17, 1903
Vol. 6, No. 26, October 24, 1903
Vol. 6, No. 27, October 31, 1903
Vol. 6, No. 28, November 7, 1903
Vol. 6, No. 29, November 14, 1903
Vol. 6, No. 30, November 21, 1903
Vol. 6, No. 31, November 28, 1903
Vol. 6, No. 32, December 3, 1903
Vol. 6, No. 33, December 12, 1903
Vol. 6, No. 34, December 19, 1903
Vol. 6, No. 35, December 26, 1903
⇑1904
Vol. 6, No. 36, January 2, 1904
Vol. 6, No. 37, January 9, 1904
Vol. 6, No. 38, January 16, 1904
Vol. 6, No. 39, January 23, 1904
Vol. 6, No. 40, January 30, 1904
Vol. 6, No. 41, February 6, 1904
Vol. 6, No. 42, February 13, 1904
Vol. 6, No. 43, February 20, 1904
Vol. 6, No. 44, February 27, 1904
Vol. 6, No. 45, March 5, 1904
Vol. 6, No. 46, March 12, 1904
Vol. 6, No. 47, March 19, 1904
Vol. 6, No. 48, March 27, 1904
Vol. 6, No. 49, April 2, 1904
Vol. 6, No. 50, April 9, 1904
Vol. 6, No. 51, April 16, 1904
Vol. 6, No. 52, April 23, 1904
Vol. 6, No. 53, April 30, 1904
Vol. 7, No. 1, May 7, 1904
Vol. 7, No. 2, May 14, 1904
Vol. 7, No. 3, May 21, 1904
Vol. 7, No. 4, May 28, 1904
Vol. 7, No. 5, June 4, 1904
Vol. 7, No. 6, June 11, 1904
Vol. 7, No. 7, June 18, 1904
Vol. 7, No. 8, June 25, 1904
Vol. 7, No. 9, July 2, 1904
Vol. 7, No. 10, July 9, 1904
Vol. 7, No. 11, July 16, 1904
Vol. 7, No. 12, July 23, 1904
Vol. 7, No. 13, July 30, 1904
Vol. 7, No. 14, August 6, 1904
Vol. 7, No. 15, August 13, 1904
Vol. 7, No. 16, August 20, 1904
Vol. 7, No. 17, August 27, 1904
Vol. 7, No. 18, September 5, 1904
Vol. 7, No. 19, September 10, 1904
Vol. 7, No. 20, September 17, 1904
Vol. 7, No. 21, September 24, 1904
Vol. 7, No. 22, October 1, 1904
Vol. 7, No. 23, October 8, 1904
Vol. 7, No. 24, October 15, 1904
Vol. 7, No. 25, October 22, 1904
Vol. 7, No. 26, October 29, 1904
Vol. 7, No. 27, November 5, 1904
Vol. 7, No. 28, November 12, 1904
Vol. 7, No. 29, November 19, 1904
Vol. 7, No. 30, November 26, 1904
Vol. 7, No. 31, December 3, 1904
Vol. 7, No. 32, December 10, 1904
Vol. 7, No. 33, December 17, 1904
Vol. 7, No. 34, December 24, 1904
Vol. 7, No. 35, December 32, 1904
⇑1905
Vol. 7, No. 36, January 7, 1905
Vol. 7, No. 37, January 14, 1905
Vol. 7, No. 38, January 21, 1905
Vol. 7, No. 39, January 28, 1905
Vol. 7, No. 40, February 4, 1905
Vol. 7, No. 41, February 11, 1905
Vol. 7, No. 42, February 18, 1905
Vol. 7, No. 43, February 25, 1905
Vol. 7, No. 44, March 4, 1905
Vol. 7, No. 45, March 11, 1905
Vol. 7, No. 46, March 18, 1905
Vol. 7, No. 47, March 25, 1905
Vol. 7, No. 48, April 1, 1905
Vol. 7, No. 49, April 8, 1905
Vol. 7, No. 50, April 15, 1905
Vol. 7, No. 51, April 22, 1905
Vol. 7, No. 52, April 29, 1905
Vol. 8, No. 1, May 6, 1905
Vol. 8, No. 2, May 13, 1905
Vol. 8, No. 3, May 20, 1905
Vol. 8, No. 4, May 27, 1905
Vol. 8, No. 5, June 3, 1905
Vol. 8, No. 6, June 10, 1905
Vol. 8, No. 7, June 17, 1905
Vol. 8, No. 8, June 24, 1905
Vol. 8, No. 9, July 1, 1905
Vol. 8, No. 10, July 8, 1905
Vol. 8, No. 11, July 15, 1905
Vol. 8, No. 12, July 22, 1905
