to each his own ( film )
' to each his own' movie with olivia de havilland and john lund .
olivia de havilland in' to each his own,' with john lund .
john lund and olivia de havilland to each his own images: paramount pictures .
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relax, don' t do it: salesman takashi aoyama (asuka kudo) and the mysterious yamamoto (sota fukushi) are poles apart in' to each his own.' | © 2017' to each his own' film partners
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the lady bug is the only film directed by a female on the 2007 anthology dvd to each his own cinema, and that would be the new zealander jane champion, who also directed a girl’s own story .
darkness / dans l’obscurite is a short film directed by the dardenne brothers of belgium in 2007 for the dvd anthology to each his cinema .
the electric princess picture house is a short film directed by hou hsiao - hsien for the 2007 anthology dvd collection to each his cinema .
' to each his own' movie review: oscar winner olivia de havilland in classic tearjerker © 2004–2018 alt film guide and / or author (s). text not to be reproduced without prior written consent .
mitchell leisen, for his part, characteristically eschews strong moralizing. thus, to each his own is surprisingly direct in its handling of an unwed mother, paralleling jody' s increasing coldness with the detached – but honest – flashbacks that comprise the bulk of the film .
diaro di uno spettatore / diary of a moviegoer is a short film which was directed by nanni moretti of italy in 2007 for the dvd collection to each his own cinema. also of interest, there is only one actor within this whole short film, and that is moretti himself .
practically radio, after the credits, the dark but effective opening to mitchell leisen' s to each his own, 1946, starring olivia de havilland, from charles brackett' s original story. >
with the headline: the screen in review;' to each his own,' a paramount picture at radio city, stars olivia de havilland in role of woman who faces plights .
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family relationship switcheroo: greg is told that jody is his
aunt
thats close to his family .
to each his own mask is a challenging artistic documentary by filmmaker and visual artist tine guns, linked to her installation perpetual moment of pause that was exhibited at netwerk aalst, lhgwr in the hague and ostrale in dresden .
olivia de havilland won her first best actress academy award for her work in to each his own. three years later, she became a two - time winner with william wyler' s drama the heiress .
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to each his own (1946) is a melodrama about the love and losses of jody norris who becomes an unwed mother during the early twentieth century. mitchell leisen directs and olivia de havilland stars in the film that won her her first academy award for best actress .
the dybbuk of haifa / le dibbouk de haifa is a short film by israeli director amos gitai for the 2007 dvd anthology to each his own cinema. the title more literally means “the possessed spirit of haifa” for a dybbuk can project themselves into a living person to continue or repeat their previous life, hence why this film references the siege of warsaw .
movie night / en regardant le film is a short film directed by zhang yimou in 2007 for the dvd anthology, to each his cinema. he also directed a segment of the lumiere and company anthology as i mentioned in my march 4th post about that collection .
* * also via it' s the pictures that got small: the husband and wife team of albert hackett and frances goodrich had been working on what eventually became to each his own as early as fall 1943 .
anna is a short film which was directed in 2007 by alejandro gonzález iñárritu for the dvd anthology, to each his cinema. additionally, he also directed the segment mexico for the 11’09″01 september 11 collection .
to each his own (1946), one of leisen’s most highly regarded films, earned the respect of critics who praised his deft, sensitive handling of a story that might have easily descended into maudlin melodrama in another director’s hands. de havilland won an academy award for…
olivia de havilland, who had starred in the 1941 melodrama hold back the dawn, returns to the wartime milieu in to each his own (1946), once again under the direction of mitchell leisen, who guides the proceedings with his characteristic sincerity while cleverly skirting the production code' s restrictive guidelines .
( 1969), released within a month of each other and went on to become golden jubilee blockbusters .
someone to remember him by: the irony here is that jody cant even call her son her own .
to each his own was nominated for two academy awards, earning olivia de havilland her first best actress oscar following two nominations and a major lawsuit against her former studio, warner bros. , that kept her off the screen for more than two years .
the specter of the death of cinema and the communal movie experience hangs like an ironic shroud over “to each his own cinema, ” a mostly engaging compilation of 33 three - minute films made by leading international auteurs on the occasion of the cannes film festival’s 60th birthday. venture was conceived and produced by fest prexy gilles [ … ]
( 1973). but while lane now has recognition for his participation in these films, it is as a cultural correspondent, journalist, and film critic that he really makes his mark .
