Search results
Seattle was a huge box-office hit, grossing $228m in worldwide theatrical receipts alone, and proving extremely successful as a video and soundtrack album. On its release, many of the reviewers noted Sleepless in Seattle ’s emphasis on ‘retro-romance’, seeing it as a nostalgic revisiting of the classical Hollywood romantic comedy. 33 The trajectory of the film works gradually
submarine and the might of Nazi sea power. In 1958 he directed an adaptation of Richard Mason’s romantic wartime novel The Wind Cannot Read , with Dirk Bogarde as a naive British officer who falls in love with a young Japanese interpreter with terminal brain disease. 8 The doomed romance is enacted in a threatening and exotic (and confusing) Raj setting. It has one extraordinary sequence, usually cut for transmission on British
, the usual process of fiction-to-film adaptation is reversed: Forman’s historical novel, The Pony Express: A Romance , derived from his research for the film, was published after the movie’s premiere. 14 Demonstrating the studio’s disavowal of any economic imperative behind the prestige frontier feature, this text helped reinforce Paramount’s promotional claims that their films offered patrons a
Here we might think also of the father in Family Viewing , methodically revising the family romance by overdubbing home videos of his first marriage and son’s childhood with pornographic footage which he and his partner are coached through by a phone sex worker. Despite these characters’ attempts to transform and exoticise themselves, their alienation from such idealised identities remains
. Do we foresee that the character or the governance of the town would be thereby improved? Let us go further and imagine a cinema purged of its worst elements – careless violence, unfunny comedy and lifeless romance. It would therefore have to remain dark most of the time, but still we can imagine from time to time a film of
’ since The Exorcist has been widely available for years on video in a slightly different version. Against this, the titles exhibited as part of the Warner Brothers Shorts series wear their obscurity like a badge of honour: examples include Romance of Robert Burns (‘as it says (expect the worst), with Owen King, 1937’ [65]) and Hollywood Wonderland (‘Fritz Feld . . . as a Michael Curtiz
thriller, not so easy to hook them on a soft romantic plot.’ 11 It may be that in relation to romantic films, audiences expect major stars as a focus for their attention and empathy. For whatever reason, none of Tempean’s second features fall into this category. There is usually a romantic action proceeding in parallel with the thriller plot, as was the case with most crime films, but the romance was never the centre of
and the Major, but for the film Burt Lancaster was John and David Niven took the part of Major Pollock. The film played up a hint of romance between the Major and Sybil Railton-Bell, suggesting at least a potential heterosexuality for the military man. Rattigan never wanted this, however, thinking it would be a ‘bowdlerisation of the original’. 9 So the studio covertly employed a second screenwriter
conspicuously absent from The Chronicles of America . The Last of the Mohicans , directed by Maurice Tourneur, features two Indian protagonists: Magua, so savage that he ‘does not kill his prisoners. He tortures them’, and Uncas, the titular last of his race, so noble that the film permits a romance between him and the white heroine, Cora. The film here follows its literary source
be thereby improved? Let us go further and imagine a cinema purged of its worst elements – careless violence, unfunny comedy and lifeless romance. It would therefore have to remain dark most of the time, but still we can imagine from time to time a film of quality would appear and, duly approved by the canons of good taste whom we would appoint, merit a screening. The prices