desire ( 1936 film )
desire (1936) directed by frank borzage. marlene dietrich, gary cooper, john halliday (95 min) .
…showed a lighter side in desire (1936), directed by frank borzage, and destry rides again (1939) .
william haines: from hollywood film star to... - design & desire in the twentieth century
the toronto film society presented desire on monday, november 14, 2011 in a double bill with barbary coast, as part of the season 64 monday night film buffs series .
crew: (color) available on vhs. extract of a review from 1936. running time: 95 min .
fan magazine photo. she wears her desire blazer while working at the hollywood canteen during wwii .
looking for movie tickets? enter your location to see which movie theaters are playing desire near you .
ironically, the hollywood regency began to influence film set design in the later 1930s and throughout the 1940s. in 1936 haines worked as the production designer on the film craig’s wife for columbia studios, but he received no credit for his contributions. 1
the nazis in the film wore uniforms of the afrika korps of the german army, which didn' t exist until 1941 (the film took place in 1936). it was the ss affiliated ahnenerbe, (which was never part of the afrika korps) who went digging for artifacts during that era. considering that egypt was still a british protectorate in 1936, armed and uniformed germans wouldn’t be permitted there .
desire became a good film and, moreover, also proved to be a box office success. the script was excellent, the roles superb - one more proof that these elements are more important than actors. but even before desire became a hit at the box office, we made another film (that’s how it is in the film business), one that was not so good: angel. ernst lubitsch was responsible for the script and was the director. our morale was restored when desire was shown in movie houses all over the world .
in 1936, quinn made the leap into acting. that year he had a role in the play clean beds with mae west and appeared in the film parole! this opened the door to other film roles, often playing the part of the bad guy with an
ethnic
background .
a delightful comedy romance is' desire,' at the paramount - -' peg of old drury,' at the bijou .
in 1998, the american film institute placed the film at number 60 on its top 100 films of the first century of cinema. in 1999 the film was deemed
culturally significant
by the united states library of congress and selected for preservation in the national film registry .
desire is the first marlene dietrich and gary cooper picture since morocco (1930). the two stars work unusually well as a pair .
although we now live in a digital world where keying is concerned, the desire to transplant images from one film into another is as old as cinema. well, actually older, because cinema only developed as a phenomena years after film was being used in fairgrounds and magic shows .
the story of film: an odyssey, episode 2 - the hollywood dream: 1918 - 1928: the triumph of american film ...
the list of films to be screened during the european film festival 2014 include: paradise: love (austria) - cannes film festival 2012 – official competition, the broken circle breakdown (belgium) - best foreign language film oscar nominated, 2014, the hunt (denmark) - cannes film festival 2012 – official competition best foreign language film oscar nominated, 2014, stranger by the lake (france) - cannes film festival 2013 – best director award, un certain regard section, barbara (germany) - berlin international film festival 2012, best director award, the great beauty (italy) - best foreign language film oscar 2014, tabu (portugal) - berlin international film festival 2012 – official competition, child’s pose (romania) - berlin international film festival 2013, golden bear (best film), living is easy with eyes closed (spain) - san sebastian international film festival 2013 - official competition, and le week - end (united kingdom) - toronto international film festival 2013 .
in the nepal scene, one of the nazi thugs is seen firing an mp40, which was designed in 1938, entered service in 1939, and didn' t exist back in 1936 .
with the headline: a delightful comedy romance is' desire,' at the paramount - -' peg of old drury,' at the bijou .
american costume designer mark bridges created the wardrobe for the film' s cast .
a delightful comedy romance is' desire,' at the paramount - -' peg of old drury,' at the bijou. - the new york times
director william wyler and producer samuel goldwyn collaborated on a total of nine films together, beginning with barbary coast (1935) (uncredited), followed by come and get it (1936), these three (1936), dodsworth (1936), dead end (1937), wuthering heights (1939), the westerner (1940), the little foxes (1941), and ending with the best picture - winning the best years of our lives (1946). the cinematography of rudolph mate made masterful use of intricately - composed or framed scenes, many with deep - focus, recalling the works of gregg toland .
the film' s climactic scene is set to bernard herrmann' s' scene d' amour' from his score to alfred hitchcock' s film vertigo, in which it similarly accompanies an extended scene without dialogue. only one song (sung, with lyrics) is used in the soundtrack,' pennies from heaven', sung by rose' chi - chi' murphy (uncredited). this song was written in 1936, although the film is set between 1927 and 1932 .
in january 2012, the film was nominated for twelve baftas, also the most of any film from 2011. it won seven, the most wins of the night, including best film, best director and best original screenplay for hazanavicius, and best actor for dujardin .