† final one from the charles brackett diaries: besides olivia de havilland, three other actresses were considered for the female lead in to each his own. they were ginger rogers, greta garbo, and – according to brackett' s interpretation of a mitchell leisen query – claudette colbert .
turn out like his father: captain cosgrove was a flyer in wwi and his son is one in world war two .
the plot of this shot film is taken right from the name, it is moretti doing a video diary of all his favorite times of going to the movies. as moretti is a well - know italian director and actor, his film the son’s room in which he had also acted and direct has been nominated for and won many awards, the idea of this film is the in order to be a great film maker you have to have a great love of all kinds of cinema experiences. the whole point really is for moretti to express his cinephilia as it has shaped his life and defined who he had become; in addition to also shaping how he interacted with his family, and how he remembered various moments with them .
* note from the editor: edited by film historian anthony slide, it' s the pictures that got small: charles brackett on billy wilder and hollywood' s golden age consists of charles brackett' s diary entries from the early' 30s to 1949. as found in the book, brackett had to fight with the production code' s breen office, named after top censor joseph breen, to keep to each his own intact .
a young man plots revenge against the woman he believes murdered his cousin, but his plans are shaken when he comes face to face with the enigmatic beauty .
the vindication took its own time in appearing but khanna conclusively proved that the audience still adored him .
khanna had 11 films released in 1984; but with age catching up, his career was obviously drawing to a close. whether it was his separation from wife dimple or his adventure in politics, khanna remained in the limelight .
special affects is a project of the film studies graduate student organization (fsgso) .
in the introduction, zandi describes asking - almost negotiating - with a man at the door to let her into the school where only men were allowed that day. aptly, the book begins with her plea: “to each his (or her) own weapon, i have my camera, and i have my cry. ”
a single mother gives up her son, then fights to remain a part of his life .
zandi chooses various backgrounds. the writers she captures within their own space of preference - old libraries, studies or gardens. the painters pose in their workshops, among easels and brushes and paints, or next to one of their own works .
every film that has ever been nominated for an academy award in any category. enjoy !
deep into her flashback taking place in her american hometown more than 20 years earlier, jody (olivia de havilland) barely meets handsome flier cosgrove (john lund), with her father (griff barnett) and war bond enthusiast clinton (arthur loft), in mitchell leisen' s to each his own, 1946. >
the pasha of passion had only to park his car for a short while to find it smothered with lipsticked kisses on his return. sackfuls of love letters written in blood made their way to dimple, his bungalow at carter road, bandra (a mumbai suburb). veteran actress nadira, who costarred with him in
in one of many money - scenes, in flashback for middle - aged jody (olivia de havilland), she' s an un - married mom back in the states in 1918, persuaded by her druggist father (griff barnett) she must not keep her child, then back to contemporary london, in mitchell leisen' s to each his own, 1946 .
, in the dual role of de havilland' s lover and her son. as the son, he had a brown rinse on his naturally blond hair, and his manner for each character is totally different. lund was a good actor, but was not used to film technique, and had difficulties hitting his marks. the supporting cast, though not well - known, was uniformly excellent, and even inspired. editor alma macrorie, who was not an actress, was a standout as the continually pregnant belle ingham. she also cut the film, and kept trying to cut her part down .
this short film is about a forced redemption in regards to the boy and human connection in regards to the girl. while it appears that both character give each other what they are in “need” of, it is mostly just the girl who gets what she is searching for, as the boy never expresses or shows want of his forced redemption. the boy, while looking for money to steal from distracted theater goers, ends up getting “redeemed” by the girl who takes his hand and holds it through a sad part of a film, therein acquiring the human connection she was looking to find through the film itself. what this means in regards to the structure of film is that the characters are all contrived to serve the main character’s will and desire, and they do not get to develop outside of that relationship on their own term. it is a commentary about the juxtaposition between how relationships in films are presented as real but they do not reflected the actual relations structure experienced in daily life .
