#Pride and Prejudice 1979

[historicalreusedcostumes]

This pale purple evening gown is worn on Doran GodwinEmma Woodhouse in Emma (1973) and later worn on Marsha Fitzalan as Caroline Bingeley in Pride and Prejudice (1979)

[austenreusedcostumes]

This Fuzzy beige coat is worn on Doran Godwin as Emma Woodhouse in Emma (1973) and later worn on Marsha Fitzalan as Miss Bingley in Pride & Prejudice (1979)

[recycledmoviecostumes]

This necklace has been used at least eight times over the years. It was first seen in the 1974 adaptation of Murder on the Orient Express, where Jaqueline Bisset wore it as Countess Andrenyi. In 1979 it appeared on Sarah Jane Curran as Princess Augusta Sophia in The Prince Regent as well as on Clare Higgins as Kitty Bennet in Pride and Prejudice. It was not used again until 1997 when it appeared on Greta Scacchi as Juliana in The Serpent’s Kiss. In 2005 it was seen on the BBC production Beethoven, worn by Holly Radford as Eleonore Wegeler, and in 2007 it appeared in Love in the Time of Cholera adorning the neck of Giovanna Mezzogiorno as Fermina. In 2009 it was recycled by Laura Pyper as Jane Fairfax in Emma, and finally in 2022 it was spotted being worn by Gwendoline Christie as Principal Larissa Weems in Wednesday.

Costume Credit: carsNcors, Shrewsbury Lasses, Aurora

Contact Us: submissions@recycledmoviecostumes.com

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[haveyouseenthishorrormovie]

Stats from Movies 1401-1500

Top 10 Movies - Highest Number of Votes

Blue Monkey (1987) had the most votes with 1,611 votes. The Ring Two (2005) had the least votes with 331 votes.

The 10 Most Watched Films by Percentage

Hellboy (2004) was the most watched film with 62.7% of voters out of 785 saying they had seen it. The Boneyard (1991) had the least "Yes" votes with 1,7% of voters out of 484.

The 10 Least Watched Films by Percentage

Death Note (2017) was the least watched film with 73.7% of voters out of 797 saying they hadn’t seen it. Blue Monkey (1987) had the least "No" votes with 13,7% of voters out of 1,611.

The 10 Most Known Films by Percentage

Sharknado (2013) was the best known film, 2,2% of voters out of 641 saying they’d never heard of it.

The 10 Least Known Films by Percentage

Blue Monkey (1987) was the least known film, 84,5% of voters out of 1,611 saying they’d never heard of it.

The movies part of the statistic count and their polls below the cut.

Altitude (2010) Bram Stoker's Dracula (1992) Corpse Party (2015) The Ring Two (2005) Rose Red (2002) Shadow of the Vampire (2000) Sharknado (2013) Sinister 2 (2015) The Disappointments Room (2016) The Eye (2008)

Frogs (1972) Grave Encounters 2 (2012) Harbinger Down (2015) Shivers (1975) Red Riding Hood (2011) Rabid (1977) Rabid (2019) Pulse (2006) Hellraiser (2022) The Grudge (2004)

Extraordinary Tales (2013) The Exorcism of Emily Rose (2005) The Deaths of Ian Stone (2007) Outpost (2008) The Collection (2012) The Wolfman (2010) John Dies at the End (2012) Krampus (2015) You Should Have Left (2020) Deep Blue Sea (1999)

From Hell (2001) The Raven (2012) V/H/S/2 (2013) An American Werewolf in Paris (1997) Apt Pupil (1998) The Amityville Horror (2005) Jug Face (2013) I, Frankenstein (2014) The Long Night (2022) Evolution (2015)

Last Shift (2014) The Toolbox Murders (1978) Q: The Winged Serpent (1982) Island of Lost Souls (1932) The Omen (2006) The Burning (1981) The Island of Dr. Moreau (1996) The Open House (2018) Underwater (2020) The Gravedancers (2006)

The Last Voyage of the Demeter (2023) Mary Shelley's Frankenstein (1994) Necronomicon: Book of Dead (1993) Parasite Eve (1997) Shocker (1989) Uncle Sam (1996) Wolf (1994) X: The Man with the X-Ray Eyes (1963) Stake Land (2010) The Possession (2012)

Underworld: Evolution (2006) Underworld: Rise of the Lycans (2009) Underworld: Awakening (2012) Underworld: Blood Wars (2016) The Grudge 2 (2006) Zombeavers (2014) The Boneyard (1991) Prophecy (1979) Book of Shadows: Blair Witch 2 (2000) Pride and Prejudice and Zombies (2016)