hickey, kieran (1936–93), film producer and director, was born 29 february 1936 at holles st. maternity hospital, dublin, eldest son of thomas hickey, locomotive engineer, of 41 dufferin ave. , south circular rd, dublin, and kathleen hickey (née o' keeffe). he had an elder brother, desmond (‘des’). educated locally, introspective and much attached to the home he would occupy all his life other than during his time in england, hickey worked briefly in the insurance business and moved to london in the late 1950s. taking a series of mundane jobs to support himself, he studied at the london school of film technique, brixton. one of few formally educated irish film professionals, he familiarised himself early in his career with contemporaries in the british film industry. he blended easily with them but remained a very private person. closely befriending british film - writer david thomson, with whom he compiled some of the first working filmographies, he pioneered a genre of film - writing which subsequently become fundamental to the literature .
marlene dietrich desire began shooting in september 1935. it was eventually decided to film it in black - and - white, rather than technicolor, but this did nothing to detract from marlene’s beauty. she appears in an endless succession of glamorous outfits and looks ravishing in all of them. she directed much of her own lighting in the film, as well as some of gary cooper’s .
when i read ernst lubitsch’s screenplay for desire, i was horrified. the film was to begin with a close - up of my legs. my legs, always my legs! yet for me they have only one purpose, they make it possible for me to walk. i didn’t want so much fuss made over my legs. but mae west advised me to take another view of the matter and to let the producers have their way. she always had a thousand good reasons for her opinion, and i listened to her. so the film desire begins with a close - up of my legs. it’s an extraordinary film and could have dispensed with such a beginning .
film aggregator rotten tomatoes gave the film a 94% rating, calling it ,
one of the most consummately entertaining adventure pictures of all time .
metacritic gave the film 90 / 100, saying it' s ,
... one astonishing cliffhanger after another ...
.
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
the artist received near - universal acclaim from critics and won many accolades. dujardin won the best actor award at the 2011 cannes film festival, where the film premiered. the film was nominated for six golden globes, the most of any 2011 film, and won three: best motion picture – musical or comedy, best original score, and best actor – motion picture musical or comedy for dujardin .
all the featured films are the recipients of numerous awards and accolades at international film festivals and competitions, including the oscars and the cannes film festival. they are the latest productions from the most exciting and talented film directors in europe at the moment, and a true reflection of european cinematographic creativity and diversity .
the film was not very successful in the us, but was a huge hit in europe. film critic and novelist graham greene declared, “ desire is the best film in which miss marlene dietrich has appeared since she left germany, and the most amusing new film to be seen in london this week” (dumont 240). one of her big european fans was adolph hitler, who sent joachim von ribbentrop to ask her to “come home to the reich” and the fuhrer would decorate her. because of her unprintable response, this would be the last of her films shown in her homeland until hitler’s defeat .
in france, it was nominated for ten césar awards, winning six, including best film, best director for hazanavicius and best actress for bejo. the artist became the most awarded french film in history .
“the theme of love serves as an interesting starting point for a european film selection. this contemporary selection of films allows us to experience tales beyond the cliché and ‘national’ narrative, to offer challenging, entertaining and compelling images of love, desire and the current state of europe, ’ says darryl els, euff 2014 festival director .
the film was originally set to be rated r because, during the climax of the film, there is a visual of an exploding head. after it was obscured by a column of fire, the rating was lowered to pg .
european film festival to explore' beyond love' in (...) - consulat général de france au cap
dodsworth (1936) is famed german - born director william wyler' s classic romantic drama from samuel goldwyn productions, and distributed by united artists. scriptwriter sidney howard wrote the screenplay based upon his 1934 stage adaptation of sinclair lewis' 1929 novel of the same name. luckily, howard was able to use his stage adaptation, with 14 different scenes, as the basis for the film' s screenplay .
lighter in tone and probably not as thematically substantial compared to her work with von sternberg, desire is still a good showcase for the talents of marlene dietrich. i' ve never seen a lubitsch film but i' ve read that he had some input into how this film turned out and i will say that the humour is right up my alley - - sophisticated and witty while also brimming with innuendo .
desire
is really the name of the game here as dietrich plays up her enticing yet also slightly hazardous screen persona with aplomb. the film is just mostly a really well done romantic comedy from the era, replete set ups and payoffs, a three act structure, and a predictable love story. maybe a notch or two below some of the best dietrich / von sternberg collaborations but still worth a look .
this post is the second part of a biography on hollywood designer and film star, william haines. read part one .