Vol. 8, No. 13, July 29, 1905
Vol. 8, No. 14, August 5, 1905
Vol. 8, No. 15, August 12, 1905
Vol. 8, No. 16, August 19, 1905
Vol. 8, No. 17, August 26, 1905
Vol. 8, No. 18, September 2, 1905
Vol. 8, No. 19, September 9, 1905
Vol. 8, No. 20, September 16, 1905
Vol. 8, No. 21, September 23, 1905
Vol. 8, No. 22, September 30, 1905
Vol. 8, No. 23, October 7, 1905
Vol. 8, No. 24, October 14, 1905
Vol. 8, No. 25, October 21, 1905
Vol. 8, No. 26, October 28, 1905
Vol. 8, No. 27, November 4, 1905
Vol. 8, No. 28, November 11, 1905
Vol. 8, No. 29, November 18, 1905
Vol. 8, No. 30, November 25, 1905
Vol. 8, No. 31, December 2, 1905
Vol. 8, No. 32, December 9, 1905
Vol. 8, No. 33, December 16, 1905
Vol. 8, No. 34, December 23, 1905
Vol. 8, No. 35, December 30, 1905
⇑1906
Vol. 8, No. 36, January 6, 1906
Vol. 8, No. 37, January 13, 1906
Vol. 8, No. 38, January 20, 1906
Vol. 8, No. 39, January 27, 1906
Vol. 8, No. 40, February 3, 1906
Vol. 8, No. 43, February 10, 1906
Vol. 8, No. 44, February 17, 1906
Vol. 8, No. 43, February 24, 1906
Vol. 8, No. 44, March 3, 1906
Vol. 8, No. 45, March 10, 1906
Vol. 8, No. 46, March 17, 1906
Vol. 8, No. 47, March 24, 1906
Vol. 8, No. 48, March 31, 1906
Vol. 8, No. 49, April 7, 1906
Vol. 8, No. 50, April 14, 1906
Vol. 8, No. 41, April 21, 1906
Vol. 8, No. 52, April 28, 1906
Vol. 9, No. 1, May 5, 1906
Vol. 9, No. 2, May 12, 1906
Vol. 9, No. 3, May 19, 1906
Vol. 9, No. 4, May 26, 1906
Vol. 9, No. 5, June 2, 1906
Vol. 9, No. 6, June 9, 1906
Vol. 9, No. 7, June 16, 1906
Vol. 9, No. 8, June 23, 1906
Vol. 9, No. 9, June 30, 1906
Vol. 9, No. 10, July 7, 1906
Vol. 9, No. 11, July 14, 1906
Vol. 9, No. 12, July 21, 1906
Vol. 9, No. 13, July 28, 1906
Vol. 9, No. 14, August 4, 1906
Vol. 9, No. 15, August 11, 1906
Vol. 9, No. 16, August 18, 1906
Vol. 9, No. 17, August 25, 1906
Vol. 9, No. 18, September 1, 1906
Vol. 9, No. 19, September 8, 1906
Vol. 9, No. 20, September 15, 1906
Vol. 9, No. 21, September 22, 1906
Vol. 9, No. 22, September 29, 1906
Vol. 9, No. 23, October 6, 1906
Vol. 9, No. 24, October 13, 1906
Vol. 9, No. 25, October 20, 1906
Vol. 9, No. 26, October 27, 1906
Vol. 9, No. 27, November 3, 1906
Vol. 9, No. 28, November 10, 1906
Vol. 9, No. 29, November 17, 1906
Vol. 9, No. 30, November 24, 1906
Vol. 9, No. 31, December 1, 1906
Vol. 9, No. 32, December 8, 1906
Vol. 9, No. 33, December 15, 1906
Vol. 9, No. 34, December 22, 1906
Vol. 9, No. 35, December 29, 1906
⇑1907
Volume 9, No. 36, January 5, 1907
Volume 9, No. 37, January 12, 1907
Volume 9, No. 38, January 19, 1907
Volume 9, No. 39, January 26, 1907
Volume 9, No. 40, February 2, 1907
Volume 9, No. 41, February 9, 1907
Volume 9, No. 42, February 16, 1907
Volume 9, No. 43, February 23, 1907
Volume 9, No. 44, March 2, 1907
Volume 9, No. 45, March 9, 1907
Volume 9, No. 46, March 16, 1907
Volume 9, No. 47, March 23, 1907
Volume 9, No. 48, March 30, 1907
Volume 9, No. 40, April 6, 1907