in one of many money - scenes, in flashback for middle - aged jody (olivia de havilland), she' s an un - married mom back in the states in 1918, persuaded by her druggist father (griff barnett) she must not keep her child, then back to contemporary london, in mitchell leisen' s to each his own, 1946. >
a free - spirited type who cheerfully rattles away in osaka dialect, yamamoto wants to be aoyama’s helper and pal, not — as the latter briefly fears — his gay lover. he also gives aoyama useful fashion and sales advice, based on his own now - past salaryman days. the gray cloud over our hero begins to dissipate .
when the lights came up yesterday after the first showing in the music hall of
to each his own
there was hardly a dry feminine handkerchief in the house. the ladies had a good two - hour cry and they were delighted. and unless our prognostication goes unaccountably haywire the scene will be repeated over and over for many weeks to come. view full article in timesmachine »
to each his own tells us the story of jody norris, a small town girl, who has a child out of wedlock with a war pilot and ends up giving him to a foster family, after a series of unfortunate circumstances. although today we don' t see this as scandalous as before, motherly love, on the other hand, will never be lost through time .
in to each his own, de havilland plays jody norris, a small - town woman who falls quickly in love – much like her character in hold back the dawn – but this time during world war i, when jody' s brief liaison with daredevil flying ace captain cosgrove (john lund) results in an out - of - wedlock child .
this short film is about a tiny lady who is dressed like a bug getting chased around a theater by the janitor which is trying to squish her. while this is occurring there is a film playing in the background where in the female characters are mocking the male for not having enough “balls” to be able to live up to female needs .
, what was once arguably the finest film appreciation periodical in britain. i believe that lane also wrote for
jobless vin (steve mcqueen) blows his stake at the saloon, ...
an iranian revolutionary with a flower in his rifle. photograph: courtesy of maryam zandi
as the mysterious yamamoto, fukushi plays down his ikemen (handsome guy) looks while playing up his character’s effervescent charm — and essential seriousness. this sort of complexity is absent in kudo’s straight - arrow aoyama, though his sincerity and passivity are also often found in his real - life counterparts. otherwise, black companies would find it harder to recruit and retain wage slaves .
this short film is about the power of cinema to bring a community together. it also showcases the excitement and magic around cinema that children experience when waiting for movies to begin. there is this excited build up and then silence when the movies starts, and that is part of what makes movies so great; the experience of anticipation and the delayed gratification. while waiting the community all sits together laughing as the children make shadow puppets at the screen, and a boy throws a chicken into the air. this short film also seems to be saying that the anticipation and the togetherness experienced before the film starts is more important, as the main little boy falls asleep when the film actually starts because it is not as exciting or engaging to him as the participation parts that exist around the idea of film. likewise this short film also shows how film can bring people together as it’s other main character seems to be a girl that has a crush on the boy managing the projector, and through the magic of film’s presence in the community, she has a reason to hang out with said boy .
crew: reviewed at cannes film festival (noncompeting), may 20, 2007. running time: 119 min .
, where he essayed the role of a twice - married man haunted by his past) .
is lane’s memoir of his first 15 years as an english expatriate in rome, where he was uniquely poised to chronicle the ups and downs of a particularly turbulent period in the eternal city’s history. lane was born in orpington, a suburb of london, but never quite felt comfortable there. quickly realizing that his ambitions in the arts were not compatible with the regimented austerity of postwar britain, he left for paris, where he studied french and film. by 1950, however, he had traveled to rome, which was to be his material and spiritual home base over the next two decades. by the time of his move, lane had already contributed to
based on a prize - winning novel by emi kitagawa, izuru narushima’s “to each his own” (“chotto ima kara shigoto yamete kuru”) is a serious treatment of this theme that flirts with fantasy in its first half but shades to heart - warming melodrama in its second. save for the scenes of the beleaguered salesman hero (asuka kudo) being chewed out by his short - fused boss (kotaro yoshida), the story teeters on the edge of impossibility before finally descending into just - so fiction whose solution for karōshi (death by overwork) is the real - life equivalent of winning the lottery — that is, hardly attainable for the majority who have to earn a living in this country rather than the film’s idea of paradise .
to each his own - i really enjoyed seeing this movie after not seeing it for many years! it was nice to see miss de havilland in one of her early screen appearances. the digitally remastered copy was very good i had never seen or heard it that good, although some scenes were dark i imagine that was in the original print! i would highly recommend it, granted that it can be slow in parts but it has a great love story from yesteryear !
