a doll ' s house ( 1973 losey film )
trailer du film a doll' s house de joseph losey avec jane fonda (1973). urltoken
a doll’s house. dir. joseph losey. les films de la boétie, 1973. film .
with the headline: film: ‘a doll' s house, ’' 73vintage jane fonda .
‘experience all too often leads to disillusionment. ’ – comparing a doll’s house and rossetti
with the headline: jane fonda is solid nora in ‘doll' s house’ .
a doll' s house is a 1973 british film, directed by patrick garland. it is based on henrik ibsen' s play a doll' s house (1879). . nora, the lead character, is married to the authoritarian and controlling torvald helmer .
a doll' s house is a 1973 franco - british drama film directed by joseph losey, based on the play of the same name by henrik ibsen. it stars jane fonda in the role of
henrik ibsen' s 1879 play, a doll' s house was depicted very well by joseph losey' s 1973 film, a doll' s house, and patrick garland' s 1973 film version of a doll' s house. the cast in both movies depicted ibsen' s characters well, and the settings were very close to the settings described in the play. two main differences that stood out to me were the scenes between dr. rank and nora, and the ending scene with nora and torvald .
this is a collection of some critical quotations that you might want to refer to when writing about a doll’s house .
a doll' s house (1973) all region dvd (plays on region 1, 2, 3, 4, 5, 6 dvd players). based on the novel…
tout va bien. dir. jean - luc godard anouchka films, 1973. film .
, greatly exceeds that of joseph losey (also made in 1973), mostly because of acting .
this is a link to an interesting interview from 1997 in which janet mcteer discusses her interpretation of the role of nora in a doll’s house .
production: world. director joseph losey; producer joseph losey; screenplay david mercer .
a doll' s house (1973) all region dvd (plays on region 1, 2, 3, 4, 5, 6 dvd players). based on the novel by henrik ibsen .
in the victorian era, women had almost no rights. they were not allowed to own land, take out loans, or even take their children and leave their husbands. women were very much oppressed during this era, and many people had differing opinions over this oppression. in 1879, henrik ibsen wrote a doll' s house, a social commentary on the oppression of women during the victorian era. joseph losey' s 1973 film adaptation of a doll' s house and patrick garland' s a doll' s house, also filmed in 1973, also comment on the oppression of women during the victorian era and display a negative view of such social conditions .
this can be used for ao3 – context – as it helps to place a doll’s house in the wider dramatic context of the period .
content as well raising sound and buoyant children. in a doll’s house, henrik ibsen explores the treatment of women and their suppressive treatment by society to demonstrate that marriage was an umbrageous bondage that hurt the women involved. in the movie, a doll’s house, the character of nora is further
jane fonda as nora helmer film title a doll' s house directed by joseph losey film company british lion 24 august 1973 - * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film. a mandatory credit to the film company (and photographer if known) is required .
“a doll' s house” was shown last night at the new york film festival. this production has been sold to the american broadcasting company, and will be seen on television this season .
this is a link to a set of critical references that you might like to use when comparing rossetti’s poems with a doll’s house for the ocr a level english literature drama and poetry pre - 1900 paper .
a doll' s house is a 1973 franco - british film directed by joseph losey, based on the same play by henrik ibsen. it went directly to television and premiered in the united states on the american broadcasting company. it was screened at the 1973 cannes film festival, but wasn' t entered into the main competition. [ 1 ] it was one of two versions of ibsen' s play; the other, a film version for movie houses, starred claire bloom and anthony hopkins .
this is a mindmap which focuses on the textual links between the poems of christina rossetti and ibsen’s a doll’s house. keep an eye out for more resources focusing on the contextual links .
this is a completed chart from the doll’s house teaching pack on the ocr website which explores the literary context of the play by giving an overview of the works of ibsen’s contemporaries .
in addition to the various broadway productions, there have a number of filmed presentations. in 1973 ,
he also worked with losey on secret ceremony (1968), a doll’s house (1973), the romantic englishwoman (1975), mr klein (1976), les routes du sud (roads to the south, 1978) and don giovanni (1979). the go - between won the palme d’or, the top prize in cannes .
a group of friends are brought to a haunted house to explore it for a doll that is being asked for by an online user for 25, 000 but things turn out to be totally different then expected .
directed by joseph losey. with jane fonda, delphine seyrig, david warner uk / france 1973, 16mm, color, 106 min. print courtesy of boston public library
within the same year, and included a powerful cast that causes losey' s work to pale in comparison .
