pretty baby ( 1978 film )
interior scenes for louis malle’s
pretty baby
( 1978) were shot at the columns hotel .
flake, carol. âpretty baby of ours. â figaro, april 5, 1978, pg. 25 - 27 .
music video by blondie performing' pretty baby' from' parallel lines' album. no copyright infringement intended ©1978 chrysalis records & images ©1978 paramount pictures | all rights reserved .
pretty baby is a 1978 historical fiction, dramatic film directed by louis malle. the screenplay was written by polly platt. the title is inspired by the tony jackson song ,
pretty baby
, which is used in the soundtrack .
arnold, gary. âdirecting a pretty baby - the trauma and the glory. â the washington post, april 30, 1978, pg. 17 - 19 .
duplantier, stephen. âa modern bellocq meets âpretty babyâ. â figaro, april 12, 1978, pg. 25
looking for movie tickets? enter your location to see which movie theaters are playing pretty baby near you .
from jump cut, no. 19, december 1978, pp. copyright jump cut: a review of contemporary media, 1978, 2005
in 1917, in the red - light district of new orleans, they called her
pretty baby
.
pretty baby is a 1978 historical fiction drama film directed by louis malle. the screenplay was written by polly platt. the title is inspired by the tony jackson song ,
pretty baby
, which is used in the soundtrack. although the film was mostly praised by critics, it was quite controversial at the time, especially for its scenes of the nude pre - teen brooke shields .
urltoken for more weird videos plus strange film nights in london. 35mm trailer for the 1978 drama pretty baby, directed by louis malle and starring brooke shields, keith carradine and susan sarandon. plus check us out on: urltoken urltoken urltoken urltoken urltoken
pretty baby is a 1978 drama film. it was the american debut of french director louis malle and it was also the star making role of a child actress named brooke shields. the movie is best known for its controversial content and subject matter .
the soundtrack used many local new orleans musicians playing in the jazz, ragtime, and blues style of the city in the early 20th century. a lp album of the soundtrack, also entitled pretty baby, was issued in 1978 on abc records .
pretty little liars region code 1 (us, canada ...) dvds
you will be relieved to hear that the attorney - general was able to announce in the house of commons last week that the director of public prosecutions is not to take any action against your film pretty baby
.
into law in july 1978, and taking into account the views of the various people who had seen and considered the film, the board concluded that two minor cuts would be required before the film could be granted an x certificate. accordingly, a cuts list was sent to the film' s distributor on 16 august 1978. the cuts were as follows: -
kroll, jack. âalice in brothel - landâ. newsweek, april 10, 1978, pg. 106 .
in 1978 he directed pretty baby, the story of a 12 - year - old resident of a brothel in new orleans. his later films included the critically acclaimed atlantic city (1980), a comedy - drama about the emotional renewal of a small - time criminal; my dinner with andré (1981), an unusual film consisting almost entirely…
in conjunction with its current exhibition on new orleans' legendary storyville district, the historic new orleans collection has scheduled a free screening of the locally shot 1978 drama
pretty baby ,
which is set in storyville in its heydey. it tops this week' s listing of off - the - beaten path events on tap for local film fans .
brooke shields, left, and susan sarandon, in the new orleans - shot drama' pretty baby,' set in the city' s famed storyville district. (file image )
…involved) brought her greater attention: pretty baby (1978) and atlantic city (1981). in both films sarandon played women who are initially presented simply as objects of male desire but who later reveal their underlying intelligence and independence. her performance in atlantic city led to her first oscar nomination. she next…
the pretty baby of the title is named violet, and is played by brooke shields, as an extraordinarily beautiful child. before anyone had seen
pretty baby ,
malle was being accused of exploiting that fact. but he' s thoughtful and almost cautious in his approach: given the film' s subject matter and its obligatory sex scenes, malle shows taste and restraint. and shields really creates a character here; her subtlety and depth are astonishing .
louis malle' s pretty baby is a pleasant surprise: after all the controversy and scandal surrounding its production, it turns out to be a good - hearted, good - looking, quietly elegiac movie .
set and filmed in new orleans, pretty baby, directed by louis malle, is a film that surrounds the unconventional love story of child prostitute violet and photographer earnest bellocq. [ 1 ] the film, set in 1917 and released in 1978, is based on âactual denizens of the legal red light district. ” [ 2 ] inspirations for the film include historian al roseâs book about storyville and photographs of new orleans prostitutes taken by the real earnest bellocq. [ 3 ] controversy surrounded the film with accusations of âchild pornography” [ 4 ] causing unexpected censorship problems [ 5 ] and even a few instances of bans placed on the screening of the film. [ 6 ]
: violet, as well as her playmates in the brothel. she also has a baby brother, who is
a pretty, popular teenager can' t go out on a date until her ill - tempered older sister does .