Volume 9, No. 50, April 13, 1907
Volume 9, No. 51, April 20, 1907
Volume 9, No. 52, April 27, 1907
Volume 10, No. 1, May 4, 1907
Volume 10, No. 2, May 11, 1907
Volume 10, No. 3, May 18, 1907
Volume 10, No. 4, May 25, 1907
Volume 10, No. 5, June 1, 1907
Volume 10, No. 6, June 8, 1907
Volume 10, No. 7, June 15, 1907
Volume 10, No. 8, June 22, 1907
Volume 10, No. 9, June 29, 1907
Volume 10, No. 10, July 13, 1907
Volume 10, No. 11, July 20, 1907
Volume 10, No. 12, July 20, 1907
Volume 10, No. 13, August 3, 1907
Volume 10, No. 14, August 10, 1907
Volume 10, No. 15, August 17, 1907
Volume 10, No. 16, August 24, 1907
Volume 10, No. 17, August 31, 1907
Volume 10, No. 18, September 7, 1907
Volume 10, No. 20, September 14, 1907
Volume 10, No. 21, September 21, 1907
Volume 10, No. 22, September 28, 1907
Volume 10, No. 23, October 5, 1907
Volume 10, No. 24, October 12, 1907
Volume 10, No. 25, October 19, 1907
Volume 10, No. 26, October 26, 1907
Volume 10, No. 27, November 2, 1907
Volume 10, No. 28, November 9, 1907
Volume 10, No. 29, November 16, 1907
Volume 10, No. 30, November 23, 1907
Volume 10, No. 31, November 30, 1907
Volume 10, No. 32, December 7, 1907
Volume 10, No. 33, December 14, 1907
Volume 10, No. 34, December 21, 1907
Volume 10, No. 35, December 28, 1907
⇑1908
Volume 10, No. 36, Janaury 4, 1908
Volume 10, No. 37, Janaury 11, 1908
Volume 10, No. 38, Janaury 18, 1908
Volume 10, No. 39, Janaury 25, 1908
Volume 10, No. 40, February 1, 1908
Volume 10, No. 41, February 8, 1908
Volume 10, No. 42, February 15, 1908
Volume 10, No. 43, February 22, 1908
Volume 10, No. 44, February 29, 1908
Volume 10, No. 45, March 7, 1908
Volume 10, No. 46, March 14, 1908 [primary ballot]
Volume 10, No. 46, March 14, 1908
Volume 10, No. 47, March 21, 1908
Volume 10, No. 48, March 28, 1908
Volume 10, No. 49, , 1908
Volume 10, No. 50, April 11, 1908
Volume 10, No. 51, April 18, 1908
Volume 10, No. 52, April 25, 1908
Volume 11, No. 1, May 2, 1908
Volume 11, No. 2, May 9, 1908
Volume 11, No. 3, May 16, 1908
Volume 11, No. 4, May 23, 1908
Volume 11, No. 5, May 30, 1908
Volume 11, No. 6, June 6, 1908
Volume 11, No. 7, June 13, 1908
Volume 11, No. 8, June 20, 1908
Volume 11, No. 9, June 27, 1908
Volume 11, No. 10, July 4, 1908
Volume 11, No. 11, July 11, 1908
Volume 11, No. 12, July 18, 1908
Volume 11, No. 13, July 25, 1908
Volume 11, No. 14, August 1, 1908
Volume 11, No. 15, August 8, 1908
Volume 11, No. 16, August 15, 1908
Volume 11, No. 17,August 22, 1908
Volume 11, No. 18, August 29, 1908
Volume 11, No. 19, September 5, 1908
Volume 11, No. 20, September 12, 1908
Volume 11, No. 21, September 19, 1908
Volume 11, No. 22, September 26, 1908
Volume 11, No. 23, October 3, 1908
Volume 11, No. 24, October 10, 1908
Volume 11, No. 25, October 17, 1908
Volume 11, No. 26, October 24, 1908
Volume 11, No. 27, October 31, 1908
Volume 11, No. 28, November 7, 1908
Volume 11, No. 29, November 14, 1908