ibsen’s' a doll’s house' reportedly caused a furore back in 1879 for daring to critique the traditional role of women in a patrician society. women were to be seen and not heard - they were there to prettify and amuse the men, you see. and i guess the powers that be didn’t like this being pointed out to them. when joseph losey’s film version opened at cannes in 1973 it caused a similar fuss. losey had dared to tinker with the text – now of course, an established part of the theatrical canon. and jane fonda was accused of turning her version of nora into a champion for women’s lib. not sure how this could be deemed a criticism –…
so it' s 2017 and i wanted to set myself a film challenge for the year. being me it' s an actress…
the second version of the henrik ibsen classic to hit the screens in 1973, joseph losey’s location - filmed (norway) effort has the director’s name plus that of jane fonda (playing the woman’s lib pre - dating heroine, nora) and a certain formal elegance to carry it .
a doll’s house direction: patrick garland. screenplay: christopher hampton, after the broadway production of henrik ibsen’s play. production: hilliard elkins. the players: claire bloom, anthony hopkins, sir ralph richardson, denholm elliott, anna massey, dame edith evans .
directed by joseph losey. with macdonald carey, gail russell, john sands us 1950, 16mm, b / w, 81 min. print courtesy of george eastman house
frankly, i quite enjoyed garland’s rendering of nora’s story; but at the end of losey’s film, the only distinct impressions i had were that i should definitely visit norway someday and that i should avoid macaroons at all cost .
well - worth watching, and with beautiful settings deep in the scandanavian snow, this' doll' s house' is just as interesting as any filmed play, and sits well alongside the claire bloom / anthony hopkins version .
although the main title reads
henrik ibsen' s' a doll' s house'
, the credits at the end state
based on the play by christopher hampton
. hampton actually did not write the play; he only wrote the screenplay and the english translation .
, by henrik ibsen, is a very complex one. the flaws found in losey s production was more than perfected by director patrick garland' s production of
the second version of the henrik ibsen classic to hit the screens in 1973, joseph losey' s location - filmed (norway) effort has the director' s name plus that of jane fonda (playing the woman' s lib pre - dating heroine, nora) and a certain formal elegance to carry it .
most people have seen a film at one time or another that was lacking in some aspect. some films have marvelous actors with a poor director. other films have a brilliant set design and vision from the director, with a very weak cast. in the 1973 version of
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a doll' s house is about the oppression of nora (jane onda / claire bloom) by her husband, torvald (david warner / anthony hopkins). there are any examples throughout the play and films that demonstrate how torvald, as well as society, opresses nora .
in september 1878, only a couple of months after hearing about laura' s committal to the asylum, ibsen began work on a doll' s house. in his notes he wrote the following: a woman cannot be herself in modern society, with laws made by men and with prosecutors and judges who assess female conduct from a male standpoint. copyright © 1996 - 1998 frank mcguinness
directed by joseph losey. us 1941, video, b / w, 20 min .
since we have two flawed versions of “a doll' s house” this year, it' s exasperating to have to choose between the sets of mistakes that were made. hillard elkins' s production is dignified, intelligent and as respectful as a tour of a renovated cathedral. claire bloom plays nora with such austerity that most of the play' s emotional punch is lost. and there are some mangling cuts that simply muck up the characters' motives .
the second version of the henrik ibsen classic to hit the screens in 1973, joseph losey’s location - filmed (norway) effort has the director’s name plus that of jane fonda (playing the woman’s lib pre - dating heroine, nora) and a certain formal elegance to carry it. ironically, it is fonda who appears miscast as the ibsen heroine who [ … ]
the film is a decent adaptation of the play with it' s cinematic additions coming off as relatively harmless to the original text. it does make me long for a version of a…
a doll' s house is one of my absolute favourite plays and i loved jane fonda' s portrayal of nora helmer in this. she captures both nora' s flighty playfulness and her strength with ease. i had read other reviews which suggested that an interest in women' s lib in the 70s meant her portrayal of nora was too bold or too defiant but it really is all in ibsen' s text. i don' t really think any of the additions or jane' s acting exaggerated nora' s nerve .
directed by joseph losey. with tom courtenay, dirk bogarde, leo mckern uk 1964, 35mm, b / w, 86 min. print from the harvard film archive collection
losey' s last feature film is an adaptation of a popular play by british writer nell dunn that takes place entirely in the london turkish bath where a group of women first met and became friends. the news of the bath' s closure reunites the women to discuss their past experiences and future plans and, eventually, to band together to defend the beloved bathhouse. while steaming' s all female ensemble marks an unusual departure in losey' s oeuvre, the film extends his interest in willful and outspoken female characters seen in so many of his films. poignantly, losey' s final act as a director sees the usual loseyesque conflicts over class, gender and power give way to a new emphasis on community and hope .