louis malle' s controversial drama pretty baby, featuring a very young brooke shields, comes to dvd with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of the film. regardless of how one feels about the film' s content, pretty baby is most assuredly a resounding visual success. the exquisite art direction, costumes, and lighting look fabulous on this disc. certainly the film has never looked this good before on home video. english and french soundtracks have been rendered in dolby digital mono. english subtitles are accessible. there are no supplemental materials of any consequence, but seeing as how malle is one of the most respected french directors of his era, this disc is worthwhile for any art film devotee .
unless indicated otherwise, the text in this article is either based on wikipedia article
pretty baby (film )
or another language wikipedia page thereof used under the terms of the gnu free documentation license; or on original research by jahsonic and friends. see art and popular culture' s copyright notice .
1972 — events: 1st new york international festival of women' s films and the women' s event at the edinburgh film festival. publications: 1st issue of women & film magazine; special issues devoted to women and film in take one, film library quarterly and the velvet light trap; women' s filmography in film comment .
susan sarandon appears in pretty baby as violetâs mother, hattie, a prostitute working in a new orleans brothel in which she births and raises a daughter. [ 22 ] during the filming of pretty baby, sarandon was intimately involved with the director, louis malle. [ 23 ] in response to harsh criticism of the film and of malleâs treatment of brooke shields, sarandon wrote a letter of protest to new york stating that much of the criticism was âa distortion of the whole situationâ and that âlouis was always considerate of brookeâs feelings. ” [ 24 ]
saperstein, sandra. âobscenity in films target of unique maryland panel; maryland panel able to ban film; censors have power to ban showings. â the washington post, may 30, 1978, pg. 11 - 13 .
in the meantime, the film was seen again at the beginning of june 1978 by members of the bbfc, as well as by members of the dpp' s office, customs and excise, and the williams committee, who were currently looking into the whole issue of film censorship and obscenity. details of these screenings were leaked to the press, resulting in the bbfc issuing a public statement on 2 june 1978 stating :
no hasty decision will be taken by the british board of film censors on the film pretty baby, which was seen by some members of the board yesterday. the protection of children bill currently going through parliament raises new legal issues, and since it is not the role of the board to pre - empt the wishes of parliament in such matters, we shall be waiting until the bill has been passed in its final form by both houses before making our decision on the film' s acceptability in britain
.
despite the scandalised yelps about child pornography, a film of disarmingly subversive innocence .
2 .
structuralist
and
melodrama
were the two names analyzed in papers presented by bruce jenkins and william horrigan respectively, my co - panelists at the purdue conference on film, april 1978, where an earlier version of this paper was read .
french director louis malle has a passion for directing films that âsurround our greatest taboosâ said film critic carol flake. [ 11 ] before directing pretty baby, his first american film, [ 12 ] malle worked on films such as black moon [ 13 ] and the lovers, which generated much interest and lead to both french and american film offers. [ 14 ] malle claims that over the years his directing style has evolved from a âyoung and innocent and pretending to be toughâ to a style that is âactually tough. â [ 15 ]
an unmarried woman richly deserves its new name
projectile
as do the turning point for its barely disguised misogyny, and louis malle' s pretty baby for its conversion of the socially retarded photographer e. j. bellocq' s woman - identified voyeurism into a malle - identified manipulation of women .
caroline eades | louis malle’s reverse cinematography: from the ethnographic gaze to fiction film .
: my soul to take in 3d is an american horror film written and directed by wes craven. [ 3 ] the film is the first film since wes craven' s new nightmare (1994) that he both wrote and directed. [ 4 ]
the most imaginative, most intelligent, and most original film of the year to date .
1977 — 1st issue of camera obscura (journal of film theory founded by the dissident women & film members, initially in opposition to it); publication of karyn kay and gerald peary' s women and the cinema, first anthology of criticism on women and film .
midway through her wrenchingly beautiful film, pretty baby, brooke shields is auctioned off in a new orleans bordello. she plays a child prostitute with a disconcertingly angelic air: her toulouse - lautrec pout is sensual, ethereal, mesmerizing. yet her body—later seen naked—is a child’s, thin and gawky. “i can feel the steam, ” she whispers to her successful bidder, mimicking coquettishness, “coming through my dress. ”
louis malle' s
pretty baby
is a pleasant surprise: after all the controversy and scandal surrounding its production, it turns out to be a good - hearted, good - looking, quietly elegiac movie. that' s a coup for malle, who sometimes seems to dare himself to find acceptable ways of filming unacceptable subjects .
this hungarian film is a careful, compassionate and beautifully acted character drama with a social conscience .