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 .
the film was shot entirely within la sound studios, although supplemented with background - projection shots of a number of authentic locales, such as london, paris, and naples. although not a major box - office success at the time (due to the fact that it had lesser - known, older performers), the subtle, sophisticated and serious film was critically - acclaimed. it garnered seven academy award nominations, including best picture, best director, best actor (walter huston, recreating his earlier stage role, who should have won the oscar with his sensitive portrayal against winner paul muni for the story of louis pasteur (1936) ), best screenplay, best supporting actress (maria ouspenskaya, reprising her role from the earlier stage production, and in her film debut), and best sound recording, and won only one oscar for best art direction - interior decoration. it lost the best picture race to the great ziegfeld (1936), a lengthy, less - impressive
musical
biography .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
the film ends with the may day parade where dixon is marching along with the masses and finally expresses that she understands stalinist ussr .
anthony michael hall is a film and tv actor known for his roles in sixteen candles, the breakfast club and the dead zone .
a residue of williams’s transsexual self - projection into the archly predatory blanche is perhaps discernible in her seductive exchange with the newsboy, toward whom she directs such blatant come - ons as “you make my mouth water. ” williams said that blanche, soliciting the startled newsboy, has become allan, her young gay husband, whom she shamed into suicide. a streetcar named desire was unusually forthright about homosexuality at a time when the subject was bowdlerized or demonized by hollywood movies. homosexuality was explicitly forbidden under the motion picture production code: these three, for example, a 1936 film based on lillian hellman’s hit play, the children’s hour, substituted a heterosexual triangle for the central plot motif of lesbianism, which was expunged .
jordan y. miller, ed. , twentieth century interpretations of a streetcar named desire: a collection of critical essays (englewood cliffs, nj, 1971). matthew c. roudané, ed. , the cambridge companion to tennessee williams (cambridge, 1997). donald spoto, the kindness of strangers: the life of tennessee williams (boston, 1985). tennessee williams, memoirs (garden city, ny, 1975). filmography: a streetcar named desire, directed by elia kazan (1951) .
according to hazanavicius, his wish to make a silent film was at first not taken seriously, but after the financial success of his spy - film pastiches oss 117: cairo, nest of spies and oss 117: lost in rio, producers started to express interest .
rouben mamoulian was a very good friend and took me as i was. others, too. the only film i need not be ashamed of is desire, directed by frank borzage and based on a script by ernst lubitsch. i found gary cooper a little less monosyllabic than before. he was finally rid of lupe velez, who had been at his heels constantly throughout the shooting of morocco .
this great, sensitively - directed, sophisticated film with exceptional acting, and faithful to the source material, has often been overlooked as one of the best films of the 1930s, and one of filmdom' s greatest love stories. the film' s tagline stated :
here is a picture that was marked for greatness before it was ever screened !
wyler had directed another play (also produced by goldwyn) that was adapted for the big screen in the same year, these three (1936) - a heavily - bowdlerized adaptation of lillian hellman' s
the children' s hour .
what happens when it smells like a lubitsch film, talks like a lubitsch film, but wasn' t directed by lubitsch? but... auteur theory tells me that the director is the primary author of films! but he didn' t direct it, only produced it? what? what am i suppose to think? borzage is no slouch, and you could argue that the second half of this film is more his than lubitsch. is he the auteur of this film? ah! !! andre bazin, you jerk .
anthony perkins is an oscar - nominated stage and film actor who is best known for his role as norman bates in alfred hitchcock’s psycho .
( qv) (1935–2006). his commitment to work was not equalled by a desire for attention, and he shied from publicity. his colleague at bac, film editor patrick duffner, later recalled his pioneering zeal and vision, and his devotion to good practice and economy, to loyal friendship, and to his privacy. hickey also advised students of film at the national college of art and design. working with david thomson, hickey contributed so much to the first (1975) and subsequent british and american editions of thomson' s renowned
the artist was nominated for ten academy awards and won five, including best picture, best director for hazanavicius, and best actor for dujardin, who was the first french actor ever to win. it was the first french film ever to win best picture, the first mainly silent film to win since 1927' s wings (the first recipient of the best picture award, in 1929), the first film presented in the 4: 3 aspect ratio to win since 1955' s marty, the first black - and - white film to win since 1993' s schindler' s list, and the first non - r - rated film to win since 2004' s million dollar baby .
dietrich’s “emancipation” is immediately evident in desire. “for the first time [ in an american film ], ” wrote frank nugent in the new york times, “she is permitted to walk, breathe, smile and shrug as a human being instead of being a canvas for the louvre” - a snide reference, perhaps, to a paramount publicity photo which superimposed dietrich’s enigmatic features on the mona lisa’s. dietrich found desire a liberating experience. it was a present - day story, to start with, and lighter in tone than any she had been used to since her german comedies. borzage was a director with no interest in touching any of the darker bases of sexuality. the mood of the film was engaging: it wanted to make its people likable; and since the slight story weighed no one down, the cast responded with spirit .