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
as such this short film of champion’s is a commentary about the lack of female directors in mainstream film making. it is also a chicken - in - the - egg question as in, if someone needs a love of cinema to make good cinema and champion seems to be arguing that male produced films do not cater correctly to female desires for film viewing, how are females to suppose to be able to start making good cinema? it brings up the spirit of laura mulvey’s famous bit “visual pleasure and narrative cinema” which basically says that since films are all made by males, they appear to males, as they are directed with a male eye / gaze and thus females are not characters but objects for the males to look at and interact with in the duration of the film. being that females are meant to be objects within the films, they cannot possibly be included in the direction of the film as then they would resist the preselected male concept of the gaze and other .
on the downside, john lund is both flat and unappealing in the dual role of captain cosgrove and his grown son. true to the form of “women' s pictures, ” the film' s leading male is bland, especially against an outstanding female star .
the specter of the death of cinema and the communal movie experience hangs like an ironic shroud over “to each his own cinema, ” a mostly engaging compilation of 33 three - minute films made by leading international auteurs on the occasion of the cannes film festival ’s 60th birthday. venture was conceived and produced by fest prexy gilles jacob as a way to celebrate the cinema rather than cannes per se, and the directors were asked only to express “their state of mind of the moment as inspired by the motion picture theater. ” collection was televised throughout france on canal plus simultaneously with its cannes preem and will be released on dvd in gaul on may 25 .
a little too soapy for my taste but olivia de havilland elevates this film several notches and is amply rewarded with an oscar .
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this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
deathwatch (bertrand tavernier, 1980). a movie twenty years ahead of its time, about the ultimate
reality
tv show. romy schneider is dying. she accepts a big check from tv producer harry dean stanton to film her final days, then runs off. so harry sends harvey keitel to film her surreptitiously. a great film that hasn' t been available on video in ages, but is on the coming attractions slate at anchor bay. - - lisa larkin
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winter light (ingmar bergman, 1963). the middle entry in bergman' s
faith
trilogy is usually overlooked in favor of through a glass darkly' s spider - god, and the silence' s lesbianism, while ironically being the most obviously related to the subject of faith. the story concerns a disillusioned priest (gunnar björnstrand) and his inability to cope with the needs of either his parishioners or his personal intimates. the film plays out in near real - time, and the painfully honest character interaction is some of the most quietly brutal and intense of any bergman film... . and that' s saying something. - - michael buck
for to each his own, screenwriter (and producer) charles brackett – working with jacques théry, instead of frequent partner billy wilder – updated the unwed - mother films of the early 1930s. the melodramatic progression of the story unmistakably recalls pre - production code potboilers such as the secret of madame blanche (charles brabin, 1933), starring irene dunne, and the sin of madelon claudet (edgar selwyn, 1931), which earned helen hayes a best actress academy award .
film artists she asks to her studio, and photographs them all with similar lighting and angles. but they bring their individuality. the actor ali nassirian gives us his naive but sparkling grin, while director dariush mehrjui, once the quirky intellectual of iranian cinema, looks through a peephole made with hands .
this flow of time, when the family goes through the curtain and the short film jumps to the present where the theater is abandoned and in disrepair but the film reels still play like they did before, is symbolic of the power this nostalgia still has. it indicates that there is still magic left in the old, individual theaters .
lund, who had already established himself on broadway, made his film debut here. an interesting sidelight is that de havilland hadn' t worked for two years. she' d been on suspension from warner bros. and was trying to break a contract which they claimed included all of her suspension time. she
to each his own (1946). dir. : mitchell leisen. scr. : charles brackett and jacques théry. from a story by charles brackett. * * cast: olivia de havilland. † john lund. mary anderson. roland culver. phillip terry. bill goodwin. virginia welles. victoria horne. frank faylen. willard robertson. doris lloyd. ida moore. and in uncredited roles: anthony caruso. gino corrado. franklyn farnum. julia faye. louis jean heydt. mary maclaren. gigi perreau .