Volume 11, No. 30, November 21, 1908
Volume 11, No. 31, November 28, 1908
Volume 11, No. 32, December 5, 1908
Volume 11, No. 33, December 12, 1908
Volume 11, No. 34, December 19,
Volume 11, No. 35, December 26, 1908
⇑1909
Volume 11, No. 36, January 2, 1909
Volume 11, No. 37, January 9, 1909
Volume 11, No. 38, January 16, 1909
Volume 11, No. 39, January 23, 1909
Volume 11, No. 40, January 30, 1909
Volume 11, No. 41, February 6, 1909
Volume 11, No. 42, February 13, 1909
Volume 11, No. 43, February 20, 1909
Volume 11, No. 44, February 27, 1909
Volume 11, No. 45, March 6, 1909
Volume 11, No. 46, March 13, 1909
Volume 11, No. 47, March 20, 1909
Volume 11, No. 48, March 27, 1909
Volume 11, No. 49, April 3, 1909
Volume 11, No. 50, April 10, 1909
Volume 11, No. 51, April 17, 1909
Volume 11, No. 52, April 24, 1909
Volume 12, No. 1, May 1, 1909
Volume 12, No. 2, May 8, 1909
Volume 12, No. 3, May 15, 1909
Volume 12, No. 4, May 22, 1909
Volume 12, No. 5, May 29, 1909
Volume 12, No. 6, June 5, 1909
Volume 12, No. 7, June 12, 1909
Volume 12, No. 8, June 19, 1909
Volume 12, No. 9, June 26, 1909
Volume 12, No. 10, July 3, 1909
Volume 12, No. 11, July 10, 1909
Volume 12, No. 12, July 17, 1909
Volume 12, No. 13, July 24, 1909
Volume 12, No. 14, July 31, 1909
Volume 12, No. 15, August 7, 1909
Volume 12, No. 16, August 14, 1909
Volume 12, No. 17, August 21, 1909
Volume 12, No. 18, August 28, 1909
Volume 12, No. 19, September 4, 1909
Volume 12, No. 20, September 11, 1909
Volume 12, No. 21, September 18, 1909
Volume 12, No. 22, September 25, 1909
Volume 12, No. 23, October 2, 1909
Volume 12, No. 24, October 9, 1909
Volume 12, No. 25, October 16, 1909
Volume 12, No. 26, October 23, 1909
Volume 12, No. 27, October 30, 1909
Volume 12, No. 28, November 6, 1909
Volume 12, No. 29, November 13, 1909
Volume 12, No. 30, November 20, 1909
Volume 12, No. 31, November 27, 1909
Volume 12, No. 32, December 4, 1909
Volume 12, No. 33, December 11, 1909
Volume 12, No. 34, December 18, 1909
Volume 12, No. 35, December 25, 1909
⇑1910
Volume 12, No. 36, January 1, 1910
Volume 12, No. 37, January 8, 1910
Volume 12, No. 38, January 15, 1910
Volume 12, No. 39, January 22, 1910
Volume 12, No. 40, January 29, 1910
Volume 12, No. 41, February 5, 1910
Volume 12, No. 42, February 12, 1910
Volume 12, No. 43, February 19, 1910
Volume 12, No. 44, February 26, 1910
Volume 12, No. 45, March 5, 1910
Volume 12, No. 46, March 12, 1910
Volume 12, No. 47, March 19, 1910
Volume 12, No. 48, March 26, 1910
Volume 12, No. 49, April 2, 1910
Volume 12, No. 50, April 9, 1910
Volume 12, No. 51, April 16, 1910
Volume 12, No. 52, April 23, 1910
Volume 12, No. 53, April 30, 1910
Volume 13, No. 1, May 7, 1910
Volume 13, No. 2, May 14, 1910
Volume 13, No. 3, May 21, 1910
Volume 13, No. 4, May 28, 1910
Volume 13, No. 5, June 4, 1910
Volume 13, No. 6, June 11, 1910
Volume 13, No. 7, June 18, 1910
Volume 13, No. 8, June 25, 1910