losey never fit easily within the auteur paradigm. he was not a writer - director, and three of his most remarkable films were made in close collaboration with harold pinter, the influential stage dramatist whose stature eclipsed that of losey’s. as a result of this, losey was ostracised by some of the same auteur critics who championed his early hollywood and british genre films like the
a doll' s house, directed by joseph losey; ?? ?? pay by david mercer from michael meyers english translation of henrik ibsen' s play; director of p otography, gerry fisher; editor, reggie beck; music by michel legrand; art director, eileen diss; ‐csiume designer, john fumiss; makeup, bob lawence; produced by mr. loser; a world films servi: es presentation; released by tomorrow entertainient inc. at the thalia theater. running time: 103 minutes. this film has not been rated ,
julia. dir. fred zinnemann. twentieth century fox, 1977. film .
rollover. dir. alan j. pakula ipc films, 1981. film .
steelyard blues. dir. alan meyerson steelyard blues productions, 1972. film .
gerry fisher was one of britain’s finest cinematographers, responsible for the look of more than 60 films, most illustriously with director joseph losey .
in the long, narrow vista from the parlor through the dining room to the playroom, nora' s world is seen, in the reduced perspective of deep focus, as a doll' s house in an optical as well as dramatic delusion. fonda is a glowing, vibrant, impulsive, transitional figure between past and present, between victorian pretense and lonely liberation .
this was one of two major british films based on ibsen' s play to be released in 1973. the other was directed by joseph losey, with jane fonda in the leading role. the films were released in the uk within a very short time of each other. both were box - office failures .
he is the master. he' s called a husband. she is the plaything. she' s called a wife .
. filmed in norway, the play was enlarged by adaptor david mercer in order to take advantage of the exteriors available. directed by joseph losey it premiered at the cannes film festival .
copyright © 2016 memory! international film heritage festival. all rights reserved. website credits
coming home. dir. hal ashby. jerome hellman productions, 1978. film .
introduction to the enemy. dir. haskell wexler ipc films, 1974. film .
klute. dir. alan j. pakula warner bros. , 1971. film .
, but he wrote it as a play, not a film. however, there are plays that do try to include the outdoors .
losey' s continued interest in strong female characters and feminist themes led him to ibsen' s groundbreaking 1879 drama. for his version, losey turned to british playwright and screenwriter david mercer (providence) to open up the play and add scenes to dramatize material provided as expository dialogue in ibsen' s original. friction during the shooting – co - stars jane fonda and delphine seyrig resisted losey' s direction in protest to what they saw as a betrayal and dilution of ibsen' s radical vision – manifests in a certain palpable tension in the film. in the end, however, both actresses turn in first - rate performances, especially fonda as ibsen' s proto - feminist heroine nora helmer .
in contrast, the 1973 work by patrick garland personifies nora (claire bloom) and torvald (anthony hopkins) and their relationship in what i believe would have been the way ibsen intended. their relationship consists of cute, loving conversation between the two, with torvald treating nora as his little doll .
another difference that was quite evident to me was the ending scene between nora and torvald. after torvald has found out about nora' s deception, ibsen has nora explain to torvald reasoning for her previous actions, and why she must leave him and the children. however, in losey' s film nora left torvald (david warner) and the children very shortly after him yelling at her, and then after he started to console her. i believe garland' s film followed the play more closely during this particular scene. after torvald threw his temper, and then tried to tell her everything was going to be fine, nora sat down and had a conversation with him. this scene was more boring and drawn out in this version of the film; however, i believe it made the reasoning behind nora leaving more clear to the audience. i also believe this depiction of the scene explained why the film and play is titled, a doll' s house .
henrik ibsen struck an early blow for feminism in 1879 with this liberated tale of a wife who rebels. juliet stevenson plays nora who finally revolts against her husband' s perception of her as a doll - wife whose opinions count for nothing .
losey' s only work in the science fiction / horror genre is one of his strangest and most unforgettable films. a disquieting exploration of a world gone wrong, the damned follows a couple on the run from a gang of musically inclined juvenile delinquents. they stumble upon a scientist (alexander knox) working on a top - secret government project: an experiment on a group of children with mysterious powers. using a moody script by the boy with green hair writer ben barzman, losey effectively harnesses conventions of the postwar horror film – scary children, cold war paranoia – to create a strange and haunting apocalyptic allegory .
crew: camera gerry fisher; editor reginald beck; music michel legrand; art director eileen diss (color) available on vhs. extract of a review from 1973. running time: 108 min .
steinberg, cobbett. film facts. new york: facts on file, 1980. print .
