Times are tough. What is left to desire when we are feeling drained? No matter – life is a journey with all the flavours to meet our palates. Life is a feast, and how it tastes is how we experience the full spectrum of desires – mine, yours, his, hers, ours, theirs. Let’s escape to our delicious desires!
The Hong Kong Arts Centre (Hkac)’s signature programmes Opening House and Late Night Series – Art X, with the theme “Craving for…” to kick off 2023, present a full-day journey with diverse arts and culture on 25 March, 2023 (Saturday). Three food-related films will infuse your day with surprises and imagination: Heavy Craving – awarded at the Taipei Golden Horse Film Festival, The Zen Diary – latest film starring Sawada Kenji and Matsu Takako, and The Cook, The Thief, His Wife, and Her Lover – a sight and sound feast with Peter Greenaway, Michael Nyman and Jean-Paul Gaultier.
Tickets are available at www.
The Hong Kong Arts Centre (Hkac)’s signature programmes Opening House and Late Night Series – Art X, with the theme “Craving for…” to kick off 2023, present a full-day journey with diverse arts and culture on 25 March, 2023 (Saturday). Three food-related films will infuse your day with surprises and imagination: Heavy Craving – awarded at the Taipei Golden Horse Film Festival, The Zen Diary – latest film starring Sawada Kenji and Matsu Takako, and The Cook, The Thief, His Wife, and Her Lover – a sight and sound feast with Peter Greenaway, Michael Nyman and Jean-Paul Gaultier.
Tickets are available at www.
- 3/7/2023
- by Adriana Rosati
- AsianMoviePulse
What a treat I gave myself. I went to the Billy Wilder Theater to see Director Dorothy Arzner’s films “The Wild Party” (1929, Paramount) and “Anybody’s Woman” (1930, Paramount) as restored by UCLA Film & Television Archive with funding provided by the David and Lucile Packard Foundation, in cooperation with Universal Studios and Paramount Pictures.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
- 8/3/2015
- by Sydney Levine
- Sydney's Buzz
This story first appeared in the March 20 issue of The Hollywood Reporter magazine. 1. Age Of Consent (1969) Mirren's first major screen role was in Michael Powell's offbeat Australian romance, delivering a captivating turn as the innocent but self-possessed muse to James Mason's jaded artist. 2. The Cook, the Thief, His Wife, and Her Lover (1990) A gangster's moll never has been so soulful, or so insistently naked, as Mirren's Georgina Spica in Peter Greenaway's super-stylized black comedy. Read More Helen Mirren Dedicates Roundabout Theatre Honor to Alan Howard in Bittersweet Speech 3. Prime Suspect (1991) Mirren's indelible Jane Tennison, an inspector tackling grim cases with no-nonsense ferocity,
read more...
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- 3/14/2015
- by Sheri Linden
- The Hollywood Reporter - Movie News
Widely described as an "icon" of British theatre, the actor Alan Howard has died, aged 77. He had been suffering from pneumonia.Born in Croydon, it was almost inevitable that he would gravitate towards the stage: his father was the actor Arthur Howard and his uncle was Leslie Howard. He made his debut in front of an audience in Half In Earnest at the age of 21, and by the time he was 30 had found his "spiritual home" at the Royal Shakespeare Company.His career at the RSC spanned decades and almost countless roles, but perhaps his most significant achievement was gradually racking up all of Shakespeare's historical kings (as well as King Lear and Macbeth). His Henry IV was actually Bolingbroke in Richard II (rather than the title role in Henry IV Part I), but the feat remains an enviable one among his peers.Away from Stratford his appearances included as...
- 2/20/2015
- EmpireOnline
Stage and screen actor best known for his roles in Only Fools and Horses, The Vicar of Dibley and Harry Potter
The talented and idiosyncratic character actor Roger Lloyd Pack, who has died of pancreatic cancer aged 69, achieved national recognition, and huge popularity, as Colin "Trigger" Ball, the lugubrious Peckham road sweeper in John Sullivan's brilliantly acted comedy series Only Fools and Horses. He appeared alongside David Jason's Del Boy and Nicholas Lyndhurst's "plonker" Rodney from 1981 for 10 years, with many a seasonal "special" for another decade.
This success cemented a career in which, up to that point, he had played important roles at the Royal Shakespeare Company, the National Theatre and the Almeida theatre in north London – he was a notably anguished Rosmer in Ibsen's Rosmersholm at the National in 1987, opposite Suzanne Bertish – without recognition any wider than usually appreciative reviews.
His enhanced status led to another...
The talented and idiosyncratic character actor Roger Lloyd Pack, who has died of pancreatic cancer aged 69, achieved national recognition, and huge popularity, as Colin "Trigger" Ball, the lugubrious Peckham road sweeper in John Sullivan's brilliantly acted comedy series Only Fools and Horses. He appeared alongside David Jason's Del Boy and Nicholas Lyndhurst's "plonker" Rodney from 1981 for 10 years, with many a seasonal "special" for another decade.