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during a night watch in london, middle - aged american jody norris (olivia de havilland) meets the brisk but kind lord desham (roland culver). later, jody recalls her youth when she fell in love with a pilot and bore his illegitimate child after his death in the war. jody tried to arrange to adopt her own child, but the boy ended up with her best friend, and jody' s efforts to regain custody were fruitless. years later, when jody' s son arrives in london as an american pilot, desham provides help .
convenient miscarriage: subverted. it first looks as if the film is going to play it straight (jody has a disease that will make carrying a child dangerous), but she later decides to have the baby and it' s considered a miracle .
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, and it would be nice to be directed to some of those articles. kevin m. flanagan
list of directors, 35 in all, including two sets of brothers, consists of names very familiar on the croisette, many palme d’or winners among them. with a couple of exceptions, the identities of the filmmakers are withheld until the end of each short, meaning that guessing who’s behind the camera becomes part of the fun (the presence of some directors in their own films provides tip - offs from time to time) .
one of olivia de havilland' s best film, for which she deservedly won her first oscar, and one of hollywood' s most emotionally effective melodramas .
an adventuresome young man goes off to find himself and loses his socialite fiancée in the process. but when he returns 10 years later, she will stop at nothing to get him back, even though she is already married .
] got out of his car, there was a deafening roar as they called out' rajesh khanna' in unison.'
a true melodrama that just makes you cry and hug your mother. olivia dehavilland bless her is very good in this. sometimes the film gets a little long for its own good, and also starts off very slowly that it took until the flashback to hook me but otherwise i liked it. this woman was so dedicated to love her son how wonderful! and in the end during those final moments you see just how far she' s gone. this may not be a memorable film as many people on here have never seen it, but it' s a good break from everything for a few hours .
this short film is about the power of a film’s plot, not as shown via the visuals, but by how important the script is. anna, while it is never directly said, is blind. the male character has to tell her pieces of the visuals happening on screen, which in turn also tells the audience watching anna what is playing in their cinema. likewise the male also has to tell anna at the end that the film was in color and not in black and white like she had been picturing in her head the whole time. additionally when anna gets up there is the distinct thumping - click of a hoover cane. being that anna cannot see the film, only hear it, that is the experience the viewer is given by never having the camera actually face the movie screen. we must instead be content with listening to a film that is not visible while watching anna sit in the darkness and have someone explain what is occurring .
the film’s central mystery is not how aoyama hangs onto his job (one likely reason: the boss enjoys torturing him) but yamamoto’s true identity. aoyama, who is not stupid, soon uncovers the falsity of the “classmate” claim, but yamamoto’s uncanny knack for turning up at the right moment, time after time, makes aoyama suspect that he is a ghost — or an angel. igarashi, we soon see, is hiding secrets as well, though aoyama innocently and somewhat incredibly views her as his only office ally. (his other co - workers are glued silently to their desks. )
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however, in the mid - seventies, his career hit a deep trough. khanna favourites like hrishikesh mukherjee, yash chopra and shakti samanta shifted sights to the angry young man amitabh with
also rating high marks are contributions from atom egoyan, in which two people in separate cinemas phone each other images of the films they’re watching; the coen brothers’ amusing snippet about a cowboy (josh brolin, seemingly having walked straight out of the coens’ “no country for old men”) trying to decide which film to see at santa monica’s aero rep house (“rules of the game” or “climates”) and zhang yimou’s energetic, superbly composed look at rural chinese kids gathering for a movie show .
takashi aoyama (asuka kudo) has way to much work to do and pushes himself mentally too hard. he blacks out and collapses at a railroad station. when he is about to be hit by a train, he is saved by yamamoto (sota fukushi) who speaks with an osaka dialect. after his encounter with yamamoto, takashi recovers his bright personality and gets better results at work. one day, takashi sees yamamoto boarding a bus to the cemetery with a serious expression .