Volume 13, No. 9, July 2, 1910
Volume 13, No. 10, July 9, 1910
Volume 13, No. 11, July 16, 1910
Volume 13, No. 12, July 23, 1910
Volume 13, No. 13, July 30, 1910
Volume 13, No. 14, August 6, 1910
Volume 13, No. 15, August 13, 1910
Volume 13, No. 16, August 20, 1910
Volume 13, No. 17, August 27, 1910
Volume 13, No. 18, September 3, 1910
Volume 13, No. 19, September 10, 1910
Volume 13, No. 20, September 17, 1910
Volume 13, No. 21, September 24, 1910
Volume 13, No. 22, October 1, 1910
Volume 13, No. 23, October 8, 1910
Volume 13, No. 24, October 15, 1910
Volume 13, No. 25, October 22, 1910
Volume 13, No. 26, October 29, 1910
Volume 13, No. 27, November 5, 1910
Volume 13, No. 28, November 12, 1910
Volume 13, No. 29, November 19, 1910
Volume 13, No. 30, November 26, 1910
Volume 13, No. 31, December 3, 1910
Volume 13, No. 32, December 10, 1910
Volume 13, No. 33, December 17, 1910
Volume 13, No. 34, December 24, 1910
Volume 13, No. 35, December 31, 1910
⇑1911
Volume 13, No. 36, January 7, 1911
Volume 13, No. 37, January 12, 1911
Volume 13, No. 38, January 21, 1911
Volume 13, No. 39, January 28, 1911
Volume 13, No. 40, February 4, 1911
Volume 13, No. 41, February 11, 1911
Volume 13, No. 42, February 18, 1911
Volume 13, No. 43, February 25, 1911
Volume 13, No. 44, March 4, 1911
Volume 13, No. 45, March 11, 1911
Volume 13, No. 46, March 18, 1911
Volume 13, No. 47, March 25, 1911
Volume 13, No. 48, April 1, 1911
Volume 13, No. 49, April 8, 1911
Volume 13, No. 50, April 15, 1911
Volume 13, No. 51, April 22, 1911
Volume 13, No. 52, April 29, 1911
Volume 14, No. 1, May 6, 1911
Volume 14, No. 2, May 13, 1911
Volume 14, No. 3, May 20, 1911
Volume 14, No. 4, May 27, 1911
Volume 14, No. 5, June 3, 1911
Volume 14, No. 6, June 10, 1911
Volume 14, No. 7, June 17, 1911
Volume 14, No. 8, June 24, 1911
Volume 14, No. 9, July 1, 1911
Volume 14, No. 10, July 8, 1911
Volume 14, No. 11, July 15, 1911
Volume 14, No. 12, July 22, 1911
Volume 14, No. 13, July 29, 1911
Volume 14, No. 14, August 5, 1911
Volume 14, No. 15, August 12, 1911
Volume 14, No. 16, August 19, 1911
Volume 14, No. 17, August 26, 1911
Volume 14, No. 18, September , 1911
Volume 14, No. 19, September 9, 1911
Volume 14, No. 20, September 16, 1911
Volume 14, No. 21, September 23, 1911
Volume 14, No. 22, September 30, 1911
Volume 14, No. 23, October 7, 1911
Volume 14, No. 24, October 14, 1911
Volume 14, No. 25, October 21, 1911
Volume 14, No. 26, October 28, 1911
Volume 14, No. 27, November 4, 1911
Volume 14, No. 28, November 11, 1911
Volume 14, No. 29, November 18, 1911
Volume 14, No. 30, November 25, 1911
Volume 14, No. 31, December 2, 1911
Volume 14, No. 32, December 9, 1911
Volume 14, No. 33, December 16, 1911
Volume 14, No.34, December 23, 1911
Volume 14, No. 35, December 30, 1911
⇑1912
Volume 14, No. 36, January 6, 1912
Volume 14, No. 37, January 13, 1912
Volume 14, No. 38, January 20, 1912
Volume 14, No. 39, January 27, 1912