Prometheus (2012) Se7en (1995) Hellboy (2004) Hellboy II: The Golden Army (2008) Midnight Mass (2021) House on Haunted Hill (1999) Death Note (2017) Cat People (1982) Mulberry Street (2006) Jeepers Creepers 2 (2003) Halloween II (1981) Halloween 4: The Return of Michael Myers (1988) Wes Craven's New Nightmare (1994) Feardotcom (2002) The First Omen (2024) Humanoids from the Deep (1980) Something Wicked This Way Comes (1983) Poltergeist (2015) Halloween 5: The Revenge of Michael Myers (1989) Halloween: The Curse of Michael Myers (1995)

Halloween H20: 20 Years Later (1998) A Nightmare on Elm Street (2010) Mutant (1984) Ghoulies (1984) Neon Maniacs (1986) Blue Monkey (1987) Night of the Demons (1988) Ghostbusters II (1989) Kuchisake-onna (2007) Teketeke (2009)

Them (2006)

[anghraine]

What are your opinions on Pride and Prejudice 1980 overall?

Would you say that it is a faithful adaptation? Would you recommend it to a P&P fan?

I'm very partial to it and I would rate it over the 1995. I know most people adore the 1995 version, though.

I love it!

I was just talking about my two favorite adaptational takes on P&P here, and the 1980 P&P is one of them.

It definitely has flaws, both as a work in its own right and as an adaptation. You were asking about how it functions as adaptation, so I'm going to focus on that, but the overall aesthetic is extremely 1979 on a limited budget. Some of the visual/narrative choices are very staid adaptationally (like showing Elizabeth reading Darcy's letter by ... literally showing Elizabeth reading the letter).

On the flip side, there are a few improbable divergences, most notably the rushed and peculiar presentation of the second proposal (though getting a glimpse of post-proposal Darcy and Elizabeth's happiness counts for a lot for me!). There's also stuff added that doesn't really change anything, but is arguably not faithful per se. And this is not always acknowledged by the fans it does still have. Personally, I love the weird instrumentation that follows Mr Collins around and Mr Hurst's anti-mountain agenda, but people's mileage may vary.

Beyond that, I love it as an adaptation that veers away from tapping into accessible (or caricatured) stereotypes the way the 1995 does. The 1980 P&P's characters really do feel to me like very specific and usually more nuanced interpretations of the original characters compared to basically every other version of P&P—not necessarily my interpretations, but I always feel like I can see where the interpretation is coming from, beyond appeals to contemporary audience sensibilities.

Elizabeth Garvie's Elizabeth is the jewel of the production for me—charming, lively, witty, vain, with a distinct tinge of sweetness that I think adaptations often lose sight of. It's honestly difficult to even say much about her because she is simply perfect to me.

David Rintoul's Darcy is probably my favorite Darcy, too. His demeanor isn't exactly what I personally imagine, to be sure (he's not as somberly brooding as Colin Firth's Darcy, but the spirited, smiling cleverness Darcy shares with Elizabeth isn't quite there for me). But I truly respect the choice to retain the general stiffness and formality of his character rather than reducing him to a more palatable love interest/sex object. He's allowed to be odd and to make us uncomfortable in a way I don't think other adaptations are willing to risk with him.

As for the others, Bingley, Jane, and Georgiana all give the impression of more substance to them than they usually get IMO. Mrs Bennet and Caroline are obnoxious but not particularly caricatured (without the adaptation seeming apologetic towards them, either). I love the stylish, younger Mrs Gardiner and Lady Catherine, and the relatively subtle versions of their personalities. Probably the only character choice that doesn't work adaptationally for me is the very harsh Mr Bennet, who lacks much of the endearing wit of the original—though even there, I can appreciate how unwilling the adaptation is to give him a pass (by stark contrast with the much cuddlier Mr Bennets of most other productions).

Would I call it faithful? Not universally, but it is the most engaged with the novel IMO. I don't think anything is so faithful that an adaptation can be a perfect interpretation that shouldn't ever be tried again and done better, but it is the most faithful P&P out there for me, still.

Would I recommend it to a P&P fan? That's a bit harder. It's aesthetically/cinematically dated and in some ways, it's better as interpretation than as television. For people who aren't used to that staid late 70s BBC approach ... idk, it can be a tough sell. I wouldn't casually recommend it, I guess, just because the contrast with the polish of the 1995 and the beauty of the 2005 is so stark. But for people who can look past that 70s BBC period drama baggage, there's a lot that's really interesting and engaging about it.

I certainly prefer it to the 1995, but since I intensely dislike the 1995, that's not saying a whole lot. It's probably more useful on my end to say that I just really love the 1980 P&P, despite having criticisms of it. I don't even know how many times I've watched it. For me, it's a joy.