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 .
a childish wife reveals surprising strength when faced with blackmail. a modern version of ibsen' s play .
with a feminist nora, an icy torvald, and a drunken dr rank, this adaptation perhaps tries too far to be a film version of the classic ibsen play, setting scenes before and outside of the play (such as nora' s loan and christina' s past) rather than keeping strictly to the text. jane fonda is a 1970s nora, not as flighty as other actresses have played her, but still as determined in the final scenes. david warner is an emotionless torvald, which makes his awakening to the realities of his marriage hit home, while trevor howard is a less cultured rank than ralph richardson in the other 1973 version of the play. well - worth watching, and with beautiful settings deep in the scandanavian snow, this' doll' s house' is just as interesting as any filmed play, and sits well alongside the claire bloom / anthony hopkins version .
fun with dick and jane. dir. ted kotcheff. columbia pictures corporation, 1977. film .
a wealthy woman' s attempts to help her financially troubled husband go unrewarded .
directed by joseph losey. with vanessa redgrave, sarah miles, diana dors uk 1984, video, color, 95 min .
, losey has escaped the clutches of the cultists to fall into the hands of the snobs, ” sarris declared in 1968 .
losey' s only italian film – and his first work in exile – literally and figuratively bridges film noir and neo - realism with its poignant tale of two forsaken loners thrown together by fate. the great paul muni, in a rarely seen late role, plays a nameless drifter who haunts a desolate port where he befriends a wily street urchin when they are brought together by a gun and a terrible accident. an excellent depiction of war - torn italy, shot using principally non - studio locations, stranger on the prowl continues the fascination with loners, outsiders and those on the margins found throughout losey' s hollywood films. print courtesy of cineteca di bologna, restored by cineteca di bologna in cooperation with cinémathèque française and comune di pisa .
, by joseph losey, we find not only weak directing, but also a weak cast, with the exception of dr. rank (trevor howard) .
for his third and final collaboration with pinter, losey returns once more to the subject of youth in this haunting coming of age tale about a fateful summer spent by leo, a middle - class boy, at the sumptuous country home of a wealthy school chum. based on l. p. hartley' s celebrated and eponymous novel, the film follows leo' s discovery of a secret, transgressive love affair. one of losey' s uncontested masterpieces, the go - between finds losey again exploring the dire consequences of repressive bourgeois privilege, but now with a new, almost proustian sense of nostalgia. winner of the palm d' or at cannes, the go - between masterfully evokes turn - of - the - century mores and commands incredible performances by julie christie and alan bates .
fisher’s wife, jean, died three days before him. their son, cary, became a film camera operator himself and was director of photography for the television series csi: ny .
for his first french - language film losey cast alain delon as the titular anti - hero, an apolitical art dealer in nazioccupied paris startled to learn that he has a double – a jewish refugee using delon' s identity to escape deportation and death. in search for his mysterious doppelganger, klein sets in motion a dangerous, elusive process that ultimately endangers his own protected aryan status – a striking return to the theme of lost identity first seen in the servant. delon' s convincing reserve, similar to that of his steel - hearted criminals in jean - pierre melville' s thrillers, helps to make mr. klein one of losey' s bleakest and most frightening works. the cold dispassionateness of mr. klein' s unmistakably critical attitude towards the virulent anti - semitism of war - torn paris makes the film even more unsettling .
he went up the ranks from camera operator to director of photography when he shot losey’s accident (1967), a harold pinter adaptation of nicholas mosley’s novel, starring dirk bogarde as a married oxford university professor going through a mid - life crisis as he pursues a student whose fiancé has died in a car crash. fisher succeeded in lighting interior and exterior scenes to get moody shots reflecting the dark, pessimistic themes of the film while battling days of torrential rain over the summer of 1966 .
if a doll' s house is less frequently revived than some other ibsen plays, it is because the revolt it chronicles is a little embarrassing now. thornton wilder [ who adapted this version ] has pruned away most of the stiff nordic fripperies but still the propriety of helmer' s little wife is hard to understand. the motivation of the character is plagued with shibboleths today, but the moral and spiritual triumph of nora are still full of the fire of life .
new york times
the photography is superb (the norwegian setting makes little difference to either play), and losey' s direction is marred only by an occasional over - insistence in the editing .
losey' s least - seen american film offers a riveting example of the stripped down, urgent realism central to his brief hollywood career, in strong contrast to the overt stylization that would became a signature feature of his european films. ahead of its time for its focus on marginalized migrant workers, the lawless gives an impassioned voice to the angry distrust of main street u. s. a. that echoes throughout losey' s early work. making vivid use of los angeles locations and balancing its cast between studio contract players and non - actors from the migrant community, the lawless offers a rare glimpse into the class turmoil of 1940s america .
a doll’s house opens on christmas eve. nora helmer enters her well - furnished living room—the setting of the entire play—carrying several packages. torvald helmer, nora’s husband, comes out of his study when he hears her arrive. he greets her playfully and affectionately, but then chides her for spending so much money on christmas gifts. their conversation reveals that the helmers have had to be careful with money for many years, but that torvald has recently obtained a new position at the bank where he works that will afford them a more comfortable lifestyle .
