rhinoceros ( film )
with the headline: film: absurdity of ionesco' s ‘rhinoceros’ is reduced in transition to screen .
we are a creative international film production company, passionate about creative and powerful storytelling through film .
“rhinoceros” is the fourth in the american film theater' s series of eight films based on stage plays. it may well be the least interesting .
there are no critic reviews yet for rhinoceros. keep checking rotten tomatoes for updates !
in the lesson, point of view: rhinoceros, students write a journal entry in which they imagine themselves as the rhinoceros and describe its journey to a new preserve .
the mission of autonomous rhinoceros is to discover stories around the world and share them through film for the purpose of awareness and positive impact for all involved .
i am presently going through the characters referenced in woody allen’s film “midnight in paris. ” luis bunuel is a surrealist film director that is responsible for the film “belle de jour” which francis schaeffer discusses below .
buñuel is a surrealist, making the dream sequences in this film a treat for the eye. eventually the guests take morphine which adds more surrealism to the film .
originally an absurdist play by eugene ionesco, rhinoceros tells the story of a french town plagued by rhinoceroses .
i admit the whole film is pretty dull and uninteresting accept for the first 35min of the film. i realise that contradicts what i just said but its true, most…
none of the film was shot in, or near, fargo, north dakota .
calling all actors and crew... film set protocols seminar 07 / 28 / 2018
rhinoceros is being presented in association with the castillo theatre and performances will be wednesdays through saturdays at 7: 30 pm, with matinees saturday & sunday at 2 pm. rhinoceros is set to play a limited off - broadway engagement through october 8th .
four films seen. four still to be released. with the two‐day run here earlier this week of tom o' horgan' s film version of ionesco' s “rhinoceros, ” the american film theater has reached the halfway mark in its first subscription season designed to bring culture to the otherwise depressed, that is, the american moviegoer .
i really wish there was more to say about this film, but it leaves you a little speechless .
the exquisite blu - ray transfer makes an argument for the film’s remarkable production design and audio / visual construction .
rhinoceros eyes
is a terrible title for a movie  but in this case it' s fitting. not only does it refer to a plot device that drives the story, but it' s also indicative of how peculiar the film is .
every thursday, chris robinson takes a look at films from animation’s past. this week he screens jan lenica' s 1965 classic, rhinoceros .
in a film class my partner and i did a video presentation on the film belle de jour and the filmmaker luis bunuel. bunuel was a surrealist, so if the video doesn’t quite makes sense, its not supposed to .
“people who try to hang onto their individuality always come to a bad end, ” says stanley (gene wilder) in the last act of “rhinoceros, ” the american film theater' s screen version of the eugene ionesco play that opened at selected theaters here yesterday .
won the 1961 tony award for best actor in a play for
rhinoceros
as john, and re - created his role in this filmed production .
distinguished israeli actor, gera sandler, has joined the cast of the upcoming yiddish world premiere of eugene ionesco' s rhinoceros in the role of dudard .
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 .
regarding her documentary, filush told pnc “i just wanted to create some kind of awareness campaign on the rhinoceros beetle since i felt like there was nothing out there in the community. and i felt, what better way to spread awareness than through film? ” in the film, filush says she covers the background of the rhino beetles, how they came to guam, and how the community can help lessen their numbers .
a boozing young man in love with his co - worker finds that everyone around him, even his pompous and condescending best friend, is changing into a rhinoceros .
in
rhinoceros eyes ,
michael pitt plays chep, a hollywood
prop shop
employee. chep is a loner until he meets fran (paige turco) .
consequently, you could almost see this one becoming some sort of cult film. after all, the same thing happened to the similar style - over - substance 2001 film - festival hit
donnie darko
( although
darko
had more going for it) .
examples: death of a gunfighter (1969), let' s get harry (1986), the shrimp on the barbie (1990), and the last film with the ironic alias: an alan smithee film: burn, hollywood, burn (1997) .
fargo is a 1996 oscar - winning american crime drama film produced, directed, written, and edited by brothers joel and ethan coen. it is the original film that inspired the 2014 tv adaptation of the same name in which the coen' s serve as executive producers .
