tansy ( film )
al hirt - tansy [ from the film no, my darling... lyrics
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youtube comedy series based around a gameshow. 6 episodes (1 series) in 2017. stars harry carr, tansy gill and alison stewart .
ironically, katana’s brief yet powerful introduction is arguably the best of the film .
yes, the women in the film have been victimized before the film starts. but the film doesn' t revel or delight in this victimization, or even show it. instead, the film begins with all of them taking control of their destinies and fighting to change their world. that is the plot of fury road and it is a powerful one .
however, not everyone agrees with my take on the film. among them is author george kelly .
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
deanna strasse (tansy mcginnis) – deanna is so excited to be playing tansy again (post - high school). favorite roles include jean (funny money) at waukesha civic, carol / america / velda / et al (the amish project) with the off - book players, christina (murder on the nile) at sunset playhouse, and elvira (blithe spirit) with the hartford players .
we discover this after the film’s second scene, a dinner / bridge party hosted by norman and tansy for norman’s colleagues and their wives. the audience senses a palpable mistrust between tansy and the other wives during this dinner scene. at this point, we interpret this as career jealousy on the part of the wives toward norman’s quick and smooth rise up the academic ladder. the minute the guests leave, tansy desperately scours the house in search of something, eventually finding an evil doll strapped to a lamp (by one of the wives, we assume). meanwhile, norman discovers a talismanic object hidden in his coat, as well as other black magic objects hidden throughout the house. norman, already suspicious of his wife’s strange post - dinner behavior, confronts tansy, who is forced to tell him that she has been using witchcraft to protect him from evil forces that she claims are out to sabotage his career (shades of rosemary’s baby) .
a young woman (tansy parkinson) who possesses the supernatural powers and visions of an upcoming apocalypse is aided by a retired bounty hunter who must protect her from those who wish to use her abilities for evil .
the film builds to its climax with a series of effective set - pieces. a tape of norman’s lecture is used by flora to spin her bad fortune (the use of modern technology such as tape recorders and telephones foreshadows the hugely successful japanese series, ring). flora tells norman that she too is a witch, and then starts a fire at his beachhouse by igniting a stack of playing cards. norman rushes off to save his wife from the burning house. norman’s search for his wife along a rocky beachfront, though marred by over zealous music, is one of the film’s visual highlights. tansy eludes norman by hiding out among the rocks before her suicidal walk into the ocean. norman, with his rationalist front now severely impaired, enters a deserted churchyard where he performs a candle - lit incantation that summons a dripping wet tansy back from the land of the dead. this leads to a dreyeresque sequence where norman carries the unconscious tansy to a friend for observation. in this latter scene, director hayers startingly switches the narration to an impressionistic subjective point of view, beginning with a point of view shot from tansy’s supine position as she is being carried in norman’s arms (inspired by the famous subjective point of view coffin shot from carl dreyer’s vampyr, 1932); and in the following scene by the camera assuming tansy’s physical space looking out subjectively at norman and a male friend observing her. in this latter sequence tansy’s semi - comatose state is suggested by the camera’s smeared edges, an effect reminiscent again of vampyr ‘s gauze - effect .
since its inception in 1997. totaro received his phd in film & television from the university of warwick (uk), is a part - time professor in film studies at concordia university (montreal, canada) and a longstanding member of
following this scene, and faster than you can say ouiji board, norman’s comfortable world begins to crumble. the spiral of bad luck begins when a female student accuses him of rape and her jealous boyfriend accosts him in a series of increasingly violent confrontations. while his life turns into a living nightmare, tansy decides that her only recourse to saving her husband is a sacrificial suicide. up until this moment the only possible reason the film offers as cause of norman’s bad luck is a trip mentioned to jamaica, where they encountered a witchdoctor who resurrected a dead girl (in contrast to tansy, the skeptic norman holds out for a natural explanation for the girl’s resurrection .). the plot finally reveals that tansy was in fact saving norman from another witch, his gimpy - legged female colleague flora, played to evil perfection by margaret johnston (the film’s best female performance). with this narrative knowledge, we now understand in hindsight the wary glances shared by tansy and flora during the dinner scene, as well as the scene’s coy dialogue (“jinx” “dark horse”, etc .), and can read the scene as two witches staking each other out .
while there' s much to admire, the film also falls victim to the pitfalls that plague many found footage movies .
actually, almost everyone has a singular name – guy some, tansy bestigui – but this is a convention of detective fiction. there are at least half a dozen potential suspects, and we can’t afford to get them mixed up .