are not all outdoors, but they are the majority that were changed or added. the beginning is even a change by losey. christine (delphine seyrig) and nora are talking inside a restaurant about their respective relationships. ibsen makes it very clear the way he designed the play about the two women' s relationships with men without this. apparently losey felt the audience too dumb to realize things people had realized for almost 100 years in the play. losey then utilizes the norwegian outdoors that is very beautiful covered in white. it very well could have cost quite a bit to film in norway. therefore, the use of the outdoors could have been forced on losey. whoever made the decision to film outdoors in effect reshaped the whole play. scenes like krogstad (edward fox) and nora meeting under a bridge outside are written in; and this alters everything, by rewriting the script. whether jane insisted or modernization was the aim, the absence of
little squirrel
references are apparent. there are quite a few less of these sayings in losey' s adaptation. the reason seems to point towards a modern view of the play just as filming the outdoors might .
the film’s best achievement is its casting. claire bloom, in every way right for the part, still seems too vacant to justify her character’s ultimate action; but anthony hopkins’s smooth torvald is consistently strong. sir ralph richardson is an endearing dr. rank, but not quite crusty enough; he’s good in the same way that an appetizer is before the main feast: his performance left me eager to watch trevor howard play the role in losey’s film. anna massey is arresting as mrs. linde, and dame edith evans, though scarce, is a solid nursemaid. the day is won, however, by denholm elliott’s krogstad, an alternately pathetic and malevolent character whose balance is so deftly maintained by elliott that he emerges as the film’s most affecting, sympathetic and interesting persona. this is enough to save the film for the viewer who enjoys fine acting, but the contributions of the picture are so negligible as to raise the question why it was even made, unless as a gift from elkins to his wife .
directed by joseph losey. with stanley baker, micheline presle, hardy kruger uk 1958, 16mm, b / w, 90 min .
what is real and what is fiction? faced with writer' s block with his novel, lewis fielding turns to a film script about a woman finding herself after his wife elizabeth returns from baden... see full summary »
with a feminist nora, an icy torvald, and a drunken dr rank, this adaptation perhaps tries too far to be a film version of the classic ibsen play, setting scenes before and outside of the play (such as nora' s loan and christina' s past) rather than keeping strictly to the text .
into film format. the addition of scenes, the acting by jane fonda and david warner, and many other things contributed to a movie that was far away from the intended play' s meaning .
columbia’s antinuclear movie resulting from the merger of fonda’s and gray’s projects, which finally went into production in february 1978 with a new script cowritten by the film’s director james bridges (talbot and zheutlin 321; bridges; gray, cook and bridges), balanced the critique of unregulated and ruthlessly self - interested corporations with a strong emphasis on the plight of women in a man’s world. fonda’s role as a tv reporter in the silkwood project had been inserted into the story of gray’s version of “the china syndrome”. instead of a team of documentary filmmakers, now it is fonda’s reporter and her camera crew investigating an incident at a nuclear power plant. at the same time, the story of lemmon’s plant supervisor has certain parallels to that of karen silkwood. his investigation into the unsafe construction of his plant and his contacts with the media lead to the attempted murder, in a staged car accident, of a member of fonda’s tv crew who is on the way to deliver the plant supervisor’s evidence to a public hearing .
a psychologist once remarked: “after your namesake slammed the doll' s house door, i bet her first words were ‘oh god, i' ve forgotten my keys! ’” this suggestion inspired some embattled evenings. if that cynic had a clue to nora' s key ring, there were two possible interpretations. some of us agreed that she might evenutally need her keys to collect a few papers crucial to divorce. but of course the opposition claimed that she would hate her new freedom — hence the keys would be, necessary for rushing back and locking herself in .
when torvald discovers that nora had borrowed money illegally, it is shown that he agrees with society. he agrees that nora should be oppressed because she is a woman. he does not support her or thank her for going to such lengths to save his life. he criticizes her, calls her a miserable creature, a hypocrite, a liar, and a thoughtless woman. in the garland film, torvald shouts very loudly and calls her a stupid woman. in the losey film, torvald is surly in his putdown of nora, and he proceeds to oppress her further by telling her she will live in his house only to pretend to be his loving wife, that she will not be allowed to raise the children, and not allow her to read a letter from krogstad .
though the losey film is ferociously flawed, i recommend it for jane fonda' s performance. beforehand, it seemed fair to wonder if she could personify someone from the past; her voice, inflections, and ways of moving have always seemed totally contemporary. but once again she proves herself to be one of our finest actresses, and she' s at home in the 1870' s, a creature of that period as much as of ours .