“rhinoceros, ” which had a middling run on broadway in 1961, is not ideal film material, being an example of the kind of theater of the absurd that should be played like old‐time farce within a stylized, three‐sided set or, perhaps, within no set at all. even though the film never shows us any real rhinoceroses, the realism of the movie camera is undeniable. it reduces things absurd to the status of the merely silly .
the first third is very entertaining and delightfully absurd. zero mostel' s gradual metamorphosis into a rhinoceros is a cinematic tour - de - force, where he completely takes over the film. when he is not on the scene any longer, it slows down and doesn' t engage so much, unfortunately .
the stills gallery contains 18 black & white and colour images including behind - the - scenes shots. there are two posters for the film .
example: star wars episode ii: attack of the clones (2002), the first feature' film' shot using digital video cinematography, isn' t really a film - an anachronistic term in this case; in the civil war film, glory (1989), one of the kids in the film wears what appears to be a swatch watch; or in lawrence of arabia (1962), a u. s. browning air - cooled machine gun is oddly featured before its time; or the use of 1873 colt peacemakers in red river (1948 )
overall rhinoceros demonstrates one of the great advantages of the american film theatre’s ethos to preserve vital and edgy experimental theatre, preserving a play that would otherwise be rarely performed and capturing a magnificent original stage performance by zero mostel. the absurdist nature of the play will certainly not be to everyone’s taste and the wacky seventies treatment will be off - putting to many, but the film effectively puts across the themes of the play and is often very funny in a way that is rarely seen in cinema. the film is well presented on dvd, with good picture and sound quality and the usual fine selection of supporting extra features .
produced by the american film theater and based upon an absurdist play by eugene ionesco, this film tells the farcical tale of a group of people who must reassess their pasts and futures after they begin turning into rhinoceroses. only one of their peers, a mild - mannered clerk, remains the same .
nearly 60 years since its premiere, the darkly comedic and terrifying rhinoceros is making its yiddish language debut with a translation by eli rosen. the sublime is merged with the ridiculous in this savage commentary on the human condition, in which an individual citizen of a small town watches his friends turn into rhinoceros es one by one until he alone stands unchanged. the cast of rhinoceros also features alec burko, amy coleman, macha fogel, malky goldman, sean griffin, chezky israeli, david mandelbaum, caraid o' brien, eli rosen, luzer twersky, and melissa weisz .
in the film “midnight in paris” the character gil discusses the future movie “the exterminating angel” by bunuel with bunuel. below is a review of that movie .
as part of her presentation, filush showed rotarians her very first film, “beat the beetle, ” which she first showcased at festpac in 2015, adding a fun and uplifting mood to the informative documentary. coconut rhinoceros beetles were initially discovered on guam in 2007, and have been damaging the island’s coconut trees and continued to show signs of resilience to eradication attempts .
adriana and gil are seen above walking together in the movie “midnight in paris. ” adriana was a fictional character who was picasso’s mistress in the film. earlier she had been modigliani’s mistress and later georges braque’s mistress before moving on to picasso according to the film story line. actually picasso had taken girls from others [ … ]
gera sandler' s numerous film credits include jellyfish, a film unfinished and a tale of love and darkness. for 12 years, he was one of the leading actors in the yiddish theatre in israel. his prominent roles include nathan rothschild in the musical the rothschilds, hershl in simple story and yasha mazor in the magician of lublin .
mr. ionesco apparently wants us to see “rhinoceros” as a parable about conformity and the contagion that could convert supposedly moral, rational people into the ecstatically mindless mobs that idolized hitler as the last word in authority figures .
gene wilder, however, and surprisingly, is simply too mawkish. his reactions seem to pour molasses into the gears of this movie. if someone else had played the role, perhaps
rhinoceros
would have worked .
durée: 1 h 44 min. contient aussi: présentation par ely landau (6 min), interview avec tom o' horgan (26 min), bandes - annonces, texte de michael feingold
eugene o' neill and rhinoceros
, galerie de photos et notes de production. adapté de la pièce de théâtre du même nom. cop. : american film theatre distributing corporation, 1974 .
eugene ionesco (1909 - 1994) was one of the foremost figures of the french avant - garde theatre. among his most popular plays are rhinoceros, the bald soprano, the lesson, the chairs, and the killer .