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 .
hepworth picture plays production; distributed by hepworth picture plays. / produced by cecil m. hepworth. scenario by george dewhurst, from the novel tansy by tickner edwardes. cinematography by geoffrey faithfull. / released september 1921. / standard 35mm spherical 1. 33: 1 format. / the film was released in the usa by burr nickle productions in april 1923 .
the science fiction author joan d. vinge wrote a novelization of the film, also called return to oz (1985) .
this film is a very good example of one of cecil hepworth' s most positive qualities: his photography of the english countryside .
i hope mad max: fury road keeps bringing in the money. maybe then hollywood will try to learn from this amazing film. urltoken
film location: norfolk centre, mill road, arundel time: 3pm - 5pm on monday 1st december price: * £7. 50 per person
why not join us for afternoon tea accompanied by a rare showing of the 1921 silent movie ‘tansy’ by cecil hepworth and starring alma taylor. the movie will be accompanied by a unique recorded piano score by concert pianist colin peters so it can be enjoyed in a 1920’s style .
while there are no real plot holes between this film and 1939' s the wizard of oz beyond dorothy' s knowledge of the deadly desert - - though someone could have easily explained it to her
off - camera
- - a few aspects are slightly changed. she seems younger in this film, and many previous characters look slightly different than before. the cowardly lion does not stand on two legs in this film either .
this tense yet ambiguous film doesn’t waste a frame, yet it still leaves us with questions. at the end of the film, there’s a delicious circularity in seeing taylor sprawled against the same blackboard where “i do not believe” is still written. one of those four words is obliterated as he presses, in wild - eyed terror, against it; the muddled message which remains, by accident or design, is perhaps the best way to summarise this fantastic film .
, in which a group of antiheroes band together over the course of one film to do good things despite being bad people over a soundtrack of hits. unlike james gunn’s crowdpleaser, ayer’s film feels more like a first assembly reel than a finished product, and a first assembly that requires extensive edits and reshoots at that .
if you can look past the poor acting this low budget film has some interesting ideas but as you can see by the poster this is pulling on the more famous film london is falling. the plot is a mix of taken / firestarter / random zombie plot and you get an idea of what your in store for .
cecil hepworth was a major british filmmaker of the early days. only a few of his feature films have survived. tansy is a straightforward story of a country lass (alma taylor) who is taken in at a sheep farm where she becomes the romantic target of two brothers. neither brother seems to realize the other' s attraction for tansy. nor do they realize the secret she has. set against the beautiful sussex downs, hepworth' s simple style may seem flat even to seasoned silent film buffs, but his art is in telling a story and not in fancy camera angles and editing techniques. indeed, his camera never moves. each scene is set up and the actors go through their paces. next set up. but hepworth captures an england of long ago, ancient farming techniques, and simple lifestyles that even in 1921 must have seemed quaint. in some ways, hepworth was a british version of d. w. griffith, but he seems to have lacked griffith' s energy and innovation. alma taylor, a major star of her day, is quite good as tansy and was hepworth' s most frequent leading lady. gerald ames is good as clem. hugh clifton and james carew are the feuding brothers. and rolph leslie is tansy' s pathetic grandfather. worth looking for to see cecil hepworth' s work, the beautiful countryside, and alma taylor .
tom burke plays cormoran strike, the private detective, in strike: the cuckoo’s calling. photograph: colin hutton / bbc / bronte film & tv / colin hutton
boomerang may be a historically white character in the comics, but so is deadshot. in my experience, the film is greatly improved by imagining miranda tapsell in the role .
provided to youtube by sony music entertainment tansy (from the film
no, my darling daughter
) · al hirt honey in the horn and our man in new orleans ℗ originally released 1962. all rights reserved by rca records, a division of sony music entertainment released on: 1999 - 01 - 05 producer: steve sholes producer: chet atkins / 卻特亞金斯 recording engineer: bill porter composer, lyricist: norrie paramor mastering engineer: jim malloy associated performer: chorus associated performer: orchestra auto - generated by youtube .
tristin hall is currently a junior at columbia college majoring in musical theatre and minoring in stage combat. credits include: the nerd (tansy), crimes of the heart (meg) at matchbook theatre, carrie and francine (carrie) at haven theatre. at columbia: bridal dance (deb), love and information (ensemble) .
despite being sold as a team of wacky crooks going on laugh - a - minute hijinks, the film takes itself very seriously; it’s quite a while into the film before there is even an attempt at a laugh, and many of the jokes fall flat. this feeling is compounded by the fact that there are gags in the trailers that aren’t in the movie, which would have gone unnoticed if the comedy that made the cut wasn’t so thin on the ground. part of the problem is the pacing of ayer’s own screenplay—after a slow start, the film struggles to find its feet and even when it’s racing through action sequences, it still seems to drag. this affects the entire narrative, not just the jokes, and contributes further to the feeling that the film is a rough first draft; the first third of the film constantly rehashes itself, introducing characters many times in different contexts without adding anything new .
in the film’s opening classroom scene norman writes the words “i do not believe” on the board as an antidote to any form of non - rational thinking. being a devout man of science and reason, norman does not take kindly to his wife’s dabbling in the black arts. since norman sees himself as self - made man, the implication that tansy’s black magic has secured his success is a major service blow to his ego. as we would suspect from such a character, norman does not heed her cautionary explanation and forces her to burn all her paraphernalia .
an hour and half of life gone forever. crap acting... sums the whole film up. felt like an attempt to rip off
stranger things
with
jurassic park
.
if you' re relatively easily scared or are in a theater full of people who are, the film might be good for a few screams. but only if you' re the patient sort .
struggling to decide on just how much to shit on this film, i relented and doubled my rating, in an attempt to be nice. just because people can gather the resources to make a film doesn' t mean that they should be allowed to. this is dire. a few decent minor touches help to stop it from becoming completely unbearable, but it' s a bloody close call .
in many ways directors tansy michaud and adam carboni’s cinematic presence is similar to hi - way drive - in’s owner roger babcock’s presence. they each have a seemingly meditative approach and presence where the viewer can sense the amount of intuitive focus they have for their craft. in some ways this can be attributed to the great respect they seem to have for one another resulting from the trusting relationship developed over the course of the film’s development. the directors tell us “there was a series of weekends where we wanted to bond with roger and sharon, not interview or press them. after that, our new - found friendship allowed us truer emotion and openness in the interviews and footage that followed. ” that intimacy and respect developed during the making of this film certainly translated to the final product .
i was entertained by the story for the most part but about halfway through the whole tone of the film changes. it starts out with more drama / action and then turns into a over the top zombie / action film. overall it' s okay for what it is and its free on amazon prime so if you have a membership all it will cost you is time. 2 / 5 stars .
what sets this film appart from other found footage movies is the fact that it tries to be a documentary at times, adding more credibility to what we see on screen. [ full review in spanish ]
my curiosity about a film entitled burn, witch, burn has been peaked ever since purchasing an original one - sheet of the film in the mid - 1970’s. with the film still unavailable on video, i had written off the likelihood of every seeing the film. however, thanks to mitch davis, regular fantasia festival programmer and recent addition to the cinema du parc programming team, my wait ended on october 8th. and i was not at all disappointed. in fact, davis is not far off when he refers to it in the program notes as a “masterpiece. ” burn witch burn (original british title being night of the eagle) is an extremely interesting entry in the supernatural horror sub - genre with strong characterisation, effective black & white cinematography (reg wyer) and set - pieces that rank with the best of hammer and universal .
but during my discussion with kelly one thing he said stuck with me. while i praised mad max: fury road for not presenting women as victims, he said the film did exactly that. according to kelly while the abuse was off - screen it still triggered everything that came after, meaning the women in fury road were still victims. so the film is merely a retread of how hollywood always deals with these issues .
the murky aesthetic that dc seems to have settled on as their house style is in full effect here, a step away from the film’s bright marketing campaign. those who are tired of the ‘destruction in darkness’ playbook of
the frothy experiences of a vain little flapper. her father induces an actor friend to become a gentlemanly cave man and the film becomes another variation of the' taming of the shrew'... see full summary »
in a book adaptation of the film, instead of trying to eat the gump first, the nome king eats mombi and her cage, and dorothy' s wish to restore the emerald city brings her back to life .
return to oz is a 1985 fantasy adventure film by walt disney pictures. it was produced by paul maslansky, directed by walter murch from a screenplay by murch and gill dennis. star wars veteran gary kurtz was executive producer .
and believe it is a new action film classic, with director george miller wrapping a smart mix of plot, world - building and character development into an edge - of - your - seat thrill ride. equally as important ,
the film’s final scenes are full of clever and ironic touches. for the most part director hayers maintains a subtle approach to the depiction of horror. the single exception being the stone eagle atop the school façade that, through flora’s witchery, animates itself and sweeps down toward an unsuspecting norman. though hayers includes far too many ominous cutaways to the stone eagle throughout the film, the scenes with the eagle still remain effective. hayers reverts to a restraint approach by keeping the eagle mostly offscreen. in one particularly ironic moment norman is backed up against his classroom chalkboard by the eagle, his jacket erasing the word “not” from the board phrase “i do not believe. ” even the scene of norman chased by the oversized eagle through the school corridors, achieved through cutting and miniatures, holds up well. as a note, according to the film’s production history the stone eagle, like the demon in night of the demon, was not in the original script and only added to bolster commercial potential. the film does resolve itself in an all too pat manner. flora, who has been using a tape recorded incantation, voodoo dolls, and the power of suggestion to sabotage norman’s career / life, is fittingly crushed to death by the stone eagle she reanimated to try and kill norman. meanwhile tansy is resurrected to resume her marriage with norman .
taylor is a success story, with a successful career, a beautiful and charming wife (janet blair) and two homes, although it’s wife tansy, in the main, who seems to use their seaside cottage. he’s also in the frame for promotion within the university, despite a few problems rumbling along in his life – a female student who seems to be skating dangerously close to an inappropriate interest in him, her envious (and academically weak) boyfriend and perhaps most insidiously of all, other women in his life – colleagues and the wives of colleagues – who are bastions of passive - aggressive carping and bitter jealousy regarding him, though with characteristic 60s swagger, taylor brushes this off, perhaps too readily. tansy is less convinced, regarding one of the wives in particular as a ‘middle - aged medusa’, but it seems that she has her secrets, too .
one of the few big - budget action movies in which none of the women in the movie are treated as victims. in the long run i believe this will make the film an influential one in changing how hollywood does business .
the film bears some slight similarities to prince caspian: beyond taking place in a magical world with talking animals and unique ways to get there, the main villain is a king (whereas the main villain of the first film is a witch) who conquers the land while the main character (s) is gone, and unsure as to whether they will return. also, princess ozma and prince caspian are both the rightful rulers who must be restored to the throne .
after a dreary friday night playing bridge with a selection of oblivious males and watchful females, tansy begins to act strangely. after their guests leave, tansy becomes frantic, looking for something which she claims is a shopping list. eventually, she finds what she’s looking for: an effigy, like a voodoo doll, woven into the fringes of a standard lamp. taylor, a little baffled by her panic, continues to get ready for bed, but at around the same time he finds something very strange in one of the bedroom drawers – a dead spider in a ceramic pot. she demurs, saying it’s just a souvenir from their time living in jamaica, but within a short space of time the taylors’ quaint, domestic cottage is suddenly turning up a whole host of curios, charms and spells; it’s like looking again at a photograph and suddenly noticing a host of new details that you missed on the first glance. taylor, the thinker, is decidedly unimpressed. the final straw comes with his discovery of a range of phials of graveyard dirt: he insists that the whole lot gets consigned to the fire, despite tansy’s by now desperate pleadings that dark forces are poised to destroy him without her protections. true enough, almost the moment that the flames consume the charms (including, accidentally, a locket portrait of himself) taylor’s extraordinary luck begins to fail. blind chance, or something more ?
several elements of the second oz book, the marvelous land of oz were worked into the film' s plot. jack pumpkinhead, the gump, the powder of life, and the scarecrow being king are from land. mombi is also from it. she was reassigned to princess langwidere' s roles, but retained some of her land ones as well. for instance, she keeps ozma captive. in the original book, she is tip' s (ozma transformed into a boy) evil witch guardian. and she also owns powder of life which is later stolen by the protagonist. also in the film, the people in the emerald city are turned to stone. though the nome king does this in the film, it could be a reference to how old mombi planned to do so to tip .
the disney studio regime changed twice during the making of the film. by the time it was ready for audiences, michael eisner and jeffrey katzenberg were in charge of the company. kurtz later complained that their new regime abandoned the film, neglecting to promote it effectively, since it was not one of their projects. (still, kurtz recognized that the main problem with it was its grim and
morose
tone .) it cost $ 24, 000, 000 to make, but earned only half that sum at the box office .
the majority of the film' s plot comes from ozma of oz. dorothy washing ashore in a chicken coop, the wheelers, a head - swapping princess, tik - tok, the nome king, the ornament room, and ozma are all culled from the book .
if women are harmful sleeper agents, then consider also the impact of the taylors’ tenure in jamaica, where – we are told – tansy first picked up her magical habit from fraternising with the locals. you don’t have too look too far for anxiety about the effects of a more ‘primitive’ belief system on a more developed one, and that could easily form the basis of a completely different article, but i will say this: the impact of this jamaican magic is of note within night of the eagle because, as tansy says, “it seemed to work”. it’s not simply harmful because it’s other – it’s simply harmful. as we have seen in svetlana’s feature on american folk horror, haitian supernatural practices have become interwoven with american folk beliefs: this is another example of the terrific impact of racial and cultural others on a western cultural landscape. in the 1960s, ideas of horror seemed to have to adjust to this ever - changing landscape, poised to degrade at any time and sweep modernity away. even wives were weaponising; even beliefs were vulnerable and permeable .