the trout is a meditative revisiting of eva, with isabelle huppert now playing a self - conscious 1980s femme fatale and jeanne moreau in a cameo role. instead of a writer, this time the male prey is a banker, and instead of decadent old venice, losey stages the battlefield for the war between the sexes in the brave new world of international finance in switzerland and in tokyo. huppert plays a precocious young woman plucked by a married financier from the obscurity of a trout farm in the swiss countryside. losey reportedly cast huppert in part because of her ability to play comedy and tragedy simultaneously, and indeed, the film is both serious drama and the blackest of comedies .
considerably. losey succeeded in only making a new movie from a great play. it seemed almost like the way the japanese imitated american cars when they first attempt to. they tried to copy the american cars to their tastes. they kept on trying, and now they have succeeded. maybe if losey kept on trying, he could have moved more over to other' s tastes and not so much his. maybe it would have been in ibsen' s tastes .
as the play and garland' s film opens, nora is seen entering er house with packages for christmas. she busily takes off her outerwear and starts unwrapping ackages. in losey' s version, this occurs after some preliminary background scenes. the first words spoken by torvald demean nora with nicknames such as little lark and little squirrel, as if he is more of a pet to him than a wife. he then goes on to demean nora about her spending habits, calling her his little spendthrift and little featherhead and telling her ,
that is like a oman !
in the garland film, nora makes squeaking animal sounds, as if she really is a squirrel or even a dog doing tricks for a treat or, in this case, money. she waltzes over and sits in torvald' s lap, giving him sad puppy dog eyes and baby talking to him, hoping that begging will get her what she wants .
first of all, the scene between dr. rank and nora (dr. rank confesses his love for her) were depicted differently in the two films. garland' s depiction of the play showed this scene somewhat more awkwardly than it was depicted in losey' s film, as well as ibsen' s original play. garland' s translation of the scene showed more chemistry between dr. rank (ralph richardson) and nora claire bloom) than i believed ibsen pointed out in his play. at times watching the scene, i found myself embarrassed for dr. rank because he was so forward. however, losey' s film followed more closely to the play in my opinion. dr. rank (trevor howard) told nora (jane fonda) that he was in love with her somewhat subtly .
in the spring of 1975, when the vietnam war ended, fonda returned to work with a new sense of purpose. she wanted to make films that were “stylistically mainstream, ” she said, “but with a gender slant. ” between 1975 and 1988, she starred in thirteen motion pictures, several of which she also co - produced. a partial list includes “fun with dick and jane” (1977), “julia” (1977), “coming home” (for which she was awarded the best actress oscar in 1979), “the china syndrome” (1979), “nine to five” (1980), “on golden pond” (1981), and the television movie “the dollmaker” (1984), for which she won an emmy. in those years, she and hayden also joined forces to support various causes—the returning vietnam veterans, native american rights, women’s rights. fonda’s activities made her more “real” to some fans, but others, including several of her male directors, wished that she would just shut up and act. joseph losey, who directed fonda in a 1973 film version of ibsen’s “a doll’s house, ” for example, complained that she had “little sense of humor” and “was spending most of her time working on her political speeches, instead of learning her lines. ”
miss barrymore' s conception of nora is sound. she is the frank, irresponsible, volatile, frivolous, doll - like creature doomed by marriage to be the plaything of a selfish, egotistical, smug, canting, conceited and self - centered husband. these qualities she indicated, but with a background of ingeniousness .
directed by joseph losey. with monica vitti, terence stamp, dirk bogarde us 1966, 35mm, color, 119 min. print from 20th century fox
directed by joseph losey. with elizabeth taylor, richard burton, noël coward uk 1968, 35mm, color, 113 min. print courtesy of universal studios
losey’s career was marked by adversity and perseverance amidst a post - war filmmaking landscape that perceived him as both a political subversive and an industrial outsider. he mirrored his blacklisted contemporaries jules dassin and cy endfield by resurrecting his career in europe, where he compiled an admittedly uneven, yet intermittently brilliant, filmography. losey’s films challenged both ideological and stylistic sensibilities. renouncing films offering easy solutions, losey came to feel that films “can only provide a stimulation which i think at its best is some sort of complete artistic statement, which therefore is form and emotion, which will stimulate the people seeing, hearing, absorbing it, to further thought and investigation. ” in an era when many of his past hollywood contemporaries like elia kazan, nicholas ray, orson welles, and fred zinnemann were either concluding their filmmaking careers or experiencing difficulties securing funding, losey remained prolific and made a film almost annually until his death. if anything, his vision to bridge the gap between commerce and high art was, and to a large extent still is, before its time .
the dialogue of the film is, on the surface, quite faithful to ibsen: but it has been injected with all kinds of innuendo to underscore—to the point of obviousness—its similarity to the contemporary dialectic of women’s liberation. never mind that ibsen’s play is about the state of capitalistic marriage, not about the oppression of women: women’s lib is now where the money’s at. thus we get an unbearably protracted final confrontation between nora and torvald, which becomes less an agon than a belabored philosophical debate, emphasizing again and again its similarity to the language of today’s feminism, belying its 19th - century scandinavian milieu. similarly, the film’s mise - en - scène is perfectly evocative of a norwegian household in wintertime over a hundred years ago, but the rich color with which it is photographed lends a feeling of unreality and a softness which belies the severity of ibsen’s conception .