as film grew in commercial importance, there were many variants of this process created; but essentially it’s the antecedent of what happens today digitally. when colour film started gaining ground (around 1918 - 1936) clever new methods to separate foreground and different background were invented. one particular method was the blue screen colour difference process. invented by petro vlahos it became the basis for the most widely used methods of getting a travelling matte until digital techniques were possible in the 80s. the process demanded a very pure blue backlit background. the film negative produced was copied onto black and white filmstock through a blue filter, which allows only red and green to expose the film, so the blue area is transparent. however there is always likely to be a bit of blue on the foreground character so this black and white film was combined with the original negative to make a new high contrast matte, but this time through a special green filter. by now the blue screen is clear and the foreground character totally black. this ‘male matte’ is then copied to a negative ‘female matte’. there are several other stages to this - each one with other film prints. aren’t you glad we now do this digitally ?
jack palance was an american actor best known for playing villainous roles in the 1960s and for his award - winning appearance in the film city slickers .
american actor and director josé ferrer was perhaps best known for his academy award - winning performance in the title role of the film cyrano de bergerac .
desire is not an official lubitsch film, merely a lubitsch production of a borzage film, which of course is none too shabby in itself. all the same, the film is a near - perfect exemplar of the famed lubitsch touch; highbrow sophistication concealing its lowbrow intentions through discreet innuendo. find the same cleverly worked - out sequences which amount to comedic gags in the classical setup - escalation - payoff mold, like the beautifully sustained opening 20 minutes in which dietrich strings along a pair of suckers with seductive aplomb. dietrich is extraterrestrial as ever, still flattered with dynamic key lighting, still decked out in the absurdly unreal wardrobe of the sternberg pictures, and yet still somehow putting all this movie magic to shame through sheer radiance. for…
she said it was the easiest film she ever made. “until desire, i have always had to conceal my feelings and still show that i loved the man, whoever he was. this is the most difficult thing of all. nothing is easier to play than straight sentiments. mr. von sternberg never let me play love scenes—not ordinary ones, i mean with hugging and all that, because he hates ordinary love scenes” (walker 126) .
there is even an interesting subtext dealing with two very different and fairly well developed black characters. one is the wealthy couple' s chauffer joseph (john alexander) and the other is slim (slim thompson) one of duke mantee' s henchman. they have an interesting interchange where slim all but calls joseph an uncle tom. remember in 1936 this was pretty radical stuff .
at dietrich' s insistence john gilbert was originally intended to play the role of margoli, but his poor health due to alcoholism and a series of heart attacks forced him to step aside. at the time dietrich and gilbert had become close friends and occasional romantic partners. on january 10, 1936, during postproduction of the film, gilbert passed away. after his death dietrich, who had also developed a close relationship with gilbert' s daughter leatrice, took her on outings and lavished gifts upon her, just one instance of her legendary generosity .
the restaurant itself is homey, with about 10 tables and a six - seat bar guaranteed to satisfy serious tequila and mezcal aficionados. the brightly colored room is adorned with a blend of art from mexico, framed accolades from the local press, and a tv to ensure that no one misses a single liga mx soccer match. the soundtrack is a who’s who of mexican music, with hits like vicente fernández’s “por tu maldito amor” in regular rotation. and the taqueria is named after the title song of the classic 1936 mexican film allá en el rancho grande .
to recreate the slightly speeded - up look of 1920s silent films, the film was shot at a slightly lower frame rate of 22 fps as opposed to the standard 24 fps. most of the film is silent, except for two scenes of sound; one being a nightmare sequence and the other being the final scene in the film, where two characters speak, and the non - diegetic soundtrack. throughout the shoot, hazanavicius played music from classic hollywood films while the actors performed .
i bought this film from the netherlands as unfortunately it isn' t on sale in the uk, i don' t know why, sadly its been forgotten like so many others of this era. i thought the film was very ahead of its time, the characters are very interesting, you have the likable but scheming lady jewell thief, who is so classy, and then you have the handsome but not to clever american tourist, together they make great comedy, this is both stars at their best, you can tell they are enjoying the parts their playing in this film. also strangely enough the costumes and vintage cars don' t date the film at all, it only adds to the appeal, this is a great film to watch if you love old cars, because there is some beautiful models shown in this film. and the costumes are very classy, and interesting. its an old film, that hasn' t dated, it just gets more interesting with age, as i' ve said its a shame its not on sale in the uk, as we do have a lot of old car enthusiasts .
