Julian Barry, whose 1971 Broadway play and 1974 movie, both titled Lenny and telling the story of legendary comic Lenny Bruce, died Tuesday at his home in Beverly Hills. He was 92.
His death was reported to The New York Times by his daughter Julia Barry, who said he died in his sleep and had been under medical care for congestive heart failure and late-stage kidney disease.
Although most widely known for his highly influential Bruce projects, which earned considerable acclaim for the writer and his title stars — Cliff Gorman on stage, Dustin Hoffman on screen — Barry’s career extended to other projects that caught the public’s attention in their day. He wrote Rhinoceros, the 1974 film adaptation of Eugène Ionesco’s play starring Gene Wilder and Zero Mostel, a movie that has grown somewhat in esteem since its initial critical dismissal, and the 1978 Faye Dunaway vehicle Eyes of Laura Mars, which has not.
His death was reported to The New York Times by his daughter Julia Barry, who said he died in his sleep and had been under medical care for congestive heart failure and late-stage kidney disease.
Although most widely known for his highly influential Bruce projects, which earned considerable acclaim for the writer and his title stars — Cliff Gorman on stage, Dustin Hoffman on screen — Barry’s career extended to other projects that caught the public’s attention in their day. He wrote Rhinoceros, the 1974 film adaptation of Eugène Ionesco’s play starring Gene Wilder and Zero Mostel, a movie that has grown somewhat in esteem since its initial critical dismissal, and the 1978 Faye Dunaway vehicle Eyes of Laura Mars, which has not.
- 7/27/2023
- by Greg Evans
- Deadline Film + TV
No stranger to serial killer series and period dramas of all kinds, cinematographer P.J. Dillon found his latest great challenge on TNT drama The Alienist, looking to capture both the ornate architecture and the seedy underbelly of 19thcentury New York.
Certainly, this is a place and time that has been well documented on screen, through films including The Age of Innocence and Gangs of New York. But with The Alienist, Dillon worked with production designer Mara LePere-Schloop and director Jakob Verbruggen to give an all-new, immersive take on this world.
Centering on a crime reporter and a psychologist investigating a serial killer operating in New York’s Gilded Age, The Alienist involved 360-degree visuals—with six-story tenement buildings designed for the series—complicated Steadicam shots, and practical light sources of the period, which lent another degree of authenticity to the production.
Looking to painters and photographers of the period for inspiration,...
Certainly, this is a place and time that has been well documented on screen, through films including The Age of Innocence and Gangs of New York. But with The Alienist, Dillon worked with production designer Mara LePere-Schloop and director Jakob Verbruggen to give an all-new, immersive take on this world.
Centering on a crime reporter and a psychologist investigating a serial killer operating in New York’s Gilded Age, The Alienist involved 360-degree visuals—with six-story tenement buildings designed for the series—complicated Steadicam shots, and practical light sources of the period, which lent another degree of authenticity to the production.
Looking to painters and photographers of the period for inspiration,...
- 5/23/2018
- by Matt Grobar
- Deadline Film + TV
This year, one of the greatest New York gallerists of our time and continuous force for artistic good Lisa Spellman celebrates her 30th anniversary. It's rare for a gallery to stay completely relevant and totally vital for 30 straight years. Spellman has one of those few galleries. Since 1984, her 303 Gallery — named after its first address at 303 Park Avenue South (it's now a gym, like everything) and also referencing Alfred Stieglitz's legendary "Intimate Gallery," located in Room 303 of the Anderson Galleries — has been a space that proves that a small room can change the way we see the world, truly. I remember going there in the 1980s and listening to this super-alert, classic, uptown-meets-punk girl telling me about art that I'd never heard of in ways that made total sense, that seemed important, and altered the ways I understood photography. Spellman had been studying photography at...
- 11/21/2014
- by Jerry Saltz
- Vulture
Respected actor Jeremy Irons is set to co-star in the Edward R. Pressman/ Prashita Chaudhary’s Cinemorphic Entertainment Company production of The Man Who Knew Infinity, the biographic film on the life of Srinivasa Ramanujan with Dev Patel starring as the revered Indian mathematician. Irons will play G.H. Hardy, the English mathematician who plucked Ramanujan from obscurity in Edwardian India and installed him in the hallowed halls of Cambridge University.
The film will be directed by Matthew Brown, who also wrote the screenplay based on the biography The Man Who Knew Infinity: A Life of the Genius Ramanujan by Robert Kanigel. Edward R. Pressman and Prashita Chaudhary of Cinemorphic are producers along with Jim Young under his Animus Films banner and Sofia Sondervan of Dutch Tilt Film.
Announcing the casting, Pressman said, “I am delighted to be working with Jeremy again. Our last collaboration on Reversal of Fortune earned an Oscar for Jeremy,...
The film will be directed by Matthew Brown, who also wrote the screenplay based on the biography The Man Who Knew Infinity: A Life of the Genius Ramanujan by Robert Kanigel. Edward R. Pressman and Prashita Chaudhary of Cinemorphic are producers along with Jim Young under his Animus Films banner and Sofia Sondervan of Dutch Tilt Film.
Announcing the casting, Pressman said, “I am delighted to be working with Jeremy again. Our last collaboration on Reversal of Fortune earned an Oscar for Jeremy,...
- 12/7/2013
- by Stacey Yount
- Bollyspice
It happens quickly -- discomfort in a public place -- and it is a very effective element to control, as you will experience with the work of Carrie Mae Weems. Early on in the exhibition at the Frist Center for the Visual Arts, Carrie Mae Weems: Three Decades of Photography and Video, Weems confronts her audience with her Aint Jokin’ series from 1987-88. Here she combines images and text that project racial stereotyping with works such as "Black Woman with Chicken" [left] and "Black Man Holding Watermelon." In another piece nearby we see a vintagepolitical drawing of Abraham Lincoln looking a bit disheveled, seated in a room filled with props and papers positioned above the question: What Did Lincoln Say After A Drinking Bout?. The answer-box nearby reveals: I Freed The What?. The exposure to this, and other bits of appropriated hurtful humor will surely prompt an uncomfortable feeling in most...
- 10/3/2012
- by ddlombardi
- www.culturecatch.com
The photographer's new film, about global maritime trade, has been hailed by Occupy activists. Its maker has spent a life challenging new forms of capitalism
Water has always played a large part in the photographer Allan Sekula's life. As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors. "It was Edward Hopper on military steroids," he recalls. "That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy. Young guys my age from the west coast were being dehumanised and turned into a few good men.
"They'd come to the fence of the Marine Corps Recruiting Depot and say: 'If I can get over this fence will...
Water has always played a large part in the photographer Allan Sekula's life. As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors. "It was Edward Hopper on military steroids," he recalls. "That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy. Young guys my age from the west coast were being dehumanised and turned into a few good men.
"They'd come to the fence of the Marine Corps Recruiting Depot and say: 'If I can get over this fence will...
- 4/23/2012
- by Sukhdev Sandhu
- The Guardian - Film News
Chicago – A TV movie that’s slightly light on substance and presented in a downright ugly standard DVD presentation, “Georgia O’Keeffe” is still well worth seeking out for it features one of the best actors and one of the best actresses currently alive in Jeremy Irons and Joan Allen, both nominated for multiple awards for their work in this film and both at the top of their game.
DVD Rating: 3.5/5.0
“Tell me what you miss and I’ll get it for you.” This is merely one example of the lovestruck repartee between photographer Alfred Stieglitz (Irons) and O’Keeffe (Allen), a woman who would go on to be remembered as one of the most important painters of the 20th century and the man who arguably used her as much as he inspired her. The film about O’Keeffe chronicles her artistic life by paralleling it with the love-hate dynamic...
DVD Rating: 3.5/5.0
“Tell me what you miss and I’ll get it for you.” This is merely one example of the lovestruck repartee between photographer Alfred Stieglitz (Irons) and O’Keeffe (Allen), a woman who would go on to be remembered as one of the most important painters of the 20th century and the man who arguably used her as much as he inspired her. The film about O’Keeffe chronicles her artistic life by paralleling it with the love-hate dynamic...
- 5/8/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
DVD Playhouse—April 2010
By
Allen Gardner
Ride With The Devil (Criterion) Ang Lee’s revisionist take on the Civil War is awash in moral ambiguity, along with some stunning cinematography, production design, and fine performances. Set during the Kansas-Missouri border war, Tobey Maguire and Skeet Ulrich star as two friends who join up with the Confederate-sympathizing Bushwhackers, finding an odd ally in a former slave (Jeffrey Wright). While it’s fascinating to see America’s bloodiest conflict through the eyes of a foreigner, thereby allowing much of the previously mentioned ambiguity a certain latitude, the film never loses the bad taste it leaves for one simple reason: it asks us, the audience, to side with not just the Confederates, but some of the lowest trash that made up the dregs, and the fringes, of the movement. Big points for audacity, but snake eyes on the story itself. Singer Jewel is impressive in her film debut.
By
Allen Gardner
Ride With The Devil (Criterion) Ang Lee’s revisionist take on the Civil War is awash in moral ambiguity, along with some stunning cinematography, production design, and fine performances. Set during the Kansas-Missouri border war, Tobey Maguire and Skeet Ulrich star as two friends who join up with the Confederate-sympathizing Bushwhackers, finding an odd ally in a former slave (Jeffrey Wright). While it’s fascinating to see America’s bloodiest conflict through the eyes of a foreigner, thereby allowing much of the previously mentioned ambiguity a certain latitude, the film never loses the bad taste it leaves for one simple reason: it asks us, the audience, to side with not just the Confederates, but some of the lowest trash that made up the dregs, and the fringes, of the movement. Big points for audacity, but snake eyes on the story itself. Singer Jewel is impressive in her film debut.
- 4/16/2010
- by The Hollywood Interview.com
- The Hollywood Interview
With a reputation a mile high and a 2008 auction record of $1.6 million for a 1925 photograph of a nude, the closest most of us will ever get to one of Edward Weston's prints is looking at one behind glass in a museum. Or so it might seem. Photography long ago has won the battle to be considered a fine art, based not only on the esteem of connoisseurs but on prices that can match notable paintings and sculptures. Still, works by the most lionized photographers of the past century are much more affordable than those of their counterparts in painting and sculpture, and some can look downright cheap in comparison. For instance, one can buy an Ansel Adams (1902-84) photograph for $225, an Alfred Stieglitz (1864-1946) for $300 and a Walker Evans (1903-75) for just $28. One may...
- 3/18/2010
- by Daniel Grant
- Huffington Post
Hello one and all to our coverage of the 16th annual Screen Actors Guild Awards. I’m sitting here watching the red carpet coverage waiting for the show to start.
If you don’t know who’s nominated for what, check out the list below. I’ll be updating the list as the winners are announced. So you can follow along on the site, or drop by our Twitter feed. I’ll be posting results, comments, you name it. Drop in and say hi! And now….on to the show!
Theatrical Motion Pictures
Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges /Bad Blake – “Crazy Heart” George Clooney /Ryan Bingham – “Up In The Air” Colin Firth / George Falconer – “A Single Man” Morgan Freeman /Nelson Mandela – “Invictus” Jeremy Renner /Staff Sgt. William James – “The Hurt Locker”
Outstanding Performance by a Female Actor in a Leading Role
Sandra Bullock...
If you don’t know who’s nominated for what, check out the list below. I’ll be updating the list as the winners are announced. So you can follow along on the site, or drop by our Twitter feed. I’ll be posting results, comments, you name it. Drop in and say hi! And now….on to the show!
Theatrical Motion Pictures
Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges /Bad Blake – “Crazy Heart” George Clooney /Ryan Bingham – “Up In The Air” Colin Firth / George Falconer – “A Single Man” Morgan Freeman /Nelson Mandela – “Invictus” Jeremy Renner /Staff Sgt. William James – “The Hurt Locker”
Outstanding Performance by a Female Actor in a Leading Role
Sandra Bullock...
- 1/24/2010
- by Tracy Ladd
- HeyUGuys.co.uk
The morning the Screen Actors Guild announced the nominees for the 16th annual SAG awards. The actual ceremony will be held Saturday, January 23rd. There are a lot of gay-faves on the list of nominees.
For starters, Colin Firth picked up a nomination for A Single Man,and Sigourney Weaver is in the running for Outstanding Performance by a Female Actor in a Television Movie or Miniseries thanks to Prayers for Bobby.
Freshmen series Glee and Modern Family are competing against each other for Beest TV Comedy Ensemble.
And surprisingly (at least for me) the cast of True Blood is up for Outstanding Performance by an Ensemble in a Drama Series.
You can check out the full list of nominess after the break!
Theatrical Motion Pictures
Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges / Bad Blake - "Crazy Heart" (Fox Searchlight Pictures)
George Clooney / Ryan Bingham...
For starters, Colin Firth picked up a nomination for A Single Man,and Sigourney Weaver is in the running for Outstanding Performance by a Female Actor in a Television Movie or Miniseries thanks to Prayers for Bobby.
Freshmen series Glee and Modern Family are competing against each other for Beest TV Comedy Ensemble.
And surprisingly (at least for me) the cast of True Blood is up for Outstanding Performance by an Ensemble in a Drama Series.
You can check out the full list of nominess after the break!
Theatrical Motion Pictures
Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges / Bad Blake - "Crazy Heart" (Fox Searchlight Pictures)
George Clooney / Ryan Bingham...
- 12/17/2009
- by dennis
- The Backlot
Nominees for the 16th Annual Screen Actors Guild Awards (SAG Awards) for both film and television categories were announced this morning. Michelle Monaghan and Chris O'Donnell announced the nominees at the Pacific Design Center's Silver Screen Theater in West Hollywood.
The 16th Annual Screen Actors Guild Awards will be simulcast live nationally on TNT and TBS on Saturday, Jan. 23, 2010 at 8 p.m. Et/Pt, 7 p.m. Ct, and 6 p.m. Mt from the Los Angeles Shrine Exposition Center. Recipients of the stunt ensemble honors will be announced from the SAG Awards red carpet during the TNT.TV and TBS.Com live pre-show webcasts.
If you want to predict the acting categories for the Oscars, look no further than the results of the Screen Actors Guild Awards. Voted by actors' peers, the SAG award has closely resembled the winners of the Oscars in the past few years.
For example, the SAG...
The 16th Annual Screen Actors Guild Awards will be simulcast live nationally on TNT and TBS on Saturday, Jan. 23, 2010 at 8 p.m. Et/Pt, 7 p.m. Ct, and 6 p.m. Mt from the Los Angeles Shrine Exposition Center. Recipients of the stunt ensemble honors will be announced from the SAG Awards red carpet during the TNT.TV and TBS.Com live pre-show webcasts.
If you want to predict the acting categories for the Oscars, look no further than the results of the Screen Actors Guild Awards. Voted by actors' peers, the SAG award has closely resembled the winners of the Oscars in the past few years.
For example, the SAG...
- 12/17/2009
- by Manny
- Manny the Movie Guy
"It isn't art until somebody rich comes along and buys it!" - Jeremy Irons as Alfred Stieglitz, "Georgia O'Keeffe." American artist Georgia O.Keeffe.s personal life and career are brought to life by actress Joan Allen in tonight's Lifetime film, "Georgia O'Keeffe," a no miss event that turns in interesting and compelling performances above and below the line. O'Keeffe's poverty and humble beginnings are touched on as Allen opens up to her lifetime love and nemesis, Bohemian and worldly lover then husband, Alfred Stieglitz, a calculating dealer who elevated her name and broke her heart repeatedly. Jeremy Irons is perfect as the fiercely intense lover of art who seduced O'Keeffe while he was married, then promoted her work as...
- 9/19/2009
- by April MacIntyre
- Monsters and Critics
Georgia O'Keeffe is one of America's most outstanding painters but very little has been revealed about her personal life. The Lifetime Channel corrects this with a new film titled Georgia O'Keeffe which stars Joan Allen and Jeremy Irons. The film does not deal with the totality of O'Keeffe's life but instead focuses on the days and years after she meets famed photographer and art impresario Alfred Stieglitz. The movie gets off to an abrupt starts when O'Keeffe (Allen) goes to an art display which was put together by Stieglitz. She accuses him of displaying her work without her permission and he does not deny it. He does however try to justify it. From this point their relationship proceeds fairly quickly to a full fledged love affair. O'Keeffe and Stieglitz are the best thing that ever happened to each other and the worst....
- 9/18/2009
- by Jackie K. Cooper
- Huffington Post
It is clear that for a time, Georgia O'Keeffe and Alfred Stieglitz were mad crazy for each other, that sex was a great deal on their minds and that it was all mixed up with their art, which it often is. Stieglitz, who had been a collector of erotic photographs, began to take a series of nude photographs of O'Keeffe that were spectacularly intimate (There is no one better than O'Keeffe for showing that naturally voluptuous breasts are better than the ones made in the doctor's office) which he ultimately exhibited in a retrospective of his work to much public notoriety. Nobody ever said it was easy to be a muse. Alfred Stieglitz -- Georgia O'Keeffe: A Portrait (1918) But having thus been "branded" the sexy artist, O'Keeffe resisted the narrowcast and backed away from being photographed nude and "sequestered" her...
- 9/17/2009
- by Patricia Zohn
- Huffington Post
Bruce Weber's third full-length documentary (after "Broken Noses" and "Let's Get Lost") is a film of extraordinary beauty and singular vision.
Its originality also defies classification, which might make it a difficult sell to moviegoers, though the film will attract fans of Weber's earlier work and his renowned fashion photography.
"Chop Suey" is about why an artist creates -- the various influences, obsessions and loves that compel him to work. Weber's 1999 monograph "The Chop Suey Club" featured pictures (many nude) of model Peter Johnson, and fans of that book might expect the film to be a live-action recapping of those modeling sessions. The striking Johnson is featured prominently, but the film is something different, something more. Weber redefines "Chop Suey" to mean all the bits and pieces of life that go into creating a sensibility and an aesthetic.
The film was projected from video at the San Francisco International Film Festival (Weber and his producers have yet to strike a 35-mm print) and uses as sources a variety of film and video stocks. Yet it has a cohesive, consistent look. It's as if we're viewing an artist's scrapbook, and we see the color, form and motion that informs his work.
The movie is a swirl of music, models, celebrities, artists and art. A good portion is dedicated to the late singer Frances Faye. Her lover, Teri Shepherd, reminisces about Faye, and Weber shows clips of her appearances on "The Ed Sullivan Show" and other variety shows and concerts. It's clear that he admires the freedom and exuberance with which she lived her life and sang her music.
The Fletcher family, who became friends of Weber's when he photographed their son Christian, a professional surfer, for Interview magazine, brings fearless and aggressive energy to the screen, and we see the attraction they hold for Weber, even as they discuss the dark side of all that masculine daring. (Christian's drug use caused the family intense pain.)
Weber discusses his photo collection and the photographers who've affected him: Larry Clark, Alfred Stieglitz, the Westons, David Bailey, George Platt Lynes. Displaying a picture of Alain Delon and Luchino Visconti, he explains that for him, the picture is about the photographer being in love with his subjects, a theme he comes back to repeatedly.
Explaining his notorious shots of Johnson frolicking in the shower with other young men, Weber talks about his loneliness as an adolescent and his sense of unease with his own body: "We sometimes photograph things we can never be."
Weber's earlier films and photos often featured a tension between the innocent and the erotic. In "Chop Suey", Weber makes the erotic innocent. This is a stunning film.
CHOP SUEY
Just Blue Films
Producer: Nan Bush
Director: Bruce Weber
Screenwriter: Bruce Weber, Maribeth Edmonds
Directors of photography: Lance Accord,
Douglas Cooper, Jim Fealy
Music: John Leftwich
Costume designer: William Ivey Long
Editor: Angelo Corrao
Black and white and color/stereo
Running time -- 98 minutes
No MPAA rating...
Its originality also defies classification, which might make it a difficult sell to moviegoers, though the film will attract fans of Weber's earlier work and his renowned fashion photography.
"Chop Suey" is about why an artist creates -- the various influences, obsessions and loves that compel him to work. Weber's 1999 monograph "The Chop Suey Club" featured pictures (many nude) of model Peter Johnson, and fans of that book might expect the film to be a live-action recapping of those modeling sessions. The striking Johnson is featured prominently, but the film is something different, something more. Weber redefines "Chop Suey" to mean all the bits and pieces of life that go into creating a sensibility and an aesthetic.
The film was projected from video at the San Francisco International Film Festival (Weber and his producers have yet to strike a 35-mm print) and uses as sources a variety of film and video stocks. Yet it has a cohesive, consistent look. It's as if we're viewing an artist's scrapbook, and we see the color, form and motion that informs his work.
The movie is a swirl of music, models, celebrities, artists and art. A good portion is dedicated to the late singer Frances Faye. Her lover, Teri Shepherd, reminisces about Faye, and Weber shows clips of her appearances on "The Ed Sullivan Show" and other variety shows and concerts. It's clear that he admires the freedom and exuberance with which she lived her life and sang her music.
The Fletcher family, who became friends of Weber's when he photographed their son Christian, a professional surfer, for Interview magazine, brings fearless and aggressive energy to the screen, and we see the attraction they hold for Weber, even as they discuss the dark side of all that masculine daring. (Christian's drug use caused the family intense pain.)
Weber discusses his photo collection and the photographers who've affected him: Larry Clark, Alfred Stieglitz, the Westons, David Bailey, George Platt Lynes. Displaying a picture of Alain Delon and Luchino Visconti, he explains that for him, the picture is about the photographer being in love with his subjects, a theme he comes back to repeatedly.
Explaining his notorious shots of Johnson frolicking in the shower with other young men, Weber talks about his loneliness as an adolescent and his sense of unease with his own body: "We sometimes photograph things we can never be."
Weber's earlier films and photos often featured a tension between the innocent and the erotic. In "Chop Suey", Weber makes the erotic innocent. This is a stunning film.
CHOP SUEY
Just Blue Films
Producer: Nan Bush
Director: Bruce Weber
Screenwriter: Bruce Weber, Maribeth Edmonds
Directors of photography: Lance Accord,
Douglas Cooper, Jim Fealy
Music: John Leftwich
Costume designer: William Ivey Long
Editor: Angelo Corrao
Black and white and color/stereo
Running time -- 98 minutes
No MPAA rating...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.