. nora is the model wife and mother. in desperation, forgery is committed and destruction risked in order to save her husbands health. as nora is transformed, one of theatre and films most dramatic gestures occurs  she closes the door on her family to begin in a new life alone
in fonda’s early performances, the tension between her drive and her desire to be seen as a conventional, unthreatening girl is clear. in her first film, “tall story” (1960), in which she plays a marriage - minded college cheerleader, she has a stridency that suggests a wildness of character which she herself doesn’t want to acknowledge. fonda
all in all, we can perhaps view these two works as the basis for what good and bad film is. each director is encouraged to bring his or her own ideas to the film; however, sometimes it is a smashing success; and other times it is a miserable failure. here, audiences were able to witness both .
the state department' s purchase of a child went forth led to a commission from the national youth association – then headed by lyndon johnson – for a documentary highlighting nya' s efforts to provide work and job training for young people in order to prevent poverty. once again the as - yet inexperienced losey found himself working with stellar talent, this time with veteran activist filmmakers willard van dyke and ralph steiner .
in garland’s film, claire bloom portrays the energetic and somewhat ignorant nora helmer. at first glance, bloom appears too old for the character, therefore making her youthful prancing a bit awkward. however as the movie unfolds, she expertly displays the manipulation underlying nora’s flirtatiousness and girlish ways. this sense of scheming intelligence throughout the film makes her decision in the end seem believable. a woman who could discover and use her husband’s weaknesses and affections like she could can believably make the unconventional decision to leave him when she discovers his true nature .
once “33 variations” closed, after eighty - five performances (fonda was nominated for a best actress tony), the actress travelled to los angeles for knee - replacement surgery. while recuperating, she stayed at the house of a friend, the producer paula weinstein. fonda (who has since
the connection or rather on - screen, romance is not apparent in losey' s adaptation. nora and torvald never actually seem to love each other. fonda portrays nora as needing torvald only for money. torvald seems only to need nora for ego satisfaction. losey somehow forgets that ibsen intended these two characters to in fact be in love. he wanted them in love for the wrong reasons, though. it is nora' s realization of why she was loving torvald, of course, is left to rethink his love. losey never makes it clear that the two are dependant on each other at first because of their love .
marriage takes a sour turn when a middle - aged husband falls for a young and sexy woman. things get even more complicated when his wife starts a hot affair with a young lover of her own .
directed by joseph losey. with macdonald carey, shirley ann field, oliver reed us 1962, 35mm, b / w, 87 min. print from sony pictures repertory
was staged at the vaudeville theatre in london' s west end and the booth theatre on broadway. his version of brecht' s
while planning their first film together, fonda and vadim became involved, and by the time “la ronde” wrapped, fonda had decided to stay in france. she lived there for six years. fonda told me, “working in french, it’s a double mask. there’s the mask of playing a character, but then also it’s a different language, so i felt really safe. ” despite her accomplishments, however, she felt disconnected from her public persona. “what
as the title character, monica vitti incarnates the comicstrip heroine, a cross between barbarella and james bond. the film' s plot finds secret agent blaise and her faithful sidekick willie garvin (stamp) teaming up to defeat effete super - villain gabriel (bogarde). the adventure has something to do with diamonds, but it should come as no surprise that the plot comes second to the fabulous production design by richard mcdonald, plus losey' s typically eccentric visual style here accented with a pop - art nod to the swinging' 60s. the film achieves a truly strange kind of high camp in its attempt to satirize the source material, which itself originated as a lighthearted spoof of the crime - fighting adventures of 007 and his ilk .
the main character of this film is nora helmer, a simple woman married to a working man, the straight but authoritarian torvald. years before, they married out of love. now, between nora' s desire for freedom and torvald' s strictness, serious sexual friction is threatening their relationship, including actions from their past which could lead to tragedy .
jane fonda is a 1970s nora, not as flighty as other actresses have played her, but still as determined in the final scenes. david warner is an emotionless torvald, which makes his awakening to the realities of his marriage hit home, while trevor howard is a less cultured rank than ralph richardson in the other 1973 version of the play .
he began distancing himself from genre films (the type of films typically exalted by auteur critics) and instead became increasingly associated with literary adaptations and art - house cinema (the type of films they often criticized). “with
canby, vincent. “film: nuclear plant is villain in china syndrome ”. new york times 16 mar. 1979: c16. print .
such associations exist at the level of production (here we can consider the political background and intentions of filmmakers as well as their private or working relationships with political professionals or organisations) and also at the level of marketing and reception. with regards to the latter, we can examine to what extent the political dimensions of a film are foregrounded in its advertising and in the publicity generated for it, and to what extent reviewers and other commentators in the press highlight a film’s politics. finally, there are cases in which a film becomes an important reference point in public debates about political issues, and also in political campaigning. in order to explore these associations, scholars need to go beyond film analysis, in particular by drawing on a range of primary print sources (including, among many others, script materials, correspondence, published interviews, press releases, advertisements, film reviews and press reports). many of these sources can only be found in archives .