Volume 14, No. 40, February 3, 1912
Volume 14, No. 41, February 10, 1912
Volume 14, No. 42, February 17, 1912
Volume 14, No. 43, February 24, 1912
Volume 14, No. 44, March 2, 1912
Volume 14, No. 45, March 9, 1912
Volume 14, No. 46, March 16, 1912
Volume 14, No. 47, March 23, 1912
Volume 14, No. 48, March 30, 1912
Volume 14, No. 49, April 6, 1912
Volume 14, No. 50, April 13, 1912
Volume 14, No. 51, April 20, 1912
Volume 14, No. 52, April 27, 1912
Volume 15, No. 1, May 4, 1912
Volume 15, No. 2, May 11, 1912
Volume 15, No. 3, May 18, 1912
Volume 15, No. 4, May 25, 1912
Volume 15, No. 5, June 1, 1912
Volume 15, No. 6, June 8, 1912
Volume 15, No. 7, June 15, 1912
Volume 15, No. 8, June 22, 1912
Volume 15, No. 9, June 29, 1912
Volume 15, No. 10, July 6, 1912
Volume 15, No. 11, July 13, 1912
Volume 15, No. 12, July 20, 1912
Volume 15, No. 13, July 27, 1912
Volume 15, No. 14, August 3, 1912
Volume 15, No. 15, August 10, 1912
Volume 15, No. 16, August 17, 1912
Volume 15, No. 17, August 24, 1912
Volume 15, No. 18, August 31, 1912
Volume 15, No. 19, September 7, 1912
Volume 15, No. 20, September 14, 1912
Volume 15, No. 21, September 21, 1912
Volume 15, No. 22, September 28, 1912
Volume 15, No. 23, October 5, 1912
Volume 15, No. 24, October 12, 1912
Volume 15, No. 25, October 19, 1912
Volume 15, No. 26, October 26, 1912
Volume 15, No. 27, November 2, 1912
Volume 15, No. 28, November 9, 1912
Volume 15, No. 29, November 16, 1912
Volume 15, No. 30, November 23, 1912
Volume 15, No. 31, November 30, 1912
Volume 15, No. 32, December 7, 1912
Volume 15, No. 33 December 14, 1912
Volume 15, No. 34, December 21, 1912
Volume 15, No. 35, December 28, 1912
⇑1913
Volume 15, No. 36, January 4, 1913
Volume 15, No. 37, January 11, 1913
Volume 15, No. 38, January 18, 1913
Volume 15, No. 39, January 25, 1913
Volume 15, No. 40, February 1, 1913
Volume 15, No. 41, February 8, 1913
Volume 15, No. 42, February 15, 1913
Volume 15, No. 43, February 22, 1913
Volume 15, No. 44, March 1, 1913
Volume 15, No. 45, March 8, 1913
Volume 15, No. 46, March 15, 1913
Volume 15, No. 47, March 22, 1913
Volume 15, No. 48, March 29, 1913
Volume 15, No. 49, April 5, 1913
Volume 15, No. 50, April 12, 1913
Volume 15, No. 51, April 19, 1913
Volume 15, No. 52, April 26, 1913
Volume 16, No. 1, May 3, 1913
Volume 16, No. 2, May 10, 1913
Volume 16, No. 3, May 17, 1913
Volume 16, No. 4, May 24, 1913
Volume 16, No. 5, May 31, 1913
Volume 16, No. 6, June 7, 1913
Volume 16, No. 7, June 14, 1913
Volume 16, No. 8, June 21, 1913
Volume 16, No. 9, June 28, 1913
Volume 16, No. 10, July 5, 1913
Volume 16, No. 11, July 12, 1913
Volume 16, No. 12, July 19, 1913
Volume 16, No. 13, July 26, 1913
Volume 16, No. 14, August 2, 1913
Volume 16, No. 15, August 9, 1913
Volume 16, No. 16, August 16, 1913
Volume 16, No. 17, August 23, 1913
Volume 16, No. 18, August 30, 1913
Volume 16, No. 19, September 6, 1913
Volume 16, No. 20, September 13, 1913 |