although the release of pretty baby lead to many negative associations with his name, malleâs film also received much positive feedback; film critic jack kroll called it âa civilized intelligent work by one of the worldâs most intelligent and civilized filmmakers. ” [ 16 ] in an interview with gary arnold, malle stated, âi feel that it is my function to disturb, in fact to transmit my own disturbances which is immense. i want to force people to look inside themselves even if they hate me for doing that. ” [ 17 ]
scott, jay. âsusan puts it down to luck: sarandon never planned the career most actresses would kill for. â the globe and mail (canada), december 5, 1978, pg. 8 - 10 .
in their separate spheres, davis and crawford deal with the success of “baby jane” very differently. in real life, davis did tons of publicity for the film (sarandon re - creates davis’s appearance on the “andy williams show” when, in a flowing, sky - blue dress, she sings a “funky” pop song called “whatever happened to baby jane? ”). crawford did very little publicity, despite warner’s warnings that this could hurt her come oscars season. the reviews of “baby jane” focus mainly on davis, causing joan to toss down a newspaper in fury: “it’s like i wasn’t even in the damn thing! ”
pretty baby is pushing brookie (as her friends call her) into dizzying financial brackets. she got $ 27, 500 for three months’ work in pretty baby before teri hiked her contract to $ 62, 500 for 12 days in the forthcoming king of the gypsies. that rose to $ 150, 000 for this summer’s wanda nevada with peter fonda. teri recently turned down a $ 300, 000 bid from warner brothers. “we weigh each offer, ” she says, “to see if it’s beneficial to brooke. ” the money, handled for the brooke shields co. , inc. , is being held until she’s of age. her only fee that hasn’t inflated is for babysitting—still $ 6 an evening .
as a more disturbing than revealing tract on prostitution: the film was banned in england and ontario, canada. though critics like roger ebert applauded the artfulness of malle' s film, others, like
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
the sense of place is as pervasive as a character in “moss, ” a film by daniel peddle .
red light district: storyville where the film takes place, is the red light district of new orleans .
3. women artists working in film continued, as before, to make avant - garde films, but these lie outside my present concerns. i am taking up only that area of intentionally feminist film activity .
is here for all you quotes spouting fans of the brooke shields and susan sarandon movie. this script is a transcript that was painstakingly transcribed using the screenplay and / or viewings of pretty baby. i know, i know, i still need to get the cast names in there and i' ll be eternally tweaking it, so if you have any corrections, feel free to
keith carradine appears in pretty baby as earnest bellocq, the man who in reality photographed storyville prostitutes, and in the film photographs hattie (sarandon) and becomes romantically involved with child prostitute violet (shields). [ 27 ] director louis malle chose carradine for the film because of a certain âstrangeness to his face: he really has the most bizarre looking of the whole carradine family, if you observe his face closely. ” [ 28 ] screen director polly platt said of him, âheâs come a long way from playing the all american sex hero to an asexual eccentric. ” [ 29 ]
, which made it a legal requirement that all films released on video in the uk should be classified by the bbfc, it became necessary for the bbfc to consider all the vhs tapes that were already on the market. because of the scale of the task, a staggered implementation of the act was introduced, under which pretty baby would need to be assessed and classified by 1988 .
aside from pretty baby, sarandon has appeared in a multitude of films and received many awards including an academy award for her role in dead man walking and five nominations for her roles in atlantic city, thelma and louis, lorenzoâs oil, and the client. [ 25 ] although critic jay scott describes her career as âone most actresses would warm naugahyde casting couches - and slit throats - to attain, â sarandon claims that she never planned on a career as a film star. [ 26 ]
1973 — events: toronto women and film festival and season of women' s cinema at the national film theatre in london. publications: marjorie rosen' s popcorn venus, first book on image of women in film, and notes on women' s cinema, bfi monograph edited by claire johnston, the first collection of feminist theory .
irréversible (2002, france) is a film written, directed, edited, and photographed by gaspar noé. it stars monica bellucci and vincent cassel. several reviewers [ who? ] declared it one of the most disturbing and controversial films of 2002. the film employs non - linear narrative. the music is by french electronic musician thomas bangalter, who is best known as half of the band daft punk. irréversible won the
bronze horse
award at the stockholm film festival and competed for thepalme d' or at the 2002 cannes film festival, [ 1 ] as well as the
best foreign language award
by the film critics circle of australia. it was also voted
best foreign language film
by the san diego film critics society (tied with les invasions barbares) .
subsequent to the film' s run in uk cinemas, at least outside cardiff, the film was released on vhs in 1981. at the time, there was no requirement for videos to be vetted or classified by the bbfc and, perhaps inadvertently, the film' s distributor released the uncut version of the film. significantly, no legal action was taken against the uncut video release under the terms of the protection of children act. following the introduction of the
.
this is a film i cared a lot about, and looking back it had the potential to be one of my best achievements. it may have been a mistake to make it as my first film in america .
his subject this time is a twelve - year - old girl who is raised in the new orleans brothel where her mother works. she plays in the garden, she rides a pony, she likes ragtime music, and one day she' s auctioned off to the man who will deflower her. this is, of course, tragically perverted, but
pretty baby
itself is not a perverted film: it looks soberly, and with a good deal of compassion, at its period of history and the people who occupied it .
in addition to the subject of child prostitution, some eye browes were raised because of scenes involving a 12 - year - old brooke shields appearing nude. because of this, the 109 minute film was edited down to 106 minutes in some releases. the unedited version of the film is now available on dvd, but there is controversy amongst its fans because of differences in film dimensions, leading some people to believe that the film was either incorrectly matted or the victim of false letterboxing .
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5. nancy scholar ,
maedchen in uniform' in women & film, no. 7, p. 71 .
due date is a 2010 american comedy road film directed by todd phillips, co - written by alan r. cohen, alan freedland, and adam sztykiel, and starring robert downey, jr. and zach galifianakis. the film was released on november 5, 2010. [ 3 ] the film was shot in las cruces, new mexico and atlanta, georgia .
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 .
audition (オーディション ōdishon ?) is a 1999 japanese horror film directed by takashi miikeand starring ryo ishibashi and eihi shiina. it is based on a ryu murakami novel of the same title. over the years, the film has developed a cult following
a film that
cries out for a director with a point of view .
he also noted the poor taste of releasing a film without any negative appraisal of child prostitution during a concurrent public discourse on the horrors of child pornography and prostitution in america .
: kurt & courtney is a 1998 documentary film by nick broomfield investigating the circumstances surrounding kurt cobain' s death, and allegations of courtney love' s involvement in it. the film concludes that there is not enough evidence to prove that cobain was murdered .
1974 — events: chicago films by women festival. publications: 1st issue of jump cut; two more books on images of women in film, molly haskell' s from reverence to rape and joan mellen' s women and their sexuality in the new film .
herein lies the crisis facing feminist film criticism today, for after seven years of film practice and theory, no new names have come into being. we still lack our proper names. the impact of such a lack on the actual films is of immediate concern .
after “ baby jane ” wrapped, bette davis — in anticipatory panic that the film would bomb, and an equally intense panic that she would be pilloried for her broad characterization in the film — placed an ad in “variety” with the heading “situation wanted. ” the ad read, in part: “thirty years experience as an actress in motion pictures. mobile still and more affable than rumor would have it. wants steady employment in hollywood. (has had broadway .) references upon request. ”
as a starting point, one classic film rediscovered through women' s film festivals indicates the sort of mis - naming prevalent in film history. leontine sagan' s maedchen in uniform is a 1931 german film detailing the relationship between a student and her teacher in a repressive girls' boarding school. the film has been widely received as anti - authoritarian and anti - fascist, made as it was during the rise of nazism in germany, and containing montages of prussian - like repression counterpointed to the humanism of the favorite teacher. typical of this reception was george sadoul' s characterization of maedchen as
a sensitive and restrained attack on german militarism .
[ 4 ]
caroline eades specializes in film studies and contemporary french culture. she received her phd in film studies from the université de la sorbonne nouvelle - paris iii and has taught at the university of grenoble (france), the university of southern california, and the university of california at santa barbara, before joining the university of maryland. her main fields of research are european cinema, post - colonial studies, film feminist theory, film and myth. her book le cinéma post - colonial français appeared in 2006 (paris: collections 7eart, editions du cerf). she is currently working on a book on classical reception in film and a co - edited volume on the essay film. she has published numerous book - chapters and articles on french cinema, culture, and literature in international scholarly series and journals .
pretty baby, although based in the red - light district of new orleans, was filmed at the columns hotel located in the uptown area of the city at 3811 st. charles avenue. [ 7 ] the hotel, during the filming âhad been converted into a baroque hollywood version of a storyville bordello. ” [ 8 ] studio designer trevor williamâs dã©cor, indigenous pieces such as beds with mosquito nets, and victorian furniture filled the hotel for what screen director polly platt described as âsplendor without comfort. ” [ 9 ] local rumors of âbabylon coming to new orleansâ prompted production company paramount and director louis malle to develop a low key publicity strategy for the film in an attempt to avoid receiving an âxâ rating (the film eventually was rated r). [ 10 ]
buried is a 2010 thriller film directed by rodrigo cortés. [ 6 ] it stars ryan reynolds. [ 7 ] it was written by chris sparling. the film revolves around iraq - based american truck driver paul conroy (reynolds), who, after being attacked, finds himself buried alive in a wooden coffin, with only a lighter, flask, flashlight, knife, glowsticks and a mobile phone to help him escape before the oxygen in the coffin runs out. since its premiere at the sundance film festival, the film has received a positive critical reception .
1971 — release of growing up female, three lives, the woman' s film, and janie' s janie, all feminist documentaries .
12. here i am considering only english language feminist film criticism; there are other complex issues in french and german criticism, for example .
( 1978) centers on a beautiful prostitute hattie (susan sarandon) and her 12 - year - old
trick baby
daughter violet (brooke shields). violet, who plays inside the brothel walls and counts the prostitutes as her playmates, stands on the cusp of entering her mother' s profession. raised knowing little beyond the life of the brothel, violet can imagine nothing else, and tends to romanticize her mother' s life, especially when a photographer, e. j. bellocq (keith carradine) arrives to photograph the resident ladies of the evening .
pretty baby
has been attacked in some quarters as child porn. it' s not. it' s an evocation of a time and a place and a sad chapter of americana. the ragtime music and the blues that fill its sound track take on a deeper meaning, in the context of the story, and we are reminded that the artists who sang
do you know what it means to miss new orleans ?
knew very well, and perhaps for that reason missed it less than their listeners .
historian al roseâs book storyville, new orleans, is one of the main inspirations for the film pretty baby. [ 31 ] however, rose claims that the film is inaccurate and although he had been paid for the rights to the book, he was âignored. ” [ 32 ] one discrepancy in the film, rose claims, is âthe presence of both black and white prostitutes in the same bordello. ” [ 33 ] also, rose stated that louis malle âsensationalizedâ the story of child prostitute violet, which was so brief a segment in his book. [ 34 ] the book contains a short interview with the real violet in which she states, âi know itâd be good if i could say how awful it was and like crime donât pay - but to me it seems just like anything else - like a kid whose father owns a grocery store. he helps him in the store. well, my mother didnât sell groceries. ” [ 35 ]
20 .
paul mazursky interviewed by terry curtis fox
in film comment 14, no. 2 (marchapril l97b), 30 - 31 .
in 2006, the film was resubmitted to the bbfc, in a widescreen version for dvd release, the first time it had been issued on a home viewing format since the original vhs tapes were released in 1981. on this occasion, the film was classified 18 uncut with the bbfcinsight' contains child prostitution theme. serious consideration was given to whether the film' s visual discretion might warrant a downwards reclassification to 15. however, given the difficulty of the film' s theme and the complex manner of the theme' s presentation, it was concluded that the existing 18 was still reasonable and defensible .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
127 hours is a 2010 biographical adventure film produced, co - written and directed by danny boyle. the film stars james franco as mountain climber aron ralston, who became trapped by a boulder in robbers roost, utah for more than five days before amputating his arm with a dull knife in april 2003 .
he gets off lightly compared to brooke’s divorced manager mother, teri shields, 44. “the press has referred to me as a stage mother, a frustrated actress living through brooke and even a one - woman film - wrecking crew, ” teri admits. on the set brooke is sweet; teri is salty but clearly a favorite with the crew. she can also be meddlesome and was briefly banned from the set of pretty baby. “they can say what they want about me, ” teri explains. “but brooke can’t fight back. that’s why i’m here. i’m not a stage mother. i’m brooke’s mother. the most important thing is that i love brooke, and it’s fun to make her happy. ”
there have been two types of feminist film criticism) [ 12 ], motivated by different geographical and ideological contexts, each speaking in a very different voice .
9. presented at the center for twentieth century studies (university of wisconsin at milwaukee), international symposium on film theory and practical criticism, november 1975 .
first, the domestic update. wonder woman earned another $ 15. 575 million in its fifth weekend of release, falling just 37% despite losing over 529 theaters and despite some pretty stiff competition in the form of baby driver and despicable me 3. of course, it helps that warner bros. / time warner inc.' s the house pretty much crashed - and - burned, which means wonder woman is still warner' s top priority until chris nolan' s dunkirk on the 21st. anyway, that' s the 15th - largest fifth weekend of all time, which isn' t a record of any sort but still puts it in the company of jurassic world, frozen and the sixth sense among others. it' s a bigger fifth weekend than spider - man, but not guardians of the galaxy (which had a holiday boost) .
certainly mazursky' s confusion is justified, for his film is indeed being given a name that is paramountly inapplicable according to his understanding of
a woman' s movie .
and if we wonder why all the guys are so anxious to see the film in question, the depressingly predictable answer is coming right up .
and later, praising most of the film as a successor to greed, mekas contended that the heroine' s silence was more
revolutionary
than the murder. mekas thus made a case for the film' s artistic merit as separate from its social context, moving the work into the area of existentialism at the expense of its feminism. amy taubin considered the film
theatrical
and, while commending the subjectivity of the camerawork and editing, she attacked the character of jeanne :
10 things i hate about you is a 1999 american teen romantic comedy film. it is directed bygil junger and stars heath ledger, julia stiles, joseph gordon - levitt, larisa oleynik, david krumholtz, and larry miller. a loose adaptation of shakespeare' s the taming of the shrew set in a modern seattle, washington, american high school, the screenplay was written by karen mccullah lutz and kirsten smith. the film' s title is a reference to a poem written by the film' s female lead to describe her bittersweet romance with the male lead. the film was released march 31, 1999, and it was abreakout success for stars stiles and ledger. [ 1 ] [ 2 ] [ 3 ] the film marks the motion picture directing debut of junger, who previously directed only for television .
on may 31 brooke will be 13 years old. tall for her age at 5’4″ (her father is 67″), brooke is blessed with the most stunning new child’s face in movies since elizabeth taylor. the skin is flawless; eyes deep blue; lashes black; hair silken. the direct gaze is full of ambivalent sexuality. now her scandalizing role in the r - rated film has plunged the former child model into an international furor. pretty baby has been banned outright in the canadian provinces of ontario and saskatchewan. no less a moral arbiter than rona barrett solemnly advised her tv audience that the movie is “child pornography. ” others have attacked its french director louis (lacombe, lucien) malle as a combination of humbert humbert and roman polanski .
gernre: alpha dog is a 2006 crime drama film written and directed by nick cassavetes, first screened at the sundance film festival on january 27, 2006, with a wide release the following year on january 12, 2007. the film is based on the true story of the kidnapping and murder of 15 - year - old nicholas markowitz and related events in 2000. it portrays the involvement of jesse james hollywood, a young middle - class drug dealer in california. [ 2 ] the film stars emile hirsch, justin timberlake, shawn hatosy, ben foster, olivia wilde, amanda seyfried, anton yelchin withharry dean stanton, sharon stone and bruce willis .
these proposed cuts were put to the film' s director, louis malle, who was very reluctant to make any changes to his film. although he agreed to make the first cut, in the bathroom scene in reel 4, he was particularly reluctant to delete the shot showing violet lying on the sofa. for him, this was one of the key shots in the film and a direct reference to the publication,' storyville portraits', whose cover image had inspired the whole project .
, would criminalise the manufacture and distribution of any' indecent' images of children under the age of 16. given that the film featured not only a child prostitution theme, but also full frontal nudity involving a 12 - year - old brooke shields, it was inevitable that the board would have to scrutinise the film very carefully .
louis malle' s drama about child prostitution in early twentieth century new orleans had already aroused controversy in the press and overseas when it was first seen by the bbfc on 28 march 1978. however, it raised particular difficulties for the board given that it was submitted at the precise moment the protection of children bill was making its way through parliament. this bill, which became the
ichi the killer (殺し屋１ koroshiya ichi ?) is a 2001 japanese film directed by takashi miike, based on hideo yamamoto' s manga series of the same name .
another aspect of history made explicit by the chronology involves the initial cross - fertilization between the energies of the women' s movement and cinema, which took place in the area of practice rather than written criticism. the films came first. in fact, we find two different currents feeding into film work: one made up of women who were feminists and thereby led to the other made up of those of us already working in film and led therein to feminism. it was largely the first group of women who began making the films, [ 3 ] which were naturally named
feminist
, and largely the second group of women, often in university film studies departments, who began holding the film festivals, just as naturally named simply
women and / in film .
spadework has continued in both directions, creating a new women' s cinema and rediscovering the antecedents, with the two currents feeding our film criticism, which has drawn from both kinds of knowledge and experience for its dual - purpose discourse .
men of honor (released in the uk and canada as men of honour) is a 2000 drama film, starring robert de niro and cuba gooding, jr. the film was directed by george tillman, jr. it is inspired by the true story of master chief petty officer carl brashear, the first african - americanmaster diver in the united states navy .
the critical reception of the film in one paper, the soho weekly news, by three different reviewers points up the confusion engendered by linguistic inadequacy. [ 7 ] jonas mekas questioned ,
nature adores a virgin: when violet' s virginity is auctioned off, madam nell makes sure to extol her purity. having been raised in a whorehouse, violet is actually pretty knowledgeable about sex in spite of having not done it yet. she' s told to exaggerate her innocence because
this guy is buying a virgin
.
there is little known information on the life of photographer earnest bellocq. he lived in new orleans, photographing the prostitutes of storyville, and created a collection of photographs that were discovered after bellocqâs death in 1949 by local collector larry borenstein and then sold to photographer lee friedlander. [ 36 ] friedlander created prints of bellocqâs work, which appeared in 1978 in the museum of modern artâs exhibit âstoryville portraits. ” [ 37 ]
another name popularly applied to jeanne dielman is
ethnographic
in keeping with the film' s insistence on real - time presentation and non - elliptical editing. again, however, the name negates a basic aspect of the film by its reference to a cinema of clinical observation, a kind of filmmaking known for its distance and non - involvement with the subject, observational rather than engaged. the film' s very warm texture and akerman' s clearly committed sympathies (the jeanne dielman gestures borrowed largely from her own mother and aunt) make the name inappropriate .