[the-jupiter-knight]

tagged by @cryptarchs-qualm

rules: list your five all time favorite films and have people vote on which one matches your vibe

except i couldn't pick just 5 sorryyyyy.

i'm tagging @last-son-of-mars @thelordofblades @werepaladin @saffronlesbian and @impzone

sorry if u guys already did this 🫡

[ancientphantom]

Here comes a great month for new Phantom stuff!

Horrified by Lauren DeLuca is a comedy revolving around a frazzled theater manager being harassed by mysterious accidents and disappearing performers. DeLuca's done straight Phantom adaptations before, so this one is likely to be more than a little bit the same story, this time with a humorous twist.

Erik's Tale by Jessica Mason is a prequel to her adaptation of the original story, focusing largely on Erik's childhood and adolescence and specifically his time being exhibited in the traveling carnival, in the Shah's court in Persia, and various new European adventures in between.

Phantom by K.M. Mixon is a modern-day version of the story, revolving around a young woman writer who tries to retreat to work on a book only to have to deal with both a frightening stalker obsessed with her talent and a sexy landlord who may be her only hope.

The Phantom of Netherfield by Abbey North is exactly what you might be expecting - a Phantom and Pride & Prejudice crossover, in which Lizzie inherits a theater and tries to keep it afloat while a Fitzwilliam Phantom moons over her from below the stage. (For those wondering, Raoul has been cast as Wickham, so this is not a particularly pro-Raoul adaptation, I suspect.)

Phantom: The Musical is a professionally shot version of the 1991 Yeston/Kopit musical, which is extremely popular in Asia and often sees lush adaptations. This is the newest one from South Korea, featuring k-pop idol Kyuhyun from the group Super Junior in the lead role.

Phantom Fun-World is an amusement-park slasher featuring a masked Phantom who menaces Fun World and its employees, apparently due to some past trauma or betrayal. (Fun to wonder if it owes anything to the 1979 KISS film, or the Wonder Woman episode!)

Synthwave: The Phantom of the Opera is one of those neat projects putting a new spin on the 1925 Lon Chaney film, with new custom color and music to change its vibes. (These are always cool because they come close to the original theatrical experience - the movie would have been accompanied by a live organ- or piano-player and thus would have had different soundtracks at different performances!)

[emotionallychargedtowel]

10 comfort shows

I was tagged by @imlivingformyselfdontmindme for this thing. Thanks! The instructions are simple: "List 10 comfort shows and then tag 10 people." But I'm not a big tagger, and a lot of folks I know have done this already. If you haven't, though, and you're interested, please do!

The instructions said "10 comfort shows" not your favorite 10 comfort shows or the ones you watch the most often. So I made a list and I picked the ten that I immediately thought of something to say about. i'm all about comfort viewing and watching things repeatedly so I had to leave quite a few things off of this list.

Future Boy Conan

I've lost count of how many times I've seen this series. It really is one of the most life-affirming, wholesome (in the real way) pieces of media I've ever encountered. The first time I saw it, I went into it expecting to see a fairly run-of-the-mill anime series with some early glimmers of Miyazaki's aesthetic and themes. But it's a frickin' masterpiece. Themes and visual mannerisms you see throughout Miyazaki's career are already here, full-blown, but it's also distinct from his other work in a way that makes it feel really fresh even if you've gone through his whole movie oeuvre. Mostly it just always has its heart impeccably in the right place.

Pride and Prejudice (1995)

Don't talk to me about that movie. This is the adaptation against which all others must be measured. Faithful as heck to the book in most respects (we won't talk about Wet Darcy either), with an incredible cast, not to mention the costumes, set design, and locations. Watching this miniseries as a teenager could be the reason I'm still obsessed with shows and movies where half of the story is told through meaningful glances.

To My Star (1&2)

I really lucked out having this show as one of my first BLs, except that I nearly squandered the opportunity because I wasn't paying close attention and missed a lot of the subtle details. And this is a show that is full of really subtle details! Talk about telling a story through meaningful glances. There's a lot going on on a nonverbal level in this one. It helps that the leads have such a great, nuanced kind of chemistry together and both just seemed to show up for these roles ready to dig deep and be present. Thank goodness I went back and rewatched this one after that first attempt! I know for some folks the second season premise was really painful, but I found it to be completely worth it in the end. I'd happily watch a third season if they made one. In the meantime, I continue to rewatch both series (sometimes in movie form) regularly and I notice different things each time.

Spaced

This show was there for me at a time in my life when I needed comfort shows the most, when I was rebuilding my life after the abusive relationship that consumed most of my 20s. It's usually described in terms of the various pop culture references it uses, the movies the director and one of the co-writer/co-stars went on to make, or in some kind of generational terms as representing a demographic.