amidst lane’s adventures in film and the arts are frequent struggles with poverty—the life of a freelancer has never been secure, though lane seems to have kept in work most of the time—and very frank discussions of his sexual liaisons. lane, who realized he was gay at an early age, pursued many men over his years in rome. while he did find a long - term partner by the 1970s (and thus avoided the worst of the worldwide panic over the emergence of aids in the early 1980s) ,
newly returned from national service to join his politically committed but emotionally chaotic mother myra at home, tony – whose childhood home was blown up, along with his dad, during the war – longs for a world that is as safe as houses and where his mother always wears lipstick and behaves with dignity. but myra, played with a compelling mix of magnificent swagger and emotional fragility by clare holman, is determined to keep fighting for the causes she believes in, even if events in hungary and the ussr have taken their toll .
occupying a provocative, confrontational zone all its own is david cronenberg’s intense piece, in which the director himself appears as “the last jew in the world in the last cinema in the world” preparing to commit suicide on television while commentators blather on dispassionately about jews and cinema .
as soon as i read the description, i knew for sure where the story would lead to. in fact, everything would be predictable if you have watched enough movies. that said, this film is a gem. for the first i cried when watching a movie, not because someone died, but because someone realized a reason to live. the scene when aoyama returned home and talked with his parents is really touching. as another comment has said, it would be more easily for you to feel this film if you have ever been in the same situation as the main character. and i believe people like him are not a minority in this modern society .
note the fineness of this film. allow me the honor of starring in it for you. by all means, let me take you on a tour of this interesting woman .
. for a short but memorable epoch, it seemed the whole nation was taken up with his charismatic smile and those winking - eyed mannerisms .
in other words: feel free to add something reasonable & coherent – and fact - based – to the discussion .
honestly, i turn to tcm to forget about politics. its a refuge for many of us. considering that films today have little sentimentality that to many younger ...
. since the film was shot in sequence, the weight loss worked to its advantage. in the early scenes, playing a young girl, she is thin and ethereal. leisen insisted that de havilland eat hearty meals during production, and over the course of the film, she gained about 20 pounds, which took her effectively through pregnancy and aging. the aging process was also helped along with makeup and harsh lighting .
the film won sharmila tagore her first and only filmfare best actress award. in 1947, olivia de havilland had won her first academy award for best actress for playing the same role in
, vividly recalls the premiere of the film held at mumbai' s plush apsara cinema:' a sea of humanity lined up on either side of the road. and when kaka [
mothlight (stan brakhage, 1963). brakhage is one of the great figures of the american avant - garde, and this 5 - minute work is a rare thing indeed - a film made without a camera. this is as basic as it gets: two mylar strips and a hell of a lot of moths. mesmerizing and singular, it is quite something to watch it projected and then get a chance to examine the actual film on the reel - truly this is something that' s impossible to do with video. - - mark netter
, sang rajesh khanna to sharmila tagore, even as his friend, sujit kumar, doubled up as a driver and a mouth organ player - - keeping pace with the toy train, on one hand while adding music to khanna' s love song on the other .
meeting an ace pilot, captain cosgrove, during wwi (john lund) and falling in love, jody (dehavilland) gets pregnant and hides this disgrace to protect her reputation and her sons. with the help of her father, she contrives a plan to make her son a foundling in the eyes of her small town. however, her plan fails and a former beau, alex (roland culver) and his wife, corinne (mary anderson), take jodys son as their own .
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when captain cosgrove shuts off the power to his biplane it continues to glide on a level path. biplanes have very high drag because they have two wings and all the supports in between. the plane would have started to fall toward the ground, not continue on. the clouds in the background show a level path of travel .
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when captain cosgrove shuts off the power to his biplane it continues to glide on a level path. biplanes have very high drag because they have two wings and all the supports in between. the plane would have started to fall toward the ground, not continue on. the clouds in the background show a level path of travel. see more »
from the 1990s onwards, maryam zandi was known as a portrait photographer. she has published four collections of figures in literature, painting and film, and is now planning a fifth, on musicians .
igarashi (haru kuroki), a cool beauty who is the company’s sales star, compliments aoyama on his brighter look and attitude, but romance is the furthest thing from his mind, especially after a seemingly careless error nearly loses the company an important client. the boss goes ballistic — and aoyama again descends into corporate hell .
zandi is the sister of acclaimed iranian writer, director and translator nader ebrahimi, known especially for his lyrical love stories set in the mountainous forests of northern iran .