the pseudonym used by directors who refuse to put their name on a film and want to disassociate themselves, usually when they believe their control or vision has been co - opted by the studio (i. e. , the film could have been recut, mutilated and altered against their wishes); aka alan smithee jr. , allan smithee, or allen smithee
stanley, the mild. mannered, virtually identity‐less office clerk, has admittedly had a terrifying time. he finds himself the only human being in a world where everyone else, for various reasons, is electing to turn into a rhinoceros .
chep' s feelings of isolation don' t help. he refuses to fraternize with his co - workers or leave the shop, except when he goes to the movies. but that changes when he meets fran (paige turco), a movie production designer who comes into the shop one day looking for rhinoceros eyes. real ones. which the shop does have, but unfortunately they' ve already been loaned out to another film .
ok, this is one weird film that i caught very late one night, i only decided to see it because it had gene wilder in it, who is one of the funniest men in history. i was totally surprised by how bizarre it was. the plot is about zero mostel and gene wilder talking and all these people turn into (unseen) rhinoceros'. later on the story goes from zany comedy to mild horror as our' heroes' try to stop themselves from turning into rhinoceros'... if you' re in a good mood you could find some enjoyment out of this, but if you like your films straightforward then avoid this like the plague .
something that would have been an interesting 10 minute short film overstretched to feature length that is only barely watchable because of its cast. supposed to be theatre of the absurd but its just absurd .
a still from disney' s full - length animated feature film, snow white and the seven dwarfs (1937). also the hand - drawn colorful laser - beams in the star wars films .
darius khondji ’s cinematography evokes to the hilt the gorgeously inviting paris of so many people’s imaginations (while conveniently ignoring the rest), and the film has the concision and snappy pace of allen’s best work .
from this dream, eric was encouraged to draw our auto the rhino and his bird. then he took it further – he decided to apply his passion for film and storytelling to sharing the stories of others .
performances are set to begin september 7th, with the opening on thursday, september 14th at the castillo theatre, 543 west 42 street (between tenth & eleventh aves .) new yiddish rep' s rare revival of rhinoceros will be performed in yiddish with english supertitles .
due to unregulated hunting and poaching, the black rhinoceros has become an endangered species across the african continent. in an effort to preserve the remaining rhinos and repopulate the species, wildlife preserves have been created. the black rhinoceros now thrives in the south african national park system. in order to spread the success of the south african preserve to other regions, rhinos from this sanctuary are being relocated to other preserves across the continent. in this video from nature, learn about the factors taken into consideration to release the black rhino back into the wild .
. this impression is reinforced by gene wilder’s typically eccentric performance in what would normally be considered the central role of béranger, re - named as stanley for the aft film. he is however upstaged by zero mostel as his neighbour john. mostel, reprising his broadway stage role is simply magnificent, relishing every little gesture and intonation. his transformation into a rhinoceros, done without the aid of make - up or special effects, is one of the great moments of the aft programme of films .
( you will notice in the last part of the 14 minute clip above, it shows how the movie “belle de jour” ends. even though her husband has been shot three times which was the result of the horrible friends she had associated with, he is pictured in her dreams as recovering from his wheel chair and blindness and he gladly kisses her. francis schaeffer in his film series shows how this film was appealing to “nonreason” to answer our problems. )
a type of film that rejects traditional narrative in favor of using poetic form (color, motion, sound, irrational images, etc .) to convey its meaning or feeling; aka non - linear; see also avant - garde
with the exception of peter hall' s fine production of “the homecoming, ” which works so well as a film that you don' t pay any attention to its theatrical seams, the aft looks to be produoing a new type of film—one that may not ultimately be in the greatest demand. the aft is manufacturing the coffee table movie, something that is supposed to establish one' s intellectual credentials by physical association. purchase tickets but give them to your friends .
guam – local filmmaker sarah filush was the guest speaker at the rotary club of tumon bay’s weekly meeting at the pacific star resort and spa, where she took the opportunity to speak of her passion for modern - day storytelling through film .
filush is currently trying to gain funding to officially release the film to the community. filush’s other projects, rock the vote guam and kids from chuuk: the movie, can be viewed on her youtube channel by searching “sarah filush. ”
with the exception of “the homecoming, ” none of the aft productions has been quite the play it was written to be, or the film it is presented as being. none of the plays has been grossly “opened up, ” except for “rhinoceros. ” they' ve pretty much stuck to their original theatrical locales, but they' ve been photographed in that dumb tennis‐match style—the back‐and‐forth cutting from one medium close‐up to another—that has about as much to do. with the original theatrical experience as the intermissions with which the filing are presented .