during that time, maria talked frequently about her desire to open “a little taco place. ” when she and joaquin lost their jobs in a factory layoff, they started the search for a spot to make that desire a reality. in 2005 maria found a vacant space on the first floor of a house on plainfield street. however, the property was for sale, not for lease. the mezas’ savings would never cover the price of the house as well as costly restaurant construction. that’s when joaquin jr. and his wife, kimberly, agreed to help buy the place, putting their own dream of home ownership on hold to help maria start her business .
if the film proves but one thing to modern audiences, it’s that people have been getting drunk and sleeping with strangers the night before their weddings since the dawn of time .
( qv). in 1982 he published a book of the same title (republished 2004) with his brother, who was by now a journalist and film - writer. his
marlene dietrich had just ended her long association with her director josef von sternberg. their collaborations were visually extravagant, unlike any other films ever made, obsessed with marlene’s sexual allure, as expressed in peerlessly bizarre costumes and atmospheric photography. desire was a kind of liberation for her as an actress. the new york times critic wrote, “for the first time (in an american film) she is permitted to walk, breathe smile and shrug as a human being instead of being a canvas for the louvre” (walker 135) .
the film was released on vhs, beta, ced and laserdisc, and was one of the first films which led to the concept of consumers owning films, rather than renting them .
anthony quinn was born on april 21, 1915, in chihuahua, mexico, but his family settled in los angeles shortly after his birth. quinn & apos; s acting career began in 1936 in a play with mae west. on film, he won best supporting actor oscars for his roles in viva zapata! (1952) and lust for life (1956), with the former win making him the first actor born in mexico to win an academy award. he also had memorable roles in zorba the greek (1964) and lawrence of arabia (1962), among many other films. quinn died on june 3, 2001 .
desire is the first marlene dietrich and gary cooper picture since morocco (1930). the two stars work unusually well as a pair. the direction is subtle and inspired, with many smart little lubitschian touches adding to the general appeal of the yarn [ by hans szekely and r. a. stemmle ] and its plot. dietrich plays a jewel [ … ]
most film critics have a pretty good handle on what it is a director does, what a cinematographer does, what an editor does. acting, however, remains a little bit mysterious .
experience modern times, the iconic film written by, directed by and starring charlie chaplin as a factory worker at the beginning of the industrial revolution. the orchestral score, also ...
as film processes developed, and film became more sophisticated, the weaknesses of simple mattes became apparent. it would only work if the camera and actors were still or stayed in a fixed area. a travelling matte allowed a freely moving person to be cut out and placed on top of a background without winding film back through a camera for double exposure. to achieve this, just like today’s green screen, an actor would perform against a contrasting screen. in film terms this meant creating a number of differently developed prints from the original, starting with a very high contrast film of our foreground character (let’s say, dancing around). then a high contrast negative of this would be created too. put simply, these two high contrast (black and white) filmstrips of our dancer would be used to create masks or mattes for both the dancer and the background. this film technique was like having a magic moving piece of card that ensures only the dancer is exposed on one film, and that the background has a perfectly synchronised moving black shadow where the dancer should be. these two films are optically printed (projected and refilmed) and combined together and, hey presto, our dancer seems to be dancing on the moon or whatever the chosen background image was! this method was prevalent from the 1920s till the 1960s .
dietrich always called it the easiest film she ever made and her reasons, significantly, harked back to the days of subordination she had suffered under von sternberg. “until desire, i have always had to conceal my feelings and still show that i loved the man, whoever he was. this is the most difficult thing of all. nothing is easier to play than straight sentiments. mr. von sternberg never let me play love scenes - not ordinary ones, i mean, with hugging and all that, because he hates ordinary love scenes. in morocco, gary cooper was supposed to kiss me, but behind a fan. that was all. ” desire thus broke another taboo that predated von sternberg: namely the slap on the face that dietrich’s mother had delivered when her daughter turned up her nose at dancing with a boy she didn’t like. at long last she could show her feelings without being accused of bad manners .