another key issue with the film is its startlingly reductive approach to its female characters. right off bat, the three female metahumans of the film—harley, enchantress and katana—all wear significantly less clothes than their male counterparts. 3 this is particularly notable in harley’s case as, in a moment of fan service, she is shown holding her original costume (a full body black and red leotard) and instead opting for a ripped shirt and short shorts. the camera is almost as incessant in its objectification of her as the narrative is in only justifying these female characters’ action through their male partners. harley is constantly framed as the literal property of the joker, the words emblazoned on the back of her jacket, while enchantress is rick flagg’s only weakness and katana lives to avenge the death of her husband. the representation of harley is by far the most problematic; a relative newcomer to dc lore, she is a character who has historically been defined by her abusive relationship with the joker. 4 the film’s attitude to this relationship is as inconsistent as its overall narrative, initially depicting harley as a lovesick doctor, then torture victim, before settling firmly on a “it’s not abuse because she wants it” line. both the film and its marketing have made use of “you don’t own me” as a sort of anthem for harley, but as the film goes on, it becomes depressingly clear that the reason she can’t be owned is because she is already someone else’s property .
it feels like the writer had so many ideas he wanted to get in to this he just put them wherever he could, this means the film really doesn' t make any sense and there are that many ideas that none are fully realised so they are ultimately wasted. the acting is dire but to be fair the cast are friends of the writer / director. i do think this is terrible but hopefully as tge first feature length, lessons will be learned and sam fountayne can hone hus skills in. for this film though i' m afraid i have to say avoid at all cost
michaud and carboni’s cinematic choices makes the film feel quite unique compared to other documentaries of its kind. while the cinematography is quite simple, it is very craftily executed and cleverly selected, paying great detail to the entire experience of going to the drive - in. most noteworthy are the various radios receiving roger’s welcoming voice .
henry singer’s film diana: seven days (bbc1, sunday) looked back 20 years at the week preceding the funeral of princess diana. princes william and harry were among those speaking about their memories of that sad and strangely febrile interval, along with tony blair, alastair campbell and some key members of the royal household .
anderson, primarily a model, has had small roles in films and shows such as your highness, black mirror and the riot club. she has an upcoming role opposite ed skrein and emily ratajkowski in in darkness. she also starred in a short film directed by steve mcqueen of shame and twelve years a slave fame .
the plot for return to oz is loosely based on l. frank baum' s second and third novels of the fourteen books in the original oz series: the marvelous land of oz (1904) and ozma of oz (1907), both written by baum to serve as sequels to the wonderful wizard of oz (1900). the film was thought by many to be a musical sequel to the classic 1939 film, but has no musical numbers and bears little resemblence to judy garlands' oz other than having the more popular ruby slippers appear in the story instead of the original silver shoes, which pop culture is less familiar with. the film was deliberately intended to approach the land of oz and all of its characters and inhabitants in a much more faithful, darker and surreal tone just as baum envisioned. the imagery, scenery and set / costume design stayed very close to the original book illustrations by john r. neill and w. w. denslow .
probably most recognisable as the evil freddie hamid in tom hiddleston drama the night manager, avery has also cropped up in tv projects including doctor who, 24, borderline and the upcoming troy: fall of a city. in the word of film he’s appeared in starred up, the inbetweeners movie and kill your friends among other roles .
but at the heart of many of the film’s issues is the simple fact that it has misunderstood the suicide squad. what was once a collection of dc’s biggest baddies banded together by the iron fist of amanda waller to do the dirty work that no one official can be tied to instead becomes a group of talented metahumans recruited to assist tactical forces in a “terrorist situation”. the film treats them as superheroes waiting to happen instead of villains who can be blamed for their actions without it being traced back to the government. as a result, the plot falls into stale “save the world” territory instead of the grey morality and covert operations that the squad were formed for—the narrative mirrors
during its release in 1985 it was praised for it' s special effects and was even nominated for an award. but overall it was still considered a controversial flop and big box office failure. return to oz was unfairly panned by 80% of critics who gave it disastrous reviews, simply because it didn' t resemble the 1939 film. many labeled it as
too scary and intense and grim for children
. after the picture was shown at radio city music hall, the majority of mainstream media sadly forgot about it ,
putting it out of their heads
as one journalist wrote in a review years later. the film was only appealing for those to whom the film spoke to, being mostly die - hard oz fans who had read all fourteen of baum' s sequel oz books and admirers of the fantasy films of the 80' s such as labyrinth, legend and the dark crystal, all of which had jim henson' s puppetry that was also used in return to oz
.
like some movies, a few minor clips were cut from the film when it was shown on tv, presumably to save time. though most of these are minor (such as shortening the scene where the nomes appear, and a bit of dialogue between dorothy and mombi in the castle) two semi - critical points are cut out :
peter wyngarde, better known to uk viewers as the modish television spy jason king, plays norman, a young, up and coming professor at a small, provincial college. norman seems to have it all. a loving, caring wife (janet blair), great looks and body (which he flaunts at every turn with skin tight shirts and pants), a sharp mind, popular with students, and the envy of colleagues. all this (and more) seems to be the reason behind his mercurial rise to (imminent) position of department chair. however, rather than the proverbial skeleton, norman has a witch in his closet, the witch being his wife tansy .
amy johnson is honored to be working on falling and thrilled to be making her debut with interrobang theatre. she received her mfa from the university of nebraska, lincoln. her most recent stage work was in twin set with the side project, where she is a proud associate member. acting credits with various chicago companies include: historical perspectives for children, the ex - pats, steep theatre, victory gardens, and others. she is looking forward to the upcoming independent film release of the year that changed us, in which she has a supporting role. film clips, history, and new projects can be seen at urltoken. thank you jim for the opportunity, and many thanks to my family for their patience and support .
his photography of the english countryside was part of his search for purely pictorial beauty :
always i have striven for beauty, for pictorial meaning and effect... much of my success, i am sure, is in the aesthetic pleasure conveyed, but not recognised, by the beauty of the scene and generally mistaken for some unknown other quality in the film .
terry gavin (warnock waldgrave) – terry’s credits include macbeth (king duncan), doubt (father flynn), angels in america: millennium approaches and perestroika (roy cohn), who’s afraid of virginia woolf (nick), and death of a salesman (biff). in addition, he has appeared in the film bill wilson and recently completed filming house arrest .
despite its unsuccessful theatrical run, this oz adaptation has grown a huge fanbase over the decades, has received immense praise for its dark beauty and overall faithfulness to baum' s original source material, and has now become a true and official
cult classic
with fans all across the world, from america to japan, even having its own website and countless internet blogs dedicated to the film .
where it differs, perhaps, is in the way taylor has to come to accept that strange things are happening; once he has done this, he can escape, although things cannot be the same again. a man of few words, we are never told how he feels, but we’re in the same position as him, by the end. we don’t know if the eagle falls by chance or intent. we don’t know if tansy survives by chance or through magical protections. the world is a more uncertain place by the end of night of the eagle. in this respect, norman taylor is more of a rosemary woodhouse than a sergeant howie – he encounters a cult, and his rationalism gets modified by the encounter. the taylors survive. but at what cost ?
johnson, who has acted under the surname gallacher, had a notable role as a flirtatious waitress in harry potter and the half - blood prince. she had a twelve episode run on eastenders in 2010 and appeared in top boy. her film credits include my brother the devil, powder room and how to talk to girls at parties. she has been cast in the highly anticipated sci - fi sequel blade runner 2049 .
like rosemary’s baby would do six years later, burn, witch, burn effectively brings the supernatural into a contemporary modern setting. like romero’s classic contemporary witchcraft tale jack’s wife, the film presents a witch version of stepford wives, with the implication that the town’s wives are all part of an underground coven unknown to all the husbands. one can even go further and offer an intriguing feminist reading, where all the pompous men are actually puppets in the hands of their scheming, more powerful wives. in either case, as a proto - feminist horror parable, or a subtle, intelligent occult horror film, burn, witch, burn is a gem that merits both a theatrical and video revival. thanks to the cinema du parc’s decision to include retrospective films as part of their programming, i no longer stare at my one - sheet with curious wonderment .
disorganized and disabled from military service in afghanistan, private investigator cormoran strike is visited by an old friend, john bristow, who believes his adopted sister, model lula landry, a declared suicide, was murdered. his basis is cctv footage of a man in the area where lula was found. an interview with a very young inspector, eric wardle, puts lula' s boyfriend evan duffield in the clear, sending cormoran and temporary secretary robin in pursuit of would - be suitor, rapper deeby macc, and fellow flat dweller tansy bestigui, who alerted the police to lula' s death. also in the frame is lula' s greedy friend rochelle, now fallen on hard times. john' s uncle, solicitor tony landry, steps in to divert cormoran and undermine his investigation but then cormoran discovers another body .
enjoy your intermission is a touching portrait documentary of hi - way drive - in theater, a drive - in theater 2 hours outside of new york city whose owners carry a distinct and inspiring passion and dedication to their trade. this film dives much deeper than simply being a portrait of a drive - in theater, but also addresses the changing economic, technological, and experiential climate of cinema itself and its impact on the movie going experience .
now contrast that to fury road, where you can' t remove the issue without the plot falling apart. add in the amazing way fury road handled the issue — in a manner game of thrones could only dream of doing — and i hope people can see the difference between a film making commentary on a serious issue which is central to its overall plot, and a tv series simply using sexual assault as an insulting way to shock viewers and motivate the characters .
will vinton created the nome king. special effects were overseen by zoran perisic, as director of the model and process unit and visual effects consultant. the coronation scene at the film' s end includes oz characters that do not appear elsewhere in it: the braided man, button - bright, cap' n bill holding the magic flower, the frogman, glinda, some munchkins, notta bit more, the patchwork girl, polychrome, the shaggy man, and even tommy kwikstep .
by way of explanation, let' s compare fury road with game of thrones, which is continually criticized for how it depicts issues of sexual assault and victimization. i believe this is a valid comparison because game of thrones is one of the iconic tv series of our time. just as i hope fury road might influence hollywood for the better, game of thrones is already influencing hollywood for the worse, with tons of rip - offs of the hbo series continually appearing on tv and in film .
this interest in film as a primarily pictorial art perhaps worked at the expense of his films' dramatic or narrative interest, but at least his lack of theatrical background ensured that his films were not stagey and over - literary. he disliked stage plays as his raw material and preferred to write his own stories: he liked to work in the open air and if he had to work indoors always tried to use daylight. unusually for the time, his actors and actresses wore little or no make - up .
unquestionably, cold war era paranoia holds hands with magic in night of the eagle, from the moment it’s invoked in the first scene of the film until the very last scenes. it’s signposted once, but it lingers in the film throughout. the idea of people who look like us and act like us, but harbour destructive secrets and want to overthrow us by any means is something integral to so many films of the era. however, this also shows parity with the beliefs of the past, when it was witchcraft which threatened to do the same thing. at this time too, the irony is that the very real fear of the four - minute warning was very likely to have made people drift away from the rationalism which had made such a thing possible, even likely. the early 60s were already seeing a steady resurgence of interest in new - old religions, magic and paganism. this is the difficult impasse which seems to form the backbone of night of the eagle: the dark side of rationalism led people to look to the past, but the practices of the past they resurrected brought additional paranoia and the threat of harm. these things cast their shadows over the film, whether overtly or covertly. night of the eagle also excels, via its script, at reminding us just how long our relationship with magic has been. it’s thoroughly interwoven with our language, and it’s there in the dialogue: ideas are ‘bewitching’, people act as ‘good luck charms’, people laughingly suggest people ‘sell their soul to the devil’ for a good outcome. the script is simply able to add the phrase ‘we can press a button’, and we know now what that signifies, too .
the film was shot in england, on london sound stages plus some exteriors on salisbury plain. freddy francis, the project' s original cinematographer, left after four weeks, unable to agree with director murch; francis was replaced by david watkin. the result was the francis shot the kansas material, while watkin shot oz. the shoot fell behind schedule, and rumors held that disney executive richard berger wanted to fire murch. murch' s friends in the business, francis ford coppola, george lucas, and steven spielberg, visited the set to provide encouragement .
will find nothing new here, and critics of marvel’s faceless armies will find a literal army of faceless, mindless grunts. there are a few standout design decisions—enchantress (cara delevigne) and her cosmic cape is one of the closest cinematic equivalents to a comic book panel in recent memory—but these are few and far between. the film tries to buy cultural cache from its soundtrack—queen, the white stripes, lil wayne and eminem all feature—but the songs play hollow, tacked on as an afterthought rather than truly integrated in sequences, while steven price’s score is almost pavlovian, playing heroic cues at typically heroic moments and leaving little room for ambiguity .
suicide squad introduces a number of iconic (and less iconic) characters to the dc line - up; by far the best is davis’ amanda waller, whose straight, unapologetically ruthless and self - serving nature acts both as an accurate translation of the character and a refreshing alternative to the cartoonish squad members. deadshot is functional if underdeveloped, as is joel kinnaman’s rick flagg; the defacto group leaders, they both feel more like the main character of a video game than a film. diablo (jay hernandez) is billed as the pacifist heart of the crew, unwilling to let his anger take over, yet when his powers are actually unleashed they’re underwhelming, a combination of lacklustre cgi and low energy performance. jared leto’s heavily hyped joker attempts to move as far away from heath ledger as possible, ending up as a jumbled parody of the character rather than a serious attempt. presented as more of a gangster than agent of chaos, the joker is a recurring plot disruption and leto bites off more scenery than he can chew. jai courtney seems to be the only actor who was told the film was a comedy, and although his bogan captain boomerang is one of the most consistently enjoyable team members to cut away to, the fact that a white australian plays a character so inherently appropriative of indigenous culture begs the question of why they didn’t consider casting an indigenous actor in the role in the first place. 2
this is exemplified in the introduction of deadshot (will smith) and harley quinn (margot robbie); we meet them first as brutalised prisoners in a louisiana black site, then meet them again in a montage of the proposed members of the squad, then are introduced a third time when amanda waller (viola davis) first approaches them to join the team. there’s no consistency in these introductions either, with characters like captain boomerang (jai courtney), who is half introduced in an early montage but seemingly forgotten until he shows up as part of the team more than half an hour later, and katana (karen fukuhara), who literally jumps onto the chopper at the last second. 1 waller pitches the very idea of the suicide squad twice in two concurrent scenes—once in a fancy restaurant, once in a military briefing—with the second scenario a far more nuanced and engaging presentation of the same information. this all contributes to the feeling that the film is merely a collection of scenes shot with no clear direction in mind, an aim of saving it all in the edit. this uncertainty is embedded in the plot; the film seems uncertain as to whether the audience should be clued in to the scheme of its super powered villain or be kept in the dark with the squad, and settles for something in between, where scenes that play like significant reveals for the squad have actually already played for the viewers, and yet they still don’t quite make sense. the plot itself is borderline incomprehensible as a result, even with frequent dialogue reminders of what is happening .
“i do not believe” are the first words both spoken and seen in night of the eagle. these words are the crux of a lecture being given by professor norman taylor (peter wyngarde), a rational man who is deeply cynical about the new wave of magical thinking already diffusing through society by the 1960s. however, by this point in time, the supremacy of science and rationalism was already fraught with problems; as taylor acknowledges, magic may have let the genie out of the lamp, but science was by then poised to unleash nuclear warfare. it’s the first acknowledgement of a broader malaise which filters through in the film: although it’s a microcosm, real - life concerns, such as professionalism and promotion, collide with the prospect of older, supernatural forces, and the end result is great anxiety and risk for all concerned.
tansy is a 1921 british silent drama film directed by cecil hepworth and starring alma taylor , gerald ames and james carew . the film was based on a popular rural novel of the time by tickner edwardes , and was filmed largely on location on the sussex downs . tansy is a rare survival among hepworth 's feature-length films of the late 1910s and early 1920s , most of which are believed to have been irretrievably lost following hepworth 's bankruptcy in 1924 , when his film stock was seized and melted down by administrators to release its saleable silver nitrate content . a full print of the film is held in the british film institute 's national archive . hepworth once remarked : " it was always in the back of my mind from the very beginning that i was to make english pictures with all the english countryside for background and with english idiom throughout . " critical assessment of tansy tends to confirm the ability to capture beautiful english rural landscapes on film as hepworth 's greatest skill , albeit sometimes to the detriment of dramatic narrative when the scenery seems to command more of his attention than the actors or the plot . 
tansy is a 1921 british silent drama film directed by cecil hepworth and starring alma taylor, gerald ames and james carew. the film was based on a popular rural novel of the time by tickner edwardes, and was filmed largely on location on the sussex downs. tansy is a rare survival among hepworth's feature-length films of the late 1910s and early 1920s, most of which are believed to have been irretrievably lost following hepworth's bankruptcy in 1924, when his film stock was seized and melted down by administrators to release its saleable silver nitrate content. a full print of the film is held in the british film institute's national archive. hepworth once remarked: " it was always in the back of my mind from the very beginning that i was to make english pictures with all the english countryside for background and with english idiom throughout. " critical assessment of tansy tends to confirm the ability to capture beautiful english rural landscapes on film as hepworth's greatest skill, albeit sometimes to the detriment of dramatic narrative when the scenery seems to command more of his attention than the actors or the plot.
tansy is a 1921 british silent drama film directed by cecil hepworth and starring alma taylor, gerald ames and james carew. the film was based on a popular rural novel of the time by tickner edwardes, and was filmed largely on location on the sussex downs. tansy is a rare survival among hepworth's feature-length films of the late 1910s and early 1920s, most of which are believed to have been irretrievably lost following hepworth's bankruptcy in 1924, when his film stock was seized and melted down by administrators to release its saleable silver nitrate content. a full print of the film is held in the british film institute's national archive. hepworth once remarked: " it was always in the back of my mind from the very beginning that i was to make english pictures with all the english countryside for background and with english idiom throughout. " critical assessment of tansy tends to confirm the ability to capture beautiful english rural landscapes on film as hepworth's greatest skill, albeit sometimes to the detriment of dramatic narrative when the scenery seems to command more of his attention than the actors or the plot.