But I don't think those things are what make it interesting and rewarding. I guess the thing it boils down to at the end of the day is that it's very much a found family story. And an unconventional love story in which the two leads may or may not get together--after the series--but no matter what type of relationship theirs turns out to be, it will have changed them both for the better. In the meantime they’re facing their fears, honestly fixing their mistakes, and broadening their horizons, and they’re always lovable while being riddled with personal flaws.

Also, after having been raised on Coen Brothers movies and coming of age during the heyday of The Simpsons, I'm a sucker for a really quotable piece of media.

Tinker, Tailor, Soldier, Spy (1979)

When it comes to adaptations, I usually have a strong preference for one while writing off the others. In this case, there are things I appreciate about the Tomas Alfredson film that this adaptation doesn't do as well, but this version has a great deal to say for itself too. The adaptation really captures Le Carré's voice, the cast is incredible, and the whole miniseries just has this wonderful pervasive tone to it that's not like anything else. (The soundtrack is unobtrusive but very effective, and it has a lot to do with that.)

I don't know if it's the fact that this series came out when I was a toddler and has the look and feel of a lot of shows my parents would watch on PBS when I was a child (heck, I bet they watched this very show on PBS), but this suspenseful spy thriller makes me feel relaxed as hell. Having seen it a ton of times helps, too. There's never anything resembling a surprise. But even if this type of series doesn't feel like your childhood and even if you're going to be surprised right and left by the plot, I think it's an incredibly well-constructed piece of work that almost anyone could enjoy.

Emma (2009)

I'm very picky about my Austen adaptations. Emma has been adapted quite a bit, and I've found at least something to like about every version I've seen. But this is the best one by a good margin. I always love Romola Garai in anything, and she's lovely here--assertive, vulnerable, annoying when she should be and charming the rest of the time. She does a wonderful job portraying all of the subtle gradations of self-awareness that build in Emma throughout the story.

But I think the decisive factor has to be the screenplay and direction (not to mention other behind-the-scenes aspects). The folks behind this version just seem to have prioritized capturing the subtleties of the novel more than others. There are a few points where this is particularly apparent. One example is how this adaptation treats Frank Churchill. The 2009 version of Frank shows what a capricious, moody, immature person he is, but it also shows his good nature and the ways he tries to be open (in the novel, he attempts to tell Emma about his engagement to Jane Fairfax on multiple occasions and mistakenly believes she understands him). Hewing to the novel makes for a more complex, engaging character than the two-dimensional cad most other adaptations make out of Frank. The portrayal of the Box Hill incident is another example. This version of Emma has the most uncomfortable, unsparing rendering of Emma's insulting comment to Miss Bates that I've seen, but it also tempts us to laugh along with Emma. The scene in the novel is exactly the same way--it's complicated and makes us acknowledge our ambivalence. This adaptation keeps all of these strands alive in the story and the miniseries is better for it.

Buffy the Vampire Slayer

It's weird looking back now on how BtVS seemed back when it was new. Our standards were different for a reason. TV really wasn't as interesting or as progressive as it is now, and the range of both was narrower. Having a cishet white dude showrunner who would willingly utter the word "feminism" seemed like a remarkable piece of good fortune. And of course, we didn't know what was going on behind the scenes.

I imprinted on this show like a baby chick back then. It's not really possible for me to be objective about it. If I think it's good, how much of that is its actual quality and how much is the fact that it seemed like such a gift back then compared to what we were all used to? Well, some of it at least was actual quality, but I can't tell how much. So this show is special to me partly because it's grandfathered in due to circumstances and partly because it's actually good.

I remember when it seemed wild to me that there were people who could talk about  a TV show and discuss episodes by title. BtVS was the first show I did that with myself. Eventually, it didn't seem that remarkable. Basically, this was the show that made me into a fan.

This is another show that was there for me after my abusive relationship ended. I remember at times when I was lonely (which happened a lot; not only was I newly single, I also had to start almost entirely from scratch when it came to friendships) I would look at my little dvd binder thingy with my pile of Buffy discs and tell myself, "If all else fails, I have all these shows to watch until things improve."

She-Ra

There’s that found family theme again! How could you go wrong with a story that starts with foundlings raised by a witch and a clone soldier to fight in their evil army, then follows them as they slowly get their consciousnesses raised and find their own identities and meaningful connections? It's a remarkably subversive and deeply queer show. We were in a miniature golden age for high-quality, politically progressive, LGBTQ+ friendly American animated series for a while there, and this show was not only a part of it but a particular highlight. It's been tapering off for a while now and it's sad to see it come to an end, but at least we got shows like this one and we can keep watching them and introducing people to them.

