Robert Redford: 'The Great Gatsby' and 'The Way We Were' tonight on Turner Classic Movies Turner Classic Movies' Star of the Month Robert Redford returns this evening with three more films: two Sydney Pollack-directed efforts, Out of Africa and The Way We Were, and Jack Clayton's film version of F. Scott Fitzgerald's classic novel The Great Gatsby. (See TCM's Robert Redford film schedule below. See also: "On TCM: Robert Redford Movies.") 'The Great Gatsby': Robert Redford as Jay Gatsby Released by Paramount Pictures, the 1974 film version of The Great Gatsby had prestige oozing from just about every cinematic pore. The film was based on what some consider the greatest American novel ever written. Francis Ford Coppola, whose directing credits included the blockbuster The Godfather, and who, that same year, was responsible for both The Godfather Part II and The Conversation, penned the adaptation. Multiple Tony winner David Merrick (Becket,...
- 1/21/2015
- by Andre Soares
- Alt Film Guide
Robert Redford: 'The Great Gatsby' and 'The Way We Were' tonight on Turner Classic Movies Turner Classic Movies' Star of the Month Robert Redford returns this evening with three more films: two Sydney Pollack-directed efforts, Out of Africa and The Way We Were, and Jack Clayton's film version of F. Scott Fitzgerald's classic novel The Great Gatsby. (See TCM's Robert Redford film schedule below. See also: "On TCM: Robert Redford Movies.") 'Out of Africa' Out of Africa (1985) is an unusual Robert Redford star vehicle in that the film's actual lead isn't Redford, but Meryl Streep -- at the time seen as sort of a Bette Davis-Alec Guinness mix: like Davis, Streep received a whole bunch of Academy Award nominations within the span of a few years: from 1978-1985, she was shortlisted for no less than six movies.* Like Guinness, Streep could transform...
- 1/21/2015
- by Andre Soares
- Alt Film Guide
We've heard lots about Natalie Portman's travails as a fictional prima ballerina in Darren Aronofsky's film, but she's just the latest in a long line of doomed cinematic dancers
Warning: contains spoilers
Yesterday's G2 interviews on Darren Aronofsky's ballet film Black Swan made me think about how feature films have incorporated ballet into their stories. Most people will think immediately of musicals, which have a readymade slot in their song-and-dance numbers, or of wish-fulfilment fantasies: Fame, Flashdance, Center Stage, Save the Last Dance and the like. From that standpoint, Black Swan looks like an exception. But look beyond these films and two other genres come to the fore: melodrama and horror.
Over decades and across continents, ballet dancers in feature films have consistently been associated with hysteria, madness, torture, the supernatural and death. Former New Yorker critic Arlene Croce dubbed this a "tradition of morbidity", and certain...
Warning: contains spoilers
Yesterday's G2 interviews on Darren Aronofsky's ballet film Black Swan made me think about how feature films have incorporated ballet into their stories. Most people will think immediately of musicals, which have a readymade slot in their song-and-dance numbers, or of wish-fulfilment fantasies: Fame, Flashdance, Center Stage, Save the Last Dance and the like. From that standpoint, Black Swan looks like an exception. But look beyond these films and two other genres come to the fore: melodrama and horror.
Over decades and across continents, ballet dancers in feature films have consistently been associated with hysteria, madness, torture, the supernatural and death. Former New Yorker critic Arlene Croce dubbed this a "tradition of morbidity", and certain...
- 1/7/2011
- by Sanjoy Roy
- The Guardian - Film News
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