( 1963), in which lane was initially cast to play bacchus. however, upon learning that lane was a journalist, and could thus potentially file clandestine copy, richard burton, then famously embarking on an affair with elizabeth taylor, had him fired off the film. although lane got his promised pay, burton’s paranoia kept him from appearing in what is now regarded as one of the most serious and indulgent flops in movie history .
fortunately, aoyama finds a savvy, tireless savior in yamamoto. my own role model in this regard is late country music star johnny paycheck, whose biggest hit was “take this job and shove it. ” has there ever been a japanese cover version ?
my mother was very happy with this dvd. she had been wanting to see this for a long time. she was initially a bit worried about the title being in czech but she was glad that she could turn off the sub titles and that the film was in english .
got to love tcm for allowing us the chance to see films directed by mitchell leisen, of which this is one. i found his films to be pretty sexy in a sophisticated and implied kind of way, which enhanced their overall effectiveness as compelling dramas. he did so with olivia dehavilland who has a son out of wedlock after falling for a barnstorming wwi ace pilot when she was the knockout daughter of a pharmacy owner in a small town in new york state in this film. leisen' s films also featured successful female leads, here with dehavilland who makes her way up to the heights of the cosmetics industry during world war ii. thus she was both sexually liberated as…
flashback: jody remembers her story while waiting for greg to arrive in london. she begins telling some of it to lord dashem as well .
unfortunately, khanna' s ego kept pace with his widening girth. when the flops started making their appearance, filmmakers began to shy away. in 1972, rajesh had a string of seven disappointments, but he surmounted them with crowd - pleasers like
the photographs run from the citywide demonstrations of november 1978 to 1 april 1979, the day of the national referendum with the simple question: ‘the islamic republic, yes or no? ’. they capture such momentous events as the mass march to mohammad mossadegh’s home in ahmadabad, and ayatollah ruhollah khomeini’s first media interview upon his return to iran, at alavi school. it was published in october 2014 .
from a feminist perspective of course this is problematic as it seems to suggest a woman' s life somehow isn' t complete without children. as supreme soap opera it is sublime. leisen was wonderful with actresses and olivia certainly earned her oscar here. the fact this got past the censors at all can probably be put down to patriotic fervor in the wake of world war 2. the director' s understated style and deft way of inserting lighthearted moments keeps the film from dragging or becoming maudlin. a quintessential' women' s picture,' recommended to fans of old hollywood, the director or his star (with caveats )
but zandi’s portraits go beyond simply documenting the subject to suggest why they should be remembered. film director nasser taghvaie aptly described this in a ceremony to honour her work hosted by the literary magazine bukhara: “sometimes a photographer can capture what hides beneath your exterior, that’s what maryam’s work did for our poets, sculptors and artists. she reflected who they were on the inside. ”
mix for a film by eva vertongen. els viane created some nice sounds that evoke for me very well the desire for esthetic qualities that both eva and thomas share. in the same time they form spaces where we can process the difficult moral situation that is presented to us. we amed for a very …
an unwed mother, forced to give up her child to avoid scandal, follows her son' s life from afar even as she prospers in business .
a man walks past a wall with ‘death to the shah’ scrawled over what appears to be similar graffiti previously covered up. photograph: courtesy of maryam zandi
crime and punishment (pierre chenal, 1935). it is very difficult to film dostoevsky. for one thing, his philosophical and religious concerns don' t seem to translate well to the screen. this french version of crime and punishment short - changes those aspects, but what it captures like no other adaptation i' ve seen is the dostoevskyan atmosphere. the production design (the great eugene lourie) features city streets and houses that look cramped, spooky, a bit off - kilter. the young actor playing raskolnikov (pierre blanchar) looks hungry and haunted; the black - and white photography is great, the director (pierre chenal) sustains a feeling of desperate, rat - like confinement that is very much like the experience of reading that great novel. no, it doesn' t plumb the depths, but it manages to evoke some of the story' s existential fright, and i love the film' s look and mood. - - chris dashiell
during world war i, small - town girl josephine norris has an illegitimate son by an itinerant pilot. after a scheme to adopt him ends up giving him to another family, she devotes her life to loving him from afar .
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happy ending: jody finally gets the recognition she fought to get but failed .
secular women took part then fell victim to the revolution. photograph: maryam zandi
léolo (jean - claude lauzon, 1992). a dark, shocking, strangely humorous film about a young boy' s escape from reality. 12 - year - old leo (maxime collin) lives in a run - down montreal tenement with his abusive family in the 1950s. in his imagination he is an expatriate sicilian named leolo. stunning bursts of poetry are juxtaposed with scenes that are brutal, vulgar, or obscene, a black comedy about the tragedy of a sensitive soul in conflict with society - it' s one of the most unusual films ever made - - vulgar, audacious, yet deeply compassionate. - - howard schumann
this movie, i think, best resonates with those who' ve experienced something similar to aoyama. if you haven' t experienced having a job or dealing with senseless people... it would be hard to relate to this movie .
is a generally breezy read. lane’s years of writing and acting have made him an adept communicator and a fine storyteller. i would have liked to have read a bit more about lane’s childhood and experience of wartime britain, though given his stated desire to leave that life behind, one cannot blame him for skipping those bits. also, lane’s writing and acting after 1965 are mentioned where appropriate in the text, but a more formal list of appearances and significant pieces as an appendix would be nice (after all, given lane’s style, readers will likely want to make a trip to the library and track down some of his pieces). thankfully, bear claw books are likely releasing an anthology of writings (including some from lane) from
since it is set at a time when there was a mass defection from party politics and increasing cynicism about politicians, it’s easy to see why director paul miller thought this is a play that might have traction as our own general election approaches. but it’s painfully stilted and lacks dramatic impetus until the second half; some characters are fatally underwritten and it’s wordy – everyone says everything at least twice .
it is certainly magnanimous of one superstar to speak in such glowing terms of another who was once his chief adversary at the box - office. while there is no denying the apparent modesty peeking through bachchan' s praise, he is not far from the mark in encapsulating the khanna phenomenon .
but the beginnings of the pimple faced, medium - height - and - build man were a far cry from his superstar days. rajesh, who real name is jatin, came from a well - to - do family and was intense about acting, whether on stage or in films .
during world war i, small - town girl josephine norris has an illegitimate son by an itinerant pilot. after a scheme to adopt him ends up giving him to another family, she devotes her life to loving him from afar. written by mark foltz
is as much about his relationships in the context of a largely traditional and heterosexist culture that made being fully out difficult. lane offers several points of comparison between himself and pasolini, whose taste for crime and the
zandi was dismissed from tv in 1983 – she did not want to publicly elaborate on the reasons for this - and her photos from 1978 - 9 would not be revealed until 2008 when she first tried to publish them. “shortly after taking them i put them away, ” she said. “i wanted them to be looked at after the historical occurrences had come and gone, so they could be seen with distance, and outside a news cycle. ” perhaps one downside of this, she admits, is a lack of sufficient information for each photo, as she did not take full notes at the time .
contrasts with lane’s interest in soldiers and police officers. the most fascinating parts of this book concern lane’s experiences working in the film industry. he was more than a journalist and actor of bit parts. he occasionally moonlighted in publicity (he was responsible for selling the english press on
to each his own is a 1946 american romantic drama film . it was directed by mitchell leisen , and stars olivia de havilland , mary anderson , roland culver , and john lund in his first on-screen appearance , where he played dual roles as father and son . the screenplay was written by charles brackett and jacques théry . a young woman bears a child out of wedlock and has to give him up . de havilland won the academy award for best actress . brackett and théry were nominated for best writing , original story . 
to each his own is a 1946 american romantic drama film. it was directed by mitchell leisen, and stars olivia de havilland, mary anderson, roland culver, and john lund in his first on-screen appearance, where he played dual roles as father and son. the screenplay was written by charles brackett and jacques théry. a young woman bears a child out of wedlock and has to give him up. de havilland won the academy award for best actress. brackett and théry were nominated for best writing, original story.
to each his own is a 1946 american romantic drama film. it was directed by mitchell leisen, and stars olivia de havilland, mary anderson, roland culver, and john lund in his first on-screen appearance, where he played dual roles as father and son. the screenplay was written by charles brackett and jacques théry. a young woman bears a child out of wedlock and has to give him up. de havilland won the academy award for best actress. brackett and théry were nominated for best writing, original story.