Star Trek: Deep Space Nine

I don’t know why a series that’s so steeped in existential dread feels so cozy to me, but it does. Well, I guess it’s because the show is about finding your people, your coping strategies, and the unapologetically weird little hobbies that will help you to muddle through war, loss, spiritual crises, and the challenges of long-term love.

That, and it reminds me of my mom.

A lot of ink has been spilled over this series so I won't try to explain beyond that why it's so special. But I will say that it is absolutely the best Star Trek series. It's unpopular with a certain type of fan, but those philistines dislike it for exactly the same qualities that make it so great.

Kikai Sentai Zenkaiger

I'm indecisive and bad at picking favorites, so I'm not sure what I'd consider my favorite tokusatsu series or even just my favorite sentai series. Zenkaiger would rank pretty high up there in both at the very least. But this is a list of comfort shows, not favorite shows or the best shows, and that's a category in which Zenkaiger is completely unbeatable. It's hopeful, funny, idealistic, and more than anything, definitely the sweetest toku show I've ever seen. It's also easy to pick a random episode and watch it out of context because of the villain-of-the-week thing (not that the larger-scale arc of the series wasn't also compelling).

This is yet another found family show. Families of origin are still very important in the series. The central characters are all trying to find, help, or learn about one or more of their family members. But it's also about blending your found family and your family of origin into a group so inclusive that it includes aliens and robots.

I'm only picking one gif for each show on this list except for this one. I couldn't pass up having one for Kaito, one for Stacy, and one for Zox.

(Edited to add: I switched out the three gifs here for a single replacement because I realized two of the ones I originally used were made by someone who requests that others not repost them.)

[visageofstars]

My Films

Pride and Prejudice (1995). Most ardently.

Sherlock Holmes and Dr Watson (1979). There is no one who knows the higher criminal world of London so well as I do.

Alice in Wonderland (1981). Alice Through the Looking Glass (1982). Couriouser and couriouser.

Barbie in the 12 Dancing Princesses (2006). You will shine.

[kettricken]

I wasn't tagged but I saw ppl doing this so I'm gonna do it as well :-)

(add me on letterboxd btw)

[valorums]

10 Movies that You Would Watch 500 Times

what are your favorite movies? list them and tell us!

my answers, in no particular order:

1776 (1972)

Star Wars: The Empire Strikes Back (1979)

Titanic (1997)

Mean Girls (2004)

Pride and Prejudice (2005)

Night at the Museum (2005)

Inception (2010)

Lincoln (2012)

Barbie (2023)

The Ballad of Songbirds and Snakes (2023)

TAGGED BY no one. I stole this from @vaderari LOL

TAGGING @tapalslegacy, @nieithryn, @vendettavalor, @jaigalorad, @lightfaithed, @debelltio, @lessthantwelve, @raehs, @bcbliophile, @misfittcd, @oflightsbeam, @luposcainus, AND YOU. All tags on dash games are no pressure, so feel free to ignore this if you want!

[philcollinsenjoyer]

hello auguste do u have movie recommendations.. just like any movies

helloooo how are you<3 i sure do i can give you a few based on genres if you want since you didn't specify! i don't really have any deep cuts i'm not a big enough cinephile yet💔 you'll forgive me if you've seen some:

romance and romcoms:

bringing up baby (1938) - some like it hot (1959) - when harry met sally (1989) (i know it's a tumblr classic but just in case i can't stress enough how much you need to see it) - 4 weddings and funeral (1994) - whisper of the heart (1995) - dirty dancing (1987) (again. but you need to see it.) - pride and prejudice (1995) (i insist on the date. watch all 5 hours.) - amélie (2001) - two weeks notice (2002) - saved! (2004) (wasn't sure where to put it exactly i guess i'll say romance but it's so much more) - rye lane (2023)

horror:

rebecca (1940) - the red shoes (1948) - rear window (1954) - psycho (1960) - rosemary's baby (1968) - suspiria (1977) - alien (1979) - the thing (1982) - child's play (1988) - final destination (2000) - saw (2004) - house of wax (2005) - black swan (2010) - the cabin in the woods (2011) - unfriended (2014) - train to busan (2016) - happy death day (2017) - nope (2022) & get out (2017)

thrillers dramas and action movies :

dial m for murder (1954) - donkey skin (1970) - dog day afternoon (1975) - ...and justice for all (1979) - amadeus (1984) - karate kid (1984) - the last temptation of christ (1988) - dead poets society (1989) - boyz n the hood (1991) - speed (1994) - la haine (1995) - heat (1995) - practical magic (1998) - velvet goldmine (1998) - fight club (1999) - 28 days (2000) - erin brockovich (2000) - billy elliot (2000) - panic room (2004) - kung fu hustle (2004) - mysterious skin (2004) (look up the triggers for this one) - brick (2005) - julie & julia (2009) - a single man (2009) - shutter island (2010) - inception (2010) - the girl with the dragon tattoo (2011) (look up triggers as well) - gone girl (2014) - the handmaiden (2016) - thoroughbreds (2017) - hustlers (2019) -

