and I'm happy to be sitting Not surprisingly, these sensibilities would collide decades later when Cronenberg adapted Ballard’s Crash. David Lynch’s The Elephant Man may be a comparatively “straight” entry in the surrealist’s filmography, but it’s nevertheless a rapturously beautiful and moving art object. For a while, though, it almost is.
Write your screenplay and focus on the story with many helpful features. Cool look inside the Hollyweird Wannabee Society, Reviewed in the United States on July 20, 2007, First off, to any potential buyers who have not already caught this on cable or sundance channel, note that this is not a real "film," as it is shot on video, and does not incorporate newer technology which can make video look very similar to actual filmstock. It’s something real, Ellie. Radio spots, a piece on Merrick’s real life, and a booklet—featuring passages from Chris Rodley’s book Lynch on Lynch and an 1886 letter to the London Times concerning Merrick—round out a sturdy package. Such specificity is thrilling and unusual even today, as cities like New York and Los Angeles are still too often utilized vaguely as shorthand for cinematic myth-peddling.
There’s also a still gallery accompanied by an archival audio interview with executive producer John Dunning where he talks about his early days working for the Canadian Broadcasting Company, breaking the Jesuit stranglehold on censorship (with a particularly amusing bit about their sweaty tonsured heads giving off steam while viewing a film), and how importing European sex films makes good financial sense.
Employing a series of sinuous mobile crane and tracking shots, often combined with wide-angle lenses for some fashionable distortion, the film’s prologue, set in the early 1970s, succinctly lays out the requisite backstory: From his safe house, we follow informer Parker into the courtroom, where his testimony against leading mob bosses clinches his subsequent fate.
Wearing another Fred & Ginger... Hello, I'm Leonard Maltin... This 1980 Brazilian drama mercilessly puts its eponymous 10-year-old protagonist (Fernando Ramos da Silva) through the wringer of poverty, crime, abuse, and trauma. This strategy allows us to savor the fleetingness, the value, of each of Merrick’s lovely encounters—especially the extraordinarily moving passages with Treves’s wife, Ann (Hannah Gordon), and the theater actress Madge Kendall (Anne Bancroft)—at the same time as Merrick is allowed to be taken at face value as human. Wald also shares compelling inside anecdotes on the film’s production, such as actor Barry Fitzgerald’s suspicion that he couldn’t play a police detective because he wasn’t a Humphrey Bogart type. In the The Hit’s memorable final scene, Braddock attempts to cross the border into France disguised as a backpacker.
ELLIE: Easy for you to say. Image clarity is also very good, as there are no signs of motion-blurring during the constant, rapid movements during the film’s boxing matches. I thought that "Ellie Parker" was a direct to video DVD, but actually it is more a movie that was made directly on digital-video. It makes it honest and that’s how you make a scene work.
Ellie Parker is who she appears to be because she does not have a script that tells her how to be somebody else. Landscapes, especially the woods of a surreal escape scene, shimmer with a healthy, heavenly translucent light, and the blacks are weighty and well-differentiated. Casting in NY, LA, Atlanta, Chicago, Miami, Chicago, Seattle, Las Vegas, Texas, Knoxville, Boston and more.
NYCastings is a Casting Breakdown Service used by Castings Directors, Producers & Content Creators to Cast SAG-AFTRA, Actors Equity Association & Non-Union Actors, Models, Dancers, Singers, Voice-Over Artists & Live Acts. Yet, The Naked City’s glorious compositions tell their own truth, offering a portrait of a city that’s teeming with honor and evil and decay and beauty, as well as irreconcilable mixtures of all of the above. Write your screenplay and focus on the story with many helpful features. There’s a 1988 episode of TV series Parkinson One to One featuring Stamp, who discusses his working-class Cockney roots, finding fame, becoming the face of 1960s Swinging London, and trying to put the moves on Rita Hayworth. The extras are rounded out by five minutes of behind-the-scenes footage. The end result is less an aching cry for humanity than a torture contraption for willing, masochistic audiences.
1 Min. ELLIE: I’m drawing from my own pain, see.
“It’s called the carousel,” from the TV Show “Mad Men”. William Wyler’s 1929 silent film The Shakedown is a boxing drama that staves off the saccharine sentimentality of a tried-and-true redemption story with its ribald sense of humor and hard look at its working-class milieu. Ellie … ELLIE: Everyone had these big personal events, and mine was lame.
This page works best with JavaScript. And it's awfully funny. ELLIE: Let’s put your theory to the test. Such is the fate of Ellie Parker, originally a 16-minute entry in the 2001 Sundance Film Festival. This exception is startling, however, and stands as one of The Naked City’s finest moments.
We've found 6 scripts matching Ellie Parker.
Two monks (Víctor Urruchúa and Carlos Villatoro) offer their recollections of murder and betrayal to an objective listener, and as their shared past is recounted twice, once from the point of view of each man, the comparisons to Akira Kurosawa’s Rashoman are inevitable; the dialogue exchanges between the monks help to articulate how pride and personal vendettas make constructing truthful histories next to impossible. Like Dijbril Diop Mambéty’s subsequent Touki Bouki, Soleil Ô is a tour de force of intellectual and cinematic daring.
The film’s central scene, a terse confrontation between Braddock and Parker, takes place in a forest at night.
from the film "Ellie Parker." By visiting this site, you agree to the terms and conditions of our Terms of Service and Privacy Policy © NYCastings / DirectSubmit 2000 - 2019.
Such recognizable tropes have helped foster the reputation that The Elephant Man is one of surrealist Lynch’s few “straight” films.
Aronofsky’s remains the most engaging of the two, as its enriched by his recollections of growing up in Brooklyn, among other things, while Libatique’s is good listening for anyone fascinated by the film’s technical attributes.
The Hit is an enigmatic, existential fable about crime and punishment.
Narratively, as Requiem for a Dream spirals toward its nightmarish finale, things start to get so melodramatically awful for the characters that the film starts to seem like a modern-day equivalent to Reefer Madness, never so much as in the ugly way it introduces the character of a black drug dealer, Big Tim (Keith David), solely to exploit audience disgust at seeing a white woman taken advantage of by a black man. This 4K restoration was undertaken with close supervision by David Lynch, and it suits his exacting standards.
In the first of two archive interviews from 2006, film professor Dana Polan offers the best criticism to be found in these extras, suggesting that The Naked City’s “blandness” is a direct response to the existential crises facing many men who returned from World War II only to feel like anonymous cogs in machines.
Here's my bank.
Cast: Helmut Wildt, Ingmar Zeisberg, Hans Cossy, Wolfgang Büttner, Anita Höfer, Heinrich Trimbur, Peter Nestler, Edeltraut Elsner Director: Helmut Käutner Screenwriter: Helmut Käutner, Walter Ulbrich Distributor: Kino Lorber Running Time: 114 min Rating: NR Year: 1961 Release Date: September 1, 2020 Buy: Video. Sourced from a new 4K digital restoration, the Criterion Collection’s transfer of Claudine is spectacular, boasting a consistently sharp image while still honoring the film’s gritty, rough-edged aesthetic.
She talks on the cell phone, eats blue ice cream, and the car is her dressing room as she fixes her hair and makeup, and changes into various costumes.
Black Gravel is a bleak yet vital interrogation of West Germany’s struggles after World War II. Frederick Wiseman’s 1975 documentary Welfare judiciously details the inner workings of a deeply flawed, woefully underfunded public institution, depicting the overwhelming influx of people who are constantly being forced to jump through hoops by the welfare system.
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