rhinoceros eyes
features one of the more aloof main characters in recent memory, chep (michael pitt), an employee in a hollywood
prop shop
who is slowly losing his mind  he imagines that some of the props have been assembling themselves into humanlike form and talk to him .
rhinoceros eyes
is rated r for violence (a beating, a mutilation and some disturbing imagery), occasional use of strong sexual profanity, simulated sex, brief male and female nudity, some crude sexual talk and use of vulgar slang terms, and brief gore. running time: 92 minutes .
it’s a bit of a story. founder eric j. trujillo had a dream a while back, in which a cartoon of a rhinoceros starred. what stood out the most was that the rhinoceros seemed totally independent and ‘autonomous’, yet always had a tiny bird on his back. you know, those little birds that in real life, practically live on the back of rhinoceroses. they pick off the little gnats and insects and who knows what else. they’re nourished and get a ride, the rhino seems to like it, and the two benefit one another by being themselves and doing what they do best .
in spite of a lot of clumsy, badly choreographed slapstick, in spite of some nice music by galt macdermot and an extremely attractive performance by gene wilder, who plays the leading role, zero mostel still is the riveting object of attention in the film. the reasons are that mostel is an audaciously surprising actor, even when you think you know his style, and that “rhinoceros” is a far from interesting play. how much more provocative would have been screen versions (if possible) of ionesco' s “the bald soprano” and “the chairs
?
plays aren' t films and films aren' t plays, and three of the four aft productions to date have landed in a no man' s land between theater and film. with the exception of “the homecoming, ” they do not record for posterity great theatrical performances, and they do not add anything to one' s cinematic experience. almost any five‐minute segment of robert altman' s “the long goodbye” is a greater artistic experience (pardon my language) than any 60‐minute segment of the aft' s “iceman, ” “a delicate balance” “rhinoceros. ”
after this apprenticeship, buñuel shot and directed a 16 - minute short, un chien andalou, with salvador dalí. the film, financed by buñuel’s mother, [ 42 ] consists of a series of startling images of a freudian nature, [ 43 ] starting with a woman’s eyeball being sliced open with a razor blade. un chien andalou was enthusiastically received by the burgeoning french surrealist movement of the time [ 44 ] and continues to be shown regularly in film societies to this day. [ 45 ]
surrealism definition. a movement in art and literature that flourished in the early twentieth century. surrealism aimed at expressing imaginative dreams and visions free from conscious rational control. salvador dali was an influential surrealist painter; jean cocteau was a master of surrealist film .
the worst of the aft ventures so far has been the o' horgan version of “rhinoceros, ” which is not great ionesco, and not great theater of the absurd, to begin with. o' horgan, perhaps in desperation, has taken this slight and fuzzy parable, about’ a civilization where people break their necks
originally an absurdist play by eugene ionesco, rhinoceros tells the story of a french town plagued by rhinoceroses. these are not ordinary rhinoceroses, but people who have been victims of
rhinoceritis .
or is it something else entirely? but, why are they turning into rhinoceroses and what is ionesco trying to tell us about society ?
rhinoceros is a nightmare comedy about a society that chooses to follow the herd and become rhinoceroses. the original play by eugene ionesco is a thinly - veiled attack on romanian and french extremist politics in the wake of their nationalist conformity during world war ii. former liberals became recruiters of the legion, and everybody started demonizing the jews .
but do they always come to. a bad end? stanley, the hero of “rhinoceros, ” is an unreliable mouthpiece in an unreliable metaphor so grossly overdirected by tom o' horgan that you might get the idea mr. o' horgan thought he was making a movie for an audience made up entirely of rhinoceroses instead of people .
as weird and off - putting as portions of the film are, the most serious problem is pitt' s performance. for some reason, he appears to be channeling crispin glover. (to paraphrase the
highlander
movies :
there can be only one !
)
the above clip is from the film series by francis schaeffer “how should we then live? ” below is an outline of the 8th episode on the impressionists and the age of fragmentation. the third part discusses surrealist films like belle de jour that mixes our reality with our day dreams .
rhinoceros marks the second yiddish world premiere at new yiddish rep, following their groundbreaking production of god of vengeance last season which scored a new york times critics' pick. new yiddish rep is dedicated to creating modern theater which speaks to a diverse contemporary audience, including those who never might have thought they could connect to a performance in a language other than their own .
francis schaeffer was a christian philosopher who studied culture and made observations about people’s worldview. below we will see three short clips from his film series “how should we then live? ” and i have included an outline. if you enjoy this work of schaeffer then you might want to refer back to posts i did on paul gauguin and henri de toulouse lautrec who are also in the film “midnight in paris. ” both gauguin and lautrec are from the 1890’s and they believed the golden period was not the 1890’s, but the renaissance according to a scene in the movie “midnight in paris. ”
belle de jour presentation in a film class my partner and i did a video presentation on the film belle de jour and the filmmaker luis bunuel. bunuel was a surrealist, so if the video doesn’t quite makes sense, its not supposed to. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i am presently going through the characters referenced in woody allen’s [ … ]
get to know the faces behind our storytelling discoveries and film - creating ways. and yes, there’s auto the rhino; a cartoon rhino, that is. but no, we don’t have a real rhino on the team. they prefer to run wild and free, and we do too .
there were some parts of this that i loved, others that i just kinda enjoyed. the film is definitely based on a play, and most of the scenes are long drawn out conversations. it uses the film medium at most wisely in the beginning 20 or so minutes, as it adds odd musical queues and does interesting things with parallel action, while still keeping an absurdist bend. some of the scenes, especially later on, just feel like fairly point - and - shoot recreations of the play, but are still very funny. the movie stays weird throughout and the performances are all great .
seen in new york so far have been o' neill' s “the iceman cometh, ” directed by john frankenheimer, pinter' s “the homecoming, ” directed by peter hall, albee' s “a delicate balance, ” directed by tony richardson and, most recently, “rhinoceros. ” upcoming are “luther, ” “butley, ” “lost in the stars” and “the three sisters. ”
we are always in the process of becoming. life is a process. to stop is to die. the search for self is at the core of every lenica film. his protagonists (think jan lenica as performed by buster keaton through beckett and ionesco and gilliam) travel through a world of violence, paranoia, anxiety, and absurdity. they do not know how to, nor sure they want to, fit into an increasingly dehumanized society. lenica’s characters encounter various forms of oppression in the face of paranoia (rhinoceros), language (a), exile (labyrinth), humans, and even themselves. each character is simply trying to define and establish a unique blip on life’s map .
…. when his first film (un chien andalou) was released, buñuel became the first filmmaker to be officially welcomed into the ranks of the surrealists by the movement’s leader andré breton, an event recalled by film historian georges sadoul: “breton had convoked the creators to our usual venue [ the café radio ] … one summer’s evening. dalí had the large eyes, grace, and timidity of a gazelle. to us, buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in un chien andalou, meticulously honing the razor that will slice the open eye in two. ”
the shooting (or re - shooting) of a film' s ending for its theatrical release, usually enforced by the studio for any number of reasons (because of test audience preview results, controversial or unpopular subject matter, to provide a' happy' ending, etc .). see also director' s cut
that isn' t exactly the way the aft is described by henry t. weinstein, the organization' s vice president in charge of creative affairs. he says its aim is to bring “to audiences everywhere great works ‘ of the theater, performed by consummate artists, under the guidance of major directors, on film. ”
the name given to the prestigious film awards presented each year by ampas (the academy of motion picture arts and sciences, or simply' the academy'), a professional honorary organization within the industry, since 1927. the annual awards show, in slang, is sometimes referred to as a kudo - cast, see also oscars
related to different optical imaging effects; refers to a method of intentionally distorting and creating a wide screen image with standard film, using a conversion process or a special lens on the camera and projector to produce different magnifications in the vertical and horizontal dimensions of the picture; an anamorphic image usually appears
squished
horizontally, while retaining its full vertical resolution; see also aspect ratio and the trade name cinemascope. many studios produced anamorphic lenses, using other trade names such as panavision, technovision, and technirama. on the right are examples of anamorphic imaging effects from the film blade (1998) (with an aspect ratio of 2: 35. 1) .
2011 roger arpajou / sony pictures classics lea seydoux as gabrielle in “midnight in paris. ” adriana and gil are seen above walking together in the movie “midnight in paris. ” adriana was a fictional character who was picasso’s mistress in the film. earlier she had been georges braque’s mistress before moving on to picasso according to [ … ]
mr. o' horgan' s direction has the effect of exposing all of the play' s weaknesses and none of its merits. it is clumsily inventive and obtrusive. the same was true of his only other film, “futz, ” though it was probably responsible for his huge stage successes, “hair” and “jesus christ superstar. ”
ionesco' s tale of the herd is played in high 70' s style, but its message of the perils of conformity is timelessly (and hilariously) worked out by wilder, mostel, and o' horgan. ionesco' s language is an intricate pas de deux, bristling and baroque: ionesco is the anti - mamet. mostel' s range here is incredible. he can go from a grace note struck on the upper octave of a pianoforte to an exploding oil refinery in an instant. rhinoceros would be the last big canvas this big comic would work on before his passing just three years later. mostel, who knew something of the political implications of art, puts on the thick hide of the rhino like a kid glove. what had originated as a european anti - fascist satire now finds its tongue in a sometimes glum attack on corporate conformity, but the rhinoceros horn still gores deep .
given the current political climate, lenica’s work suddenly seems striking fresh again. rhinoceros (1965), based on the 1959 play by eugene ionesco, follows a kind but slacker / drunkard named berenger. as he drinks in a café – before returning late to his dull office job - berenger begins to notice that everyone is turning into rhinos. eventually finding himself alone, berenger struggles with the emergence of his own passing rhino features has he defiantly struggles to maintain his individuality .
the lesson is both very small and very fuzzy. it is so determinedly out of focus that one begins to wonder whether the playwright had any ideas in mind at all and, if he did, whether they work out the way he intended, stanley talks in clichés about “humanity” and “standards” and is, at heart, quite as ignorant as the rhinoceros he disdains. he also has a lot less fun than they do. all of which adds up to a philosophical so‐what .
it was over too soon. landau couldn' t have launched at a worse moment. the indie film movement was still a decade off, and the audience members who had long complained that they wanted quality fare turned out not to be around when it was. aft folded after only two seasons, and those unique productions were lost until recently in a maze of mergers of successor companies .
however, as written, these super - elite 0. 00001 percenters are straw figures ready to be burnt at the stake of white' s and arteta’s righteous indignation. even if one agrees with the disgust they feel at this privileged, entitled class’ complacency and complicity, a little more subtlety and a more nuanced approach to the dynamics of this culture clash would have made the film that little bit more effective .
the presentation of one art form through another medium; a film based upon, derived from (or adapted from) a stage play (or from another medium such as a short story, book, article, history, novel, video game, comic strip / book, etc .) which basically preserves both the setting and dialogue of the original; can be in the form of a script (screenplay) or a proposal treatment
rhinoceros this was a hard film for me to figure out. i rented this movie because gene wilder was in it and i always knew him to be funny, also i am a collector of kino international films and this is one out of there catalog. usually i have given all there films a 4 plus stars, but this not be the case for this movie. i just couldn? t wait for it to be over, and came within seconds of shutting it off completely, but i had the day off from work, it was raining outside and i figured what the heck. in this movie people are turning into rhinoceroses, now i am not sure but many have said it represents american people turning in to cattle in real life and just flowing with the crowd rather then standing up for there rights and what is right from wrong, and i can see that, similar story line to 1984. i just couldn? t get into this one, maybe you can. 1 star .
grant has serious misgivings about bringing beatriz to the table since one of the guests is power client douglas strutt (john lithgow), a famously opinionated, unabashedly capitalist hotel and golf - course magnate whose resemblance to donald trump is surely not accidental. that said, lithgow’s bragging, boorish captain of industry, who asks beatriz if she entered the country legally, boasts about having shot a rhinoceros on safari in africa and couldn’t give a damn if his ventures poison the environment and ruin lives, still comes across as more savvy and likable than the newly sworn - in potus .