musicals (with the note that i generally don't like musicals that much so👍)

singin' in the rain (1952) - yellow submarine (1968) (💗) - jesus christ superstar (1973) - grease (1978) - a monster in paris (2011)

fuckass roadtrip movies :

it happened one night (1938) - the outsiders (1983) - my own private idaho (1991) - thelma & louise (1991) - my cousin vinny (1992) - little miss sunshine (2006) - stardust (2007) - the voyage of the dawn threader (2010) - the green knight (2021) (i'm putting this one in for the bit don't actually watch it it's bad)

[weeping-laurels]

Top 3 favourite books?

-💿

Oh, I don’t like reading so I don’t know.

I’m kidding, I love so many books, so I’ll try to do my top 3 by, like, their time periods:

True Classics (antiquity-1918)

1. The Count of Monte Cristo (1844)

2. Pride and Prejudice (1813)

3. The Phantom of the Opera (1910)

Twentieth Century Classics (1919-1989)

1. One Flew Over the Cuckoo’s Nest (1962)

2. The Hitchhiker’s Guide to the Galaxy (1979)

3. The Great Gatsby (1925)

Contemporary (1990-present)

1. We Need to Talk About Kevin (2003)

2. The Prestige (1995)

3. Nightbitch (2021)

Actually I think I just answered your question exactly, I suppose my top three would be:

1. The Count of Monte Cristo

2. One Flew Over the Cuckoo’s Nest

3. We Need to Talk About Kevin

All three happen to be great films too. Watch 2002 Monte Cristo for tiny Henry Cavill.

[princess-suzanne]

💗 MOVIE TAGS 💗  

A

🤍 a bear named winnie (2004) 🤍 a dangerous method (2011) 🤍 a fistful of dollars (1964) 🤍 a most violent year (2014) 🤍 a room with a view (1985) 🤍 a royal affair (2012) 🤍 a streetcar named desire (1951) 🤍 a woman is a woman (1961) 🤍 an education (2009) 🤍 agora (2009) 🤍 all about eve (1950) 🤍 amadeus (1984) 🤍 and god created woman (1956) 🤍 angel (2007) 🤍 anna karenina (1948) 🤍 armageddon time (2022) 🤍 the artist (2011) 🤍 ashes and diamonds (1958) 🤍 atonement (2007)

B

🤍 the banshees of inisherin (2022) 🤍 barefoot in the park (1967) 🤍 the beguiled (2017) 🤍 belle (2013) 🤍 the big sleep (1946) 🤍 the bikeriders (2023) 🤍 the birds (1963) 🤍 bonnie and clyde (1967) 🤍 bram stoker’s dracula (1992) 🤍 breakfast at tiffany’s (1961) 🤍 brokeback mountain (2005) 🤍 brooklyn (2015) 🤍 bugsy (1991) 🤍 butch cassidy and the sundance kid (1969)

C

🤍 cabaret (1972) 🤍 captain america: the first avenger (2011) 🤍 carnival of souls (1962) 🤍 carol (2015) 🤍 casablanca (1942) 🤍 casino (1995) 🤍 cat on a hot tin roof (1958) 🤍 chicago (2002) 🤍 cléo de 5 à 7 (1962) 🤍 cleopatra (1963) 🤍 cria cuervos (1976) 🤍 crimson peak (2015)

D

🤍 daisies (1966) 🤍 dangerous liaisons (1988) 🤍 the danish girl (2015) 🤍 dead poets society (1989) 🤍 the debt (2010) 🤍 dirty dancing (1987) 🤍 don’t bother to knock (1952) 🤍 don’t worry darling (2022) 🤍 dracula (1931) 🤍 the duchess (2008) 🤍 dunkirk (2017)

E

🤍 east of eden (1955) 🤍 the edge of love (2008) 🤍 eileen (2023) 🤍 elizabeth (1998) 🤍 elizabeth: the golden age (2007) 🤍 elvis (2022) 🤍 emma (2020) 🤍 the end of the affair (1999) 🤍 the english patient (1996) 🤍 enola holmes (2020) 🤍 the eyes of tammy faye (2021)

F

🤍 fanny and alexander (1982) 🤍 the favourite (2018) 🤍 for a few dollars more (1965) 🤍 funny girl (1968)

G

🤍 gentlemen prefer blondes (1953) 🤍 giant (1956) 🤍 gilda (1946) 🤍 the girl on a motorcycle (1968) 🤍 gladiator (2000) 🤍 the godfather (1972) 🤍 the godfather: part ii (1974) 🤍 gone with the wind (1939) 🤍 the good, the bad and the ugly (1966) 🤍 goodfellas (1990) 🤍 the graduate (1967) 🤍 the grand budapest hotel (2014) 🤍 grand hotel (1932) 🤍 grease (1978) 🤍 the great gatsby (1974) 🤍 the great gatsby (2013) 🤍 guess who’s coming to dinner (1967)

H

🤍 the help (2011) 🤍 high noon (1952) 🤍 hiroshima mon amour (1959) 🤍 how to marry a millionaire (1953) 🤍 how to steal a million (1966)

I

🤍 ida (2013) 🤍 il gattopardo (1963) 🤍 the immigrant (2013) 🤍 in secret (2013) 🤍 inglorious basterds (2009) 🤍 it happened one night (1934)

J

🤍 jane eyre (2011)

K

🤍 the king (2019) 🤍 knife in the water (1962)

L

🤍 la dolce vita (1960) 🤍 la notte (1961) 🤍 la strada (1954) 🤍 ladies in lavender (2004) 🤍 lady chatterley’s lover (2015) 🤍 lady macbeth (2016) 🤍 the lady from shanghai (1947) 🤍 the last duel (2021) 🤍 legend (2015) 🤍 les misérables (2012) 🤍 the light between oceans (2016) 🤍 little women (2019) 🤍 the lover (1922) 🤍 the love witch (2016) 🤍 l’avventura (1960) 🤍 l’eclisse (1962)

M

🤍 macbeth (2015) 🤍 malèna (2000) 🤍 man with a movie camera (1929) 🤍 marie antoinette (2006) 🤍 mary, queen of scots (2018) 🤍 the master (2012) 🤍 meshes of the afternoon (1943) 🤍 miller’s crossing (1991) 🤍 the mirror (1975) 🤍 the misfits (1961) 🤍 moulin rouge! (2001) 🤍 the mummy (1999) 🤍 my fair lady (1964)

N

🤍 ninotchka (1939) 🤍 north by northwest (1959) 🤍 the northman (2022) 🤍 nosferatu the vampyre (1979)

O

🤍 once upon a time in america (1984) 🤍 once upon a time... in hollywood (2019) 🤍 once upon a time in the west (1968) 🤍 operation finale (2018) 🤍 the other boleyn girl (2008) 🤍 outlaw king (2018)

P

🤍 the pale blue eye (2022) 🤍 persona (1966) 🤍 phantom thread (2017) 🤍 the pianist (2002) 🤍 picnic at hanging rock (1975) 🤍 pride & prejudice (2005) 🤍 the prince and the showgirl (1957) 🤍 priscilla (2023) 🤍 the promise (2016) 🤍 psycho (1960) 🤍 the public enemy (1931) 🤍 purple noon (1960)

R

🤍 raging bull (1980) 🤍 rebel without a cause (1955) 🤍 rear window (1954) 🤍 repulsion (1965) 🤍 river of no return (1954) 🤍 the roaring twenties (1939) 🤍 rocco and his brothers (1960) 🤍 roman holiday (1953) 🤍 rosemary’s baby (1968) 🤍 rush (2013)

S

🤍 scarface (1932) 🤍 scarface (1983) 🤍 sense and sensibility (1995) 🤍 the seven year itch (1955) 🤍 the seventh seal (1957) 🤍 singin’ in the rain (1952) 🤍 sissi (1955) [trilogy] 🤍 slow west (2015) 🤍 some like it hot (1959) 🤍 the sound of music (1965) 🤍 splendor in the grass (1961) 🤍 the sting (1973) 🤍 stoker (2013) 🤍 summerland (2020) 🤍 sunset boulevard (1950) 🤍 sweet bird of youth (1962) 🤍 the swimming pool (1969)

T

🤍 their finest (2016) 🤍 the third man (1949) 🤍 this property is condemned (1966) 🤍 titanic (1997) 🤍 to catch a thief (1955) 🤍 to kill a mockingbird (1962) 🤍 tokyo story (1953) 🤍 the two faces of january (2014)

V

🤍 vertigo (1958) 🤍 vita & virginia (2018)

W

🤍 walk the line (2005) 🤍 waterloo bridge (1940) 🤍 west side story (1961) 🤍 white noise (2022) 🤍 who’s afraid of virginia woolf? (1966) 🤍 the wild one (1953) 🤍 wild strawberries (1957) 🤍 woman walks ahead (2017) 🤍 the wonder (2022) 🤍 wuthering heights (1992)

Z

🤍 the zookeeper’s wife (2017)

[theliterarialetter-dispatch]

Pride and Prejudice was called First Impressions?!

"October, 1796. First Impressions is an early version of Jane Austen’s well-known novel Pride and Prejudice and the first of her novels to be completed. She began writing the novel in October 1796 after visiting her brother Edward and his wife Elizabeth in Kent. Marilyn Butler in her biography of Austen suggests that the novel may have been written as “an instinctive reaction against Kent hauteur.” In August 1797 Jane finished the novel. 

In November 1979 Jane’s father, George Austen, then offered the manuscript to publisher Thomas Cadell. The publisher rejected the novel without seeing the manuscript. Despite this rejection, First Impressions remained, according to Butler who cites Jane’s letters to Cassandra, a family favorite. David Nokes, however, says that after leaving the rectory at Steventon, “First Impressions” was rarely brought to read aloud, indicating a change that occurred after the move. At the time, Austen did not consider another publisher, and she had to change the name after 1801 with the publication of Margaret Holford’s novel First Impressions, or The Portrait.

The new title Pride and Prejudice comes from a phrase in Frances Burney’s novel Cecilia."

Super interesting! I didn't know about this.

The title Pride and Prejudice is definitely my preferred choice and is beloved by so many that I think everything worked out for the best.

[justforbooks]

In the late 1970s, Bo Goldman was researching a script about Melvin Dummar, the unassuming Utah factory worker, gas station owner and former “Milkman of the Month” who was named as a $156m beneficiary in a will supposedly written by Howard Hughes but later successfully contested in court. Slowly, a realisation dawned on the screenwriter: “This man is a failure just like I am.”

It seemed an unusual conclusion to reach. After all, Goldman had written the book and lyrics for a Broadway musical, First Impressions, based on Pride and Prejudice, before he was 30, and won his first best screenplay Oscar (shared with Lawrence Hauben) for adapting One Flew Over the Cuckoo’s Nest (1975), Ken Kesey’s novel set in a psychiatric institution, by the time he was 45.

A second Oscar later came his way for Melvin and Howard (1980), his humane and warmly funny script about Dummar, lovingly directed by Jonathan Demme.

But Goldman, who has died aged 90, was haunted at the time by his inability to sell one of his earliest scripts, Shoot the Moon, or to follow up that 1959 Broadway debut, and by the years he spent in poverty and debt, struggling to provide for his wife and their six children. “I can’t tell you what it does to a man,” he said in 1982. “You feel awful. I respected my wife so much, but felt lousy about myself.”

Hollywood was impressed by Shoot the Moon, the story of a brutal marital break-up that he wrote in the early 1970s, but no one wanted to make it. The writing was strong enough to earn him an $8,000 commission from the director Miloš Forman to re-write Hauben’s script for One Flew Over the Cuckoo’s Nest. One of Goldman’s first suggestions – that the iconoclastic patient McMurphy, played by Jack Nicholson, should kiss his admitting officers at the hospital – helped win him the job.

He also scripted the Bette Midler vehicle The Rose (1979), inspired by the life of Janis Joplin, but turned down offers to write Kramer vs Kramer and Ordinary People, both future best picture Oscar winners, because the terrain felt too similar to his unproduced script, which he still hoped would be filmed eventually.

It finally was. The British filmmaker Alan Parker directed Shoot the Moon in 1982, coaxing powerful work from Albert Finney and Diane Keaton as the warring couple, and touchingly natural performances from the four children cast as their daughters.

The critical response was positive. Even Pauline Kael, no fan of Parker’s, said she was “a little afraid to say how good I think [the film] is” and praised the script’s “theatrical richness.” Goldman was disappointed nevertheless by its box-office failure.

After his third Oscar nomination, for Scent of a Woman (1992), he said: “I’m always surprised when anything good happens to me.” That film starred Al Pacino as a blind, cantankerous ex-army officer who cuts loose when he is assigned a prep-school student (Chris O’Donnell) as his companion for Thanksgiving weekend.

Goldman based Pacino’s character on a combination of his father, one of his brothers and a sergeant under whom he had served. Pacino won an Oscar; on that occasion, the writer did not.

He was born Robert Spencer Goldman in New York City. It was at Princeton that he changed his name to “Bo”; the college newspaper, The Daily Princetonian, misprinted his byline, and it stuck.

His mother was Lillian Levy, a millinery model, his father, Julian Goodman, a sometime Broadway producer and the owner of a chain of more than 70 department stores, which went into receivership during the Depression shortly before Bo was born. That dramatic fall informed and even overshadowed the rest of Bo’s life, with its occasionally incongruous juxtapositions. He grