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New retro movies in 1990s Hollywood cinema
Philip Drake

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

in Memory and popular film
Robert Giddings

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

in British cinema of the 1950s
The Pony Express at the Diamond Jubilee
Heidi Kenaga

, 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

in Memory and popular film
Open Access (free)
Jeffrey Pence

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

in Memory and popular film
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Film festivals and the revival of Classic Hollywood
Julian Stringer

’ 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

in Memory and popular film
Open Access (free)
Baker and Berman, and Tempean Films
Brian Mcfarlane

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

in British cinema of the 1950s
Separate Tables, separate entities?
Dominic Shellard

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

in British cinema of the 1950s
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Yale’s Chronicles of America
Roberta E. Pearson

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

in Memory and popular film
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Ian Scott and Henry Thompson

narratives depict Bush’s progress. One is his struggle to establish himself and win approval from his father (James Cromwell), and the second is his romance and marriage to Laura Bush (Elizabeth Banks), depicted with almost no gratuitous sentiment. Once again parental love is problematised, as Stone explored the way in which a seemingly distant love expressed by the father for his son had a crucial effect on the psychology of the future president. Bush’s struggle in W. is about recognition as much as it is about achievement. Through the portrayals of wife Laura and George

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

’s Pearl Harbor (2001) was no less popular, and revisited cinemas to much fanfare in the aftermath of 9/​11.34 In the immediate 9/​11 moment, a number of other films also began to engage with complex narratives that promulgated the ‘good war’, dedicated to notions of liberation, freedom, nation-​building and moral superiority, and which inadvertently or otherwise became de rigueur as cultural bulwarks of the Bush administration’s agenda. Using classical moorings, the nobility and romance of conflict was reaffirmed in Troy (Wolfgang Petersen, 2004), Kingdom of Heaven

in The cinema of Oliver Stone