“very well, gary, do not try to be clever. just say the lines straight, and give them your own sweet personality, and they will be excellent comedy lines” lubitsch told him (swindell 186). cooper, of course, played tom bradley with ease. the montana cowboy with the english boarding school education knew how to be innocent and sophisticated at the same time. 1936 was a big year for him, this film, considered by many to be his finest comedy performance, and next up, one of his classics, mr. deeds goes to town, in which he reforms not a wayward jewel thief but corrupt society as a whole .
the forming of the film' s narrative started with hazanavicius' desire to work again with actors jean dujardin and bérénice bejo, hazanivicius' s wife, who had starred in oss 117: cairo, nest of spies. hazanavicius chose the form of the melodrama, mostly because he thought many of the films from the silent era which have aged best are melodramas. he undertook extensive research about 1920s hollywood, and studied silent films to find the right techniques to make the story comprehensible without having to use too many intertitles. the screenplay took four months to write .
borzage had been a director for years. born in salt lake city to swedish parents, he directed his first film in 1916, when he was 23 and went on to become on of the most highly regarded directors of the twenties and thirties. he won the first - ever oscar for direction for his 1927 film seventh heaven and won the same award five years later for bad girls .
i’m sorry to have to be the bearer of sad news. toronto film society’s good friend james cozart from the library of congress, died yesterday, saturday, march 25th. james ...
, and the national film studios of ireland. this was the landmark film in his career: a larger production, again starring t. p. mckenna, with a prestigious cast including bosco hogan, niall o' brien, and joan o' hara. in this film, whose script won an arts council award, hickey portrayed an intense sexual drama played between three middle - class irish men and a french woman, brought together by chance in a situation of repressed opportunity overshadowed by respectability. he contrasted irish repression with french openness, revealing the chasm of misunderstanding that lay between .
comic book artist jim steranko was commissioned to produce original illustrations for pre - production, which heavily influenced spielberg' s decisions in both the look of the film and the character of indiana jones himself .
the artist is a 2011 french romantic comedy drama in the style of a black - and - white silent film. it was written and directed by michel hazanavicius and stars jean dujardin and bérénice bejo .
director michel hazanavicius had been considering making a silent film for many years, both because many filmmakers he admires emerged in the silent era, and because of the image - driven nature of the form .
the $ 20 - million film was a huge success, easily the highest grossing film (earning $ 210 million approx .) of 1981, and, at the time, one of the highest - grossing movies ever made. according to the 2005 edition of the world almanac (from variety data), the first two star wars films are the only pictures released prior to 1981 that have out - earned raiders .
the archetypal southern belle whom blanche so desperately plays, eighty years after the civil war, would have been instantly recognizable to audiences from scarlett o’hara of gone with the wind, the blockbuster film (based on margaret mitchell’s 1936 best seller) that had been released in a tremendous burst of international publicity just eight years earlier. (coincidentally, a british actress, vivien leigh, would win two academy awards for best actress for playing both scarlett o’hara and blanche dubois .) belle reve is partly tara, the family plantation for which scarlett fights tax collectors and carpetbaggers. but it is also (as williams attested) the cherry orchard in chekhov’s 1904 play of that name, a precious patrimony that is mortgaged and seized by vulgarians .
the u - boat scenes were shot at la rochelle, both outside the harbor and inside the u - boat bunkers there, built by the germans in 1942. filming was done here due to the need to obtain a u - boat to film with — the film
borrowed
the u - boat that was being prepared for filming das boot, which was also filming at the same time and in the same area .
the chachapoyan fertility idol, sought by jones and satipo in south america in the opening scenes of the film, was designed with eyes that would unnaturally follow jones around the room. although this was eventually cut from the film, the idol' s eyes can be seen scanning back and forth briefly as the camera pushes in for its first real look at the artifact, just after jones bounds over the steps leading up to the sanctuary .
when madeline drives by tom, who is stopped to take a photo of himself, she splashes mud all over him - and some of the water from the puddle lands on the lens of the film' s camera .
in addition to any special events and programming, the toronto film society programmes 5 regular series and events each year. below is a list of those programmes. [ sws _ 2 _ column title = ”” ...
for its 1999 vhs re - issue, and the subsequent dvd release four years later, the outer package bears the new title indiana jones and the raiders of the lost ark. however, the title in the film itself remains unchanged, even in the restored dvd print. this change was made to correlate with the titles of the film' s prequel and sequel. raiders was later released on dvd in 2003 and was reissued in may 2008 .
john gilbert tested for the role of carlos, and to his and marlene’s delight, won the part. and the major male role, the detroit motor - engineer tom bradley, went to her old co - star and lover, gary cooper. this was unfortunate for gilbert. when she met cooper again, marlene found her old desire for him rekindled. it was true that he had recently married a society lady, and that lupe velez was rumoured to still have her eye on him, but nonetheless he and marlene resumed their affair. gilbert found this devastating. marlene had become his confidante and support and with her off cavorting with gary cooper he quickly drifted back to the bottle for consolation which caused him to have a series of small heart attacks. this caused paramount to remove him from the film and was replaced by john halliday, which was a shame because although halliday was a good actor, he did not have much sexual charisma, and a theme in the plot of desire was to have been his jealousy as madeleine’s love for tom became more apparent. this theme now disappeared .