This success cemented a career in which, up to that point, he had played important roles at the Royal Shakespeare Company, the National Theatre and the Almeida theatre in north London – he was a notably anguished Rosmer in Ibsen's Rosmersholm at the National in 1987, opposite Suzanne Bertish – without recognition any wider than usually appreciative reviews.
His enhanced status led to another...
- 1/17/2014
- by Michael Coveney
- The Guardian - Film News
There's a pernicious misapprehension afoot that the Brits are the polite ones while Yanks are inclined to brusqueness or brashness, but a comparison of the varied reactions to the deaths of Ronald Reagan and Margaret Thatcher would seem to give the lie to this. While "The Great Communicator" was hailed for ending the Cold War (something surely Mr. Gorbachev deserves some credit for), with little mention of his disastrous economic policies and illegal covert wars, Thatcher has received her due as a "divisive" figure, even on the BBC. And, as I write this, there is a genuine chance that "Ding Dong, The Witch is Dead," will reach number one in the UK charts.
Nor were the British uniformly polite about her when she was alive. The Tories gave no encouragement to the art of cinema, or most of the other arts. Invited to talk about her favorite works of art on television,...
Nor were the British uniformly polite about her when she was alive. The Tories gave no encouragement to the art of cinema, or most of the other arts. Invited to talk about her favorite works of art on television,...
- 4/18/2013
- by David Cairns
- MUBI
“Bob’s New Suit,” the debut film from writer/director Alan Howard, will be out on DVD March 26. The Breaking Glass Pictures character-driven film stars Hunter S. Bodine (“The Casserole Club”), model/actress Jenny Shimizu (Bravo’s “Make Me a Supermodel,” “Dante’s Cove”), John Bennett Perry (“Fools Rush In” with son Matthew Perry, “Veronica Mars”), Charlie Babcock (“Desperate Housewives”) and Shay Astar (“The Lost,” “3rd Rock from the Sun”). “Bob’s New Suit” is described as a “bright fable contemplating the legacy of the 1960′s cultural wars in a contemporary working-class family facing the battle of the sexes, gender identity, radical politics, and a threatened economy.” “The Goodlows are a typical American family. Bob [ Read More ]
The post Bob’s New Suit Coming To DVD March 26 appeared first on Shockya.com.
The post Bob’s New Suit Coming To DVD March 26 appeared first on Shockya.com.
- 2/8/2013
- by monique
- ShockYa
Outstanding actor of stage and screen who made his name as Bri in A Day in the Death of Joe Egg
The British theatre changed for ever when Joe Melia, as the sardonic teacher Bri, pushed a severely disabled 10-year-old girl in a wheelchair on to the stage of the Glasgow Citizens in May 1967 and proceeded to make satirical jokes about the medical profession while his marriage was disintegrating. The play was Peter Nichols's A Day in the Death of Joe Egg, which transformed the way disability was discussed on the stage. It made the names overnight of its author, the director Michael Blakemore, and Melia. Albert Finney took over the role of Bri on Broadway.
Flat-footed, slightly hunched, always leaning towards a point of view, Melia, who has died aged 77, was a distinctive and compassionate actor who brought a strain of the music hall to the stage, a sense of being an outsider.
The British theatre changed for ever when Joe Melia, as the sardonic teacher Bri, pushed a severely disabled 10-year-old girl in a wheelchair on to the stage of the Glasgow Citizens in May 1967 and proceeded to make satirical jokes about the medical profession while his marriage was disintegrating. The play was Peter Nichols's A Day in the Death of Joe Egg, which transformed the way disability was discussed on the stage. It made the names overnight of its author, the director Michael Blakemore, and Melia. Albert Finney took over the role of Bri on Broadway.
Flat-footed, slightly hunched, always leaning towards a point of view, Melia, who has died aged 77, was a distinctive and compassionate actor who brought a strain of the music hall to the stage, a sense of being an outsider.
- 11/7/2012
- by Michael Coveney
- The Guardian - Film News
Gates Of Gold, a new comedic drama by Frank McGuinness will hold its American Premiere at 59E59 Theaters. Previews begin Thursday, February 19, 2009. The official opening will be on Sunday, March 1, 2009. Produced by Artists Theatre Group, Inc., Warren Baker and Sally Jacobs, the production is directed by Kent Paul. Written by acclaimed Irish author Frank McGuinness, who earned a Tony Award nomination for Someone Who'll Watch Over Me, and received a Tony Award for best revival in 1997 for A Doll's House, Gates Of Gold is an acerbic duel between Hilton Edwards and Miche?l MacLiamm?ir, fashionable and eloquent theatrical trailblazers who founded Dublin's Gate Theatre. Gates Of Gold is funny, witty, deeply moving and a vibrant celebration of art, love, and, finally, life itself. This production marks the American premiere of Gates Of Gold, which starred Alan Howard in Dublin and William Gaunt in the West End. Frank McGuinness was born in Buncrana,...
- 1/26/2009
- BroadwayWorld.com
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