: case 39 is a 2009 horror film directed by christian alvart and stars renée zellweger and canadian actress jodelle ferland with bradley cooper. the film was shot in vancouver in late 2006, and was scheduled to be released in august 2008, but it was pushed back to april 10, 2009, and then january 1, 2010. it still has not been released in the u. s. it was released in the uk on 5 march 2010. the film is scheduled to be shown on tv in parts of the middle east on may 1, 2010 .
molina has been doing wonderful work in the series, and this week he has one of his best moments, when he is overcome by a sense of shared pride at seeing joan crawford surrounded by a crowd of fans after a preview of “baby jane. ” it’s extremely vulnerable work from him. he bursts with happiness for her. (jessica lange’s stare back at him is an intense kaleidoscope of pride, gratitude and steely self - satisfaction .) aldrich’s career unhappiness post - ”baby jane” is evident when we see him directing a bullying and uncooperative frank sinatra (toby huss) in “4 for texas” and trying to assuage the fears of davis, who is baffled that the offers haven’t been pouring in .
this visually evocative tale of a child prostitue, louis malle' s first american film, is not as strong as his next (atlantic city), but susan sarandon and brooke shields are splendid .
while true enough, this anti - fascism is not as central to the film as its portrait of female eroticism, focusing attention on the erotic attachments of the students and teachers at the school and on the nature of power relations, both pure and corrupt, available to women living under patriarchy. nancy scholar, writing in women & film, reiterated the emphasis on the film' s anti - fascism but extended that definition to include the
antiauthoritarian forces… of love and compassion represented by manuela and fraulein von b and the young girls who joined forces with them .
[ 5 ] in fact, the dynamics of maedchen are not found only in such external movements or bondings, but rather in the twin internal movements of manuela and fraulein von b toward voicing the love that dared not speak its name at film' s start. indeed, maedchen in uniform is central to this paper' s concerns for sagan' s own positing of the act of naming as a pivotal moment in her film .
derek schilling is professor of french at johns hopkins university, where he directs the french section of the department of german and romance languages and literatures. his teaching and scholarship bear on modern and contemporary french literature and film, with an emphasis on the interwar period as well as on the second postwar in relation to urbanization and the emergence of the suburb. his monograph eric rohmer appeared in 2007 in the manchester university press
french film directors
series. a second title, screening the paris suburbs before the banlieue film, a multi - author volume co - edited with philippe met, is forthcoming with manchester university press. in 2015 - 2016, professor schilling is acting director of the center for advanced media studies (cams) which houses johns hopkins' newly created graduate certificate in film and media .
if so, jeanne dielman' s pathology mitigates against our willingness to generalize. by holding a reformist position (i. e. she should vary her menu, change her wardrobe) in relation to a revolutionary character (i. e. a murderer), taubin was forced into a reading of the film limited by notions of realism that she as an avant - garde film critic would have ordinarily worked to avoid. her review split the film along the lines of form / content, annexing the aesthetics as
the real importance
and rejecting the character of jeanne as a pathological woman. again we find a notion of pure art set up in opposition to a feminism seemingly restricted to positive role models. third, annette michelson submitted a written protest to mekas which defended the film' s importance for
adrienne rich' s remarks at the 1976 and 1977 women' s commission panels of the modern language association inspired this investigation into the nature of language in the field of feminist film criticism. the situation for women working in filmmaking and film criticism today is precarious. while our work is no longer invisible, and not yet unspeakable, it still goes dangerously unnamed. the extent of the problem was manifested in the very decision of a title to this paper, designed to analyze naming in terms of film and the women' s movement but limited to the two unsatisfactory choices of
feminist film
or
films by women .
both are vague and problematic names: the one disregarded or even denied by certain women filmmakers and writers, the other descriptive of nothing but a sex - determined ghetto of classification .
chantal akerman' s jeanne dielman (1975) is a chronicle of three days in the life of a brussels housewife, a widow and mother who is also a prostitute. it is the first film to legitimize housework, showing a woman' s activities in the home in real time, to communicate with veracity the alienation of woman in the nuclear family as it exists under advanced industrialized capitalism. more than three hours in length and nearly devoid of dialogue, the film charts jeanne dielman' s breakdown via a minute observation of her performance of household routines, at first methodical and unvarying, later increasingly disarranged, until by film' s end, the order is permanently disrupted by her murder of her third client. the film was scripted, directed, photographed and edited by women motivated by a consciously feminist sensibility .
21. many of the ideas in this article were first tested in a discussion in chicago in february, 1978 which has been published as
women and film: a discussion of feminist aesthetics
in the new german critique, no. 13; i am indebted to the three editors and to my co - discussants michelle citron, julia lesage, judith mayne and anna marie taylor for their feedback and support. thanks also to my friends on the original purdue panel, bill horrigan and bruce jenkins, for their reactions and intellectual generosity. finally, the article has benefited from the tough but sympathetic criticisms of the manuscript by joan braderman, regina cornwell, and linda williams .
unlike the precocious likes of tatum o’neal, brooke has remained surprisingly unaffected. “somebody with her background should be a monster, a little robot, ” says malle. “but brooke has managed to stay very natural, very close to her childhood. ” she is a movie star who thinks being a script girl would be “sooo neat” and who admits she is an only recently reformed thumbsucker. brooke still has an imaginary friend (“i talk to her about my problems”). she plays football in central park, watches tv (“even though i know charlie’s angels is corny”) and collects wooden dolls and glass knickknacks. brooke loves movies, though mom recently indexed coma. as for pretty baby, “i wouldn’t go see it alone, ” brooke exclaims. “gross! ”
but before you dive into the newest gore - filled version of the original brian de palma - directed film, let’s take a look back at the old cast and see what they’ve been up to since the disco era .
adam sandler' s eight crazy nights is a 2002 animated musical comedy film co - written by and starring adam sandler. unlike most mainstream holiday films, it is centered around jewish characters during hanukkah season, as opposed to religious or secular celebration ofchristmas. despite being animated in the style of television christmas specials, the film is adult oriented, featuring significant sexual and scatological humor, and focusing on such topics as alcoholism, bereavement, and depression .
let me in is a 2010 american horror / romance / drama film directed by matt reeves. it is based on the 2008 swedish film let the right one in (låt den rätte komma in), directed by tomas alfredson, and the novel of the same name by john ajvide lindqvist. it tells the story of a bullied12 - year - old boy who develops a friendship with a vampire child in a new mexico town in the early 1980s .
this is not just a timely topic but a timeless one. (kathy bates’s joan blondell points this out in one of the show’s 1978 interview segments: any film starring women that makes money will be treated as a “fluke” by the boys club .) we’re seeing a situation like that right now with “hidden figures, ” the best picture nominee that is still in theaters months after it opened and has box - office receipts far exceeding those of “x - men: apocalypse” and “star trek beyond, ” according to a recent report by the wrap. will the success of “hidden figures” be treated as a fluke? or will it spur a paradigm shift in terms of business decisions? money talks. the boys club would do well to listen .
if you are familiar with the story of oscars season in 1963, the year “baby jane” was nominated — and with the story of what happened that year on academy awards night — then you know it was one for the books. the episode ends like a horror movie. to quote margo channing, one of davis’s most iconic characters: “fasten your seatbelts. it’s going to be a bumpy night. ”
occasionally the intimacy between mother and daughter turns into anger. “oh, mommy, you’re so dumb! ” brooke complains. teri, offended, snaps back, “i don’t have to take that crap! ” and storms out of the room. “that’s my worst habit, ” brooke admits. “i talk back to my mom. but it’s not like we start punching each other. ” teri, who likes to take her vodka with a beer chaser, adds, “if the press is really concerned about my drinking and fighting with brooke, they should hang around for a couple of months and tune in. ” susan sarandon, brooke’s prostitute mother in pretty baby, says, “i don’t think teri is exploiting brooke. both wanted this stardom. there’s a lot of love and a lot of hate, as in any close, complicated relationship. ”
pretty baby is a 1978 american historical drama film directed by louis malle , and starring brooke shields , keith carradine , and susan sarandon . the screenplay was written by polly platt . the plot focuses on a 12-year-old prostitute in the red-light district of new orleans at the turn of the 20th century . the title of the film is inspired by the tony jackson song , " pretty baby , " which is used in the soundtrack . although the film was mostly praised by critics , it caused significant controversy due to its depiction of child prostitution and the nude scenes of brooke shields , who was 12 years old . 
pretty baby is a 1978 american historical drama film directed by louis malle, and starring brooke shields, keith carradine, and susan sarandon. the screenplay was written by polly platt. the plot focuses on a 12-year-old prostitute in the red-light district of new orleans at the turn of the 20th century. the title of the film is inspired by the tony jackson song, " pretty baby, " which is used in the soundtrack. although the film was mostly praised by critics, it caused significant controversy due to its depiction of child prostitution and the nude scenes of brooke shields, who was 12 years old.
pretty baby is a 1978 american historical drama film directed by louis malle, and starring brooke shields, keith carradine, and susan sarandon. the screenplay was written by polly platt. the plot focuses on a 12-year-old prostitute in the red-light district of new orleans at the turn of the 20th century. the title of the film is inspired by the tony jackson song, " pretty baby, " which is used in the soundtrack. although the film was mostly praised by critics, it caused significant controversy due to its depiction of child prostitution and the nude scenes of brooke shields, who was 12 years old.