that he shared in the author' s book dedication and in later editions had an entry in the work which was both obituary and memorial. with timely good fortune, the galway film fleadh of july 1992, held in parallel with the galway arts festival, included a retrospective celebration of his work. exactly one year later, having recently partnered philip davison (who had collaborated on some of hickey' s earlier work) in script - writing a projected new film called
in this film, lifelong friends martha dobie and karen wright manage an exclusive girl' s boarding school. student mary tilford spreads a rumor that martha has been carrying on an illicit affair with doctor joseph cardin, the boyfriend of karen .
the story takes place in hollywood, between 1927 and 1932, and focuses on the relationship of an older silent film star and a rising young actress, as silent cinema falls out of fashion and is replaced by the' talkies' .
the film' s music was composed by ludovic bource and produced in belgium. it was recorded by brussels philharmonic and conducted by ernst van tiel. recording took place during six days in april 2011 at flagey' s studio 4 in brussels .
the scene in which jones threatens belloq with a rocket propelled grenade was shot in the exact same tunisian canyon where george lucas shot a scene involving tusken raiders attacking luke skywalker in his film star wars episode iv: a new hope (1977) .
lucas began production on the movie soon after the surprise success of his 1977 motion picture star wars episode iv: a new hope. while vacationing in hawaii with friend and director steven spielberg, spielberg mentioned how he' d always wanted to make a
james bond - like film
. lucas countered that he had a story that was better, and proposed a concept he and writer / director philip kaufman had worked on in 1975 based around lucas' desire to see a movie - style return of 1930s and' 40s action serials. the story was set aside while lucas finished his work on star wars. spielberg' s comment gave raiders new momentum and together, with spielberg directing, contacted lawrence kasdan to write the screenplay .
critics consider the 1954 paramount pictures adventure film secret of the incas starring charlton heston as adventurer harry steele on the trail of an ancient incan artifact, to be prototypical to raiders of the lost ark in both theme, and style. [ 2 ] while the film is not officially credited as an influence, costume designer deborah nadoolman notes that the steele character' s outfit was the direct inspiration for jones' s attire and recognises secret of the incas as raiders almost shot for shot. [ 3 ]
shot in just 73 days and with a budget of around $ 18, 000, 000 (us), the release of raiders of the lost ark on june 12, 1981 saw the movie quickly become the highest grossing film of the year with $ 384, 140, 454 worldwide, and in 1982 was nominated for eight academy awards including best picture from which it won four: best sound, best film editing, best visual effects, and best art direction - set decoration. it was re - released on video in 1999, again in 2003 for the dvd release and once more in 2008. [ 1 ] in 2012, the film received a restored, high - definition home video release as part of indiana jones: the complete adventures .
' raiders of the lost ark' was nominated for eight academy awards in 1982 and won four (best sound, best film editing, best visual effects, best art direction - set decoration). it won numerous other awards including seven saturn awards .
quinn also established a solid career on the stage, appearing in the 1947 broadway production on the gentleman from athens. he had worked as a replacement actor in the 1947 production of a streetcar named desire, and took over the famed role of stanley kowalski in the play & apos; s 1950 revival at city center. additional broadway projects included borned in texas (1950), becket (1960), for which he earned a tony nomination, and tchin - tchin (1962) .
quinn did some of his finest film work in the 1950s and 1960s. alongside marlon brando, he played mexican revolutionary eufemio zapata in viva zapata! (1952), a performance that won him the academy award for actor in a supporting role. quinn received that same honor again for his portrayal of the painter paul gauguin in lust for life (1956) with kirk douglas. he had also starred in federico fellini & apos; s la strada (1956), which won the foreign language film oscar .
i see the point patrick is making about mankind' s nature. the petrified forest is filled with opposing views of man' s base urges versus intellect. alan is in search of knowledge while duke is more like a cave man. alan will sacrifice for another person while duke steals from others. boze represents lust as all he seems to want is to get it on with gabby. he puts no thought into what she wants or what her goals are. alan falls for gabby but sees her potential and chooses to move on knowing he is not as right for her as she thinks. patrick also mentioned the two african american characters, which was very unique for a 1936 film. they too add to the theme. one is a servant to the wealthy couple whom he asks permission before doing anything. the other is a criminal and is free from such a stereotypical controlling situation .
director david lean cited this as one of his favorite films after it came out. lean' s lawrence of arabia is on record as being director steven spielberg' s favorite film. during the map room scene, indy is dressed very similar to lawrence .
the box office success of the film led to a prequel, indiana jones and the temple of doom (1984), and two sequels, indiana jones and the last crusade (1989) and indiana jones and the kingdom of the crystal skull (2008) .
set in 1936, a year after the events in indiana jones and the temple of doom, the story begins with dr. indiana jones' s journey into a peruvian jungle with a few local guides to find the golden idol of fertility within the temple of the chachapoyan warriors. jones avoids various traps, the betrayal of his two guides, barranca and satipo, and a giant rolling boulder that chases him out of the temple. waiting for him outside is his nemesis, french archaeologist rené belloq, and a small army of hovitos natives. belloq steals the idol from jones, who barely escapes in a pontoon plane piloted by jock lindsey waiting nearby .
in the scene where jones threatens to destroy the ark, he' s holding a soviet rpg - 7, which didn' t appear until 1961, well after the war. he should be using either an anti - tank rifle or a rifle - fired grenade, since the film takes place years before the outbreak of the second world war. this scene was also shot in the same tunisian canyon where george lucas shot a scene involving jawas kidnapping r2 - d2 in his earlier film star wars episode iv: a new hope .
raiders of the lost ark is an action / adventure film created by george lucas and released through paramount pictures in 1981. it is the first indiana jones movie ever released and is considered to be chapter twenty - four in the complete adventures of indiana jones. to be consistent with later titles in the franchise, the film was retitled indiana jones and the raiders of the lost ark for its video release packaging in 1999, though the original title is retained onscreen in the movie. amongst fans it is usually referred to simply as raiders .
in 1950 haines had an opportunity to return to the silver screen when he was asked to play a cameo in the card party scene in billy wilder’s sunset boulevard, but haines turned it down, preferring a life among film actors as opposed to actually being one. 1
marlon brando, carrying a “red - stained package” from the butcher and sporting blue - denim work clothes as the lordly, proletarian stanley kowalski, ambles insolently onstage at the opening of tennessee williams’s a streetcar named desire. “bellowing” for his adoring yet tart - tongued wife, stanley is the strutting male animal in his sexual prime. the setting is a seedy tenement in the multiracial french quarter of new orleans, whose picturesque verandas open to the humid air. street sounds and sultry, insinuating jazz riffs float in and out .
the film’s production values also helped a “new” dietrich emerge. travis banton, the studio’s brilliant wardrobe designer, gave her a simpler line, producing a cuisine minceur effect in dress where formerly there had been a banquet. in the opinion of eugenia sheppard, women’s features editor of the new york herald tribune in the 1960s, dietrich’s double - breasted sports jacket worn in the film over a white dress was an outdoor costume that “marked the beginning of today’s good taste. ” such details brought her closer to the audiences than von sternberg would ever have thought desirable.
desire is an american romantic drama film released in 1936 and directed by frank borzage . it was produced by borzage and ernst lubitsch . the picture is a remake of the 1933 german film happy days in aranjuez . the screenplay was written by samuel hoffenstein , edwin justus mayer and waldemar young based on the play die schönen tage von aranjuez by hans székely and robert a. stemmle . the music score was composed by frederick hollander and the cinematography was shot by charles lang and victor milner . marlene dietrich 's wardrobe was designed by travis banton . the film stars marlene dietrich , gary cooper and john halliday , william frawley , akim tamiroff , and alan mowbray . 
desire is an american romantic drama film released in 1936 and directed by frank borzage. it was produced by borzage and ernst lubitsch. the picture is a remake of the 1933 german film happy days in aranjuez. the screenplay was written by samuel hoffenstein, edwin justus mayer and waldemar young based on the play die schönen tage von aranjuez by hans székely and robert a. stemmle. the music score was composed by frederick hollander and the cinematography was shot by charles lang and victor milner. marlene dietrich's wardrobe was designed by travis banton. the film stars marlene dietrich, gary cooper and john halliday, william frawley, akim tamiroff, and alan mowbray.
desire is an american romantic drama film released in 1936 and directed by frank borzage. it was produced by borzage and ernst lubitsch. the picture is a remake of the 1933 german film happy days in aranjuez. the screenplay was written by samuel hoffenstein, edwin justus mayer and waldemar young based on the play die schönen tage von aranjuez by hans székely and robert a. stemmle. the music score was composed by frederick hollander and the cinematography was shot by charles lang and victor milner. marlene dietrich's wardrobe was designed by travis banton. the film stars marlene dietrich, gary cooper and john halliday, william frawley, akim tamiroff, and alan mowbray.