( 1867) was a great success when embellished with edvard grieg' s music. but violent condemnation flowed almost everywhere
, a patriotic celebration in verse of ancient norse folklore that made him a national hero .
he showed his versatility by creating a completely different, “bright” look for the go - between (1971), the third of pinter’s collaborations with losey, which started with the servant in 1963 and were incisive in their exploration of the moral bankruptcy and thwarted desires among the english middle and upper classes .
directed by joseph losey. with isabelle huppert, jean - pierre cassel, jeanne moreau france 1982, 35mm, color, 105 min. french with english subtitles print courtesy of cinémathèque québéçoise
there are many things that change losey' s film into a whole new format from ibsen' s play. first, he uses settings of outdoor scenes. by writing these in he is changing the play from original form. he also writes in a scene at the beginning to help the viewer understand more. this inclusion in the beginning was not used by ibsen; and he was understood; therefore it seems very unnecessary. losey also leaves sexist remarks by torvald almost completely out. the character of torvald seems to be an unlikable, money - hungry, career - minded and grumpy one. nora seems not to connect with torvald as expected from the play because of these attributes. nora is also portrayed early on as being able to rely on herself .
a well - to - do connecticut family is upended when the grown daughter' s godparents, seized by a nameless terror, decide to come live with them .
however, expansions can be even more destructive than cuts, the losey script by david mercer has been fattened with feeble lines and even short scenes that the old genius didn' t write. also, some passages, such as kristine linde' s reunion with krogatod and nora' s tarantella, have been intercut. so the dramatic momentum is butchered. although we can sympathize with a filmmaker' s urge to escape one single indoor setting, and, it' s always nice to have an excuse for shots of snow—especially if you can sling in a sleigh or two—most of these tricks merely weaken a tightly written play .
losey, however, cast actors who did not capture the depth of henrik ibsen’s characters, as did bloom and hopkins. in losey’s version, jane fonda portrays nora helmer; and, while her appearance seems appropriate and she prances enough to convey nora’s youthful disposition, she does not display a hint of manipulation. she is simply a thoughtless young woman who discovers one day that her husband is a cruel and selfish creature; and, consequently, she gains ten years of maturity within the span of a two - minute fight with him. david warner, who played torvald helmer, also never seems to grasp the psychological aspect of the character. yes, he lords over the household and screams and rages when he discovers nora’s forgery, but he never fully shows the impact of his wife’s desertion. when she closes the door, he looks shocked but not heart - broken, leaving the scene shallow and the audience wondering why they just sat through such a long and depressing movie.
a doll 's house is a 1973 franco-british drama film directed by joseph losey , based on the play of the same name by henrik ibsen . it stars jane fonda in the role of nora helmer and david warner as her domineering husband , torvald . in the united states , the film was broadcast nationally on the abc television network . losey 's version of the classic play was extensively adapted for film . from ibsen 's expository dialogue , entire new scenes were developed by playwright david mercer and integrated through a variety of invented sets . losey 's alterations generated considerable controversy , as did his casting of outspoken actress fonda – known at the time as " hanoi jane " – in the lead role . 
a doll's house is a 1973 franco-british drama film directed by joseph losey, based on the play of the same name by henrik ibsen. it stars jane fonda in the role of nora helmer and david warner as her domineering husband, torvald. in the united states, the film was broadcast nationally on the abc television network. losey's version of the classic play was extensively adapted for film. from ibsen's expository dialogue, entire new scenes were developed by playwright david mercer and integrated through a variety of invented sets. losey's alterations generated considerable controversy, as did his casting of outspoken actress fonda – known at the time as " hanoi jane " – in the lead role.
a doll's house is a 1973 franco-british drama film directed by joseph losey, based on the play of the same name by henrik ibsen. it stars jane fonda in the role of nora helmer and david warner as her domineering husband, torvald. in the united states, the film was broadcast nationally on the abc television network. losey's version of the classic play was extensively adapted for film. from ibsen's expository dialogue, entire new scenes were developed by playwright david mercer and integrated through a variety of invented sets. losey's alterations generated considerable controversy, as did his casting of outspoken actress fonda – known at the time as " hanoi jane " – in the lead role.