the script was written in six days at dalí’s home in cadaqués. in a letter to a friend written in february 1929, buñuel described the writing process: “we had to look for the plot line. dalí said to me, ‘i dreamed last night of ants swarming around in my hands’, and i said, ‘good lord, and i dreamed that i had sliced somebody or other’s eye. there’s the film, let’s go and make it.' ” [ 46 ]
the o' horgan rhinoceros is often wondrously dark. stanley, a listless accountant with a listless accountant' s name, swills booze to forget his dead - end life. he' s an organization man who hates his organization, a buttondown rebel without a cause. his friend john (mostel) dishes up advice for john, but john continues to mope, disengaged from the thudding repetitiveness of his interchangeable days. there' s daisy, a lovely co - worker, who he admires, but stanley is so mired in self - contempt that his love for her is lost in a forest of ledgers and memos .
the following film notes were prepared for the new york state writers institute by kevin jack hagopian, senior lecturer in media studies at pennsylvania state university: impresario ely landau' s idea seemed inspired: what if a discriminating national movie audience could be persuaded to invest its ticket money upfront, in a program of superior adaptations of significant dramatic works? the money could be used to finance production down the line, and the lucky viewers wouldn' t pay much more than they would for ordinary films .
“the iceman cometh” is a tremendous, primal theatrical experience, but was it really necessary to film it again just so we could have the dubious pleasure of witnessing lee marvin fail in the key role as hickey? it was nice seeing robert ryan and fredric march in this version, but nothing can convince me that it was worth doing if, in the archives somewhere, there exists a print of that extraordinary tv tape version directed by sidney lumet, produced by worthington miner and starring jason robards .
based on a play by eugene lonesco, this film is pretty odd if you know nothing of the material its based on. i don' t know the play a tall so i did find the plot strange indeed and i can see why it was a failure upon release. this is a shame of course as all the sequences with wilder and mostel are pure epic comic genius! . their facial expressions and body language is fantastic and show two men of comedy, one at his peak and one reaching his peak .
mr. o' horgan attempts to jazz up the film with music by galt macdermot (“hair”), which is nice but superfluous, and with low comedy routines that he photographs in ways guaranteed to make them unfunny. the grace and continuity of a series of pratfalls are broken up into a lot of different, isolated shots. his feel for slapstick is as solemn as that of an archeologist photographing the individual bones of a dinosaur. for reasons best kept to himself the director also introduces into lonesco a comparatively lyric dream sequence .
thus, the american film theater. from 1973 to 1975, fourteen plays were filmed. looking back, many seem far too good to be true. edward albee' s a delicate balance, with katherine hepburn, paul scofield, and lee remick? o' neill' s the iceman cometh, with lee marvin and robert ryan, and directed by live television veteran john frankenheimer? but it happened. this spring, the writers institute pays tribute to landau' s labor of love with a selection of the aft films, including homecoming and the seldom seen philadelphia, here i come .
for years i' ve wished that there were some organization that would have as its function the presevation on film of great theatrical occasions. i think of laurette taylor in “the glass menagerie, ” tallulah bankhead and fredric march and florence eldridge in “the skin of our teeth, ” tallulah again in “the little foxes, ” laurence olivier and vivien leigh doing their backto‐back “cleopatras, ” ethel merman shooting that stuffed seagull in “annie get your gun. ” i mean the simplest kind of preservation: the performance photographed, preferably from a fixed position, with no close‐ups, no alternating two‐shots, no cinematic junk .
i didn' t know this existed, or i likely would have watched it in high school and told everybody that it was my favorite movie. it addresses an issue that i was fond of back then (conformity, the same issue my movie are you asleep? addressed so elegantly and professionally), and i liked ionesco. we even (incredibly) read ionesco' s the sand box in another class taught by the teacher who taught the class i made my movie for. no wonder that nut case was my favorite teacher. anyway, rhinoceros. ionesco? gene wilder? i expected to dig this one, but it was way too long, way too stupid (read: it misses
absurd
and hits stupid squarely between the eyes), and way too…
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venue: cannes film festival (opening night, out of competition) opens: may 20 (sony pictures classics) production: mediapro, versatil cinema, gravier prods. , pontchartrain prods .) cast: owen wilson, rachel mcadams, marion cotillard, michael sheen, kathy bates, adrien brody, carla bruni, nina arianda, kurt fuller, tom hiddleston, alison pill, lea seydoux, corey stoll director - screenwriter: woody allen producers: letty aronson, stephen tenenbaum, jaume roures executive producers: javier mendez director of photography: darius khondji production designer: anne seibel costume designer: sonia grande editor: alisa lepselter rated pg - 13, 94 minutes
given the dinner - party premise, the film is expectedly heavy on talk, but arteta avoids monologue monotony by cutting away frequently to his ensemble’s faces in repose as they listen to the others. each and every one masterfully deploys a full arsenal of subtle moues, grimaces and side - eye glances to hint at private feelings that may or may not be in accord with the consensus around the table. britton’s eye twitches and fluttering gestures of horror as her party starts to go wrong are a thing of beauty to behold, as are landecker’s embarrassed eye rolls and sevigny' s and duplass' impish smirks. even john early as the simpering caterer seems to be snickering inwardly as the evening implodes .
plays up the absurdity and it can often be very funny, but it leaves its message a little vague, unspecified and abstract .
. each of the releases contains a substantial number of relevant and high quality extra features .
the picture quality is quite good on this aft release, possibly the best of those so far released. colours are warm and rich, showing a good level of detail. there is a slight hint of grain in some scenes, but by and large, the image is clear and sharp with only occasional marks on the print. the picture remains stable with little sign of any digital artefacts .
the audio is reasonably clear throughout. there is a low level of background noise, some roughness and sibilance at times, but the dialogue remains clear and audible at all times .
there are no hard of hearing subtitles on the feature or on the extra material .
the director reflects on what the play means to him, the performances of wilder and mostel and the filmmaking decisions that were made in adapting a theatre of the absurd play to the screen .
contains quotes from the playwright on rhinoceritis and the value of art in society .
looks at the variety of the comedian’s stage and screen performance, with some interview excerpts. in
, the director offers some thoughts on the play and on translating theatre to cinema .
”, by michael feingold, the chief theatre critic for the village voice, provides some biographical details on ionesco and the theatre of the absurd, and the playwright’s place in the académie française .
a thank you to subscribers at the end of the first season of films, the producer reflects on the ideal of the afts aim to preserve theatre on screen and takes a look over what films had been made so far .
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directed by tom o' horgan (united states / uk / canada, 1973, 104 minutes, color, dvd) starring: zero mostel………. john gene wilder………. stanley karen black………. daisy joe silver
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his best friend john (zero mostel), a fastidious, prissy man who always carries a pocket mirror and an extra necktie, has transformed himself right in front of stanley' s eyes. at first it seemed only that john had a pesky virus. his voice sounded hoarse and he was irritable. later there was no doubt what was happening when, between whimpers, john began to paw the floor, snort angrily and exclaim that he really didn' t hate people, he was simply indifferent to them .
daisy (karen black), stanley' s girl, tries to hold out but she too eventually gives in to the call of the wild: she can' t resist the tremendous energy emanating from all the rhinoceroses now charging through the streets of the town that, in julian barry' s adaptation of ionesco, is situated not in france but in “anywhere, u. s. a. ”
considering the material, and considering the obstacles they had to act around, through and over, the performers come off very well. mr. mostel, comparatively subdued, is extremely funny, whether he is outlining the regime stanley is to follow to become a cultivated man, or whether he is slipping unaware into the early stages of rhinoceritis, munching the leaves of a potted plant .
mr. wilder has an innate sweetness that neutralizes a lot of the dumbness of stanley, a character called berenger in the play but renamed in the movie, i suspect, to evoke unfairly the shade of the late great stan laurel. miss black, like mr. mostel, succesfully created a cartoon character out of pure flesh and blood, hers being a variation on little orphan annie, though not so articulate.
rhinoceros is a 1974 american comedy film based on the play rhinocéros by eugène ionesco . the film was produced and released as part of the american film theatre , which adapted theatrical works for a subscription-driven cinema series . 
rhinoceros is a 1974 american comedy film based on the play rhinocéros by eugène ionesco. the film was produced and released as part of the american film theatre, which adapted theatrical works for a subscription-driven cinema series.
rhinoceros is a 1974 american comedy film based on the play rhinocéros by eugène ionesco. the film was produced and released as part of the american film theatre, which adapted theatrical works for a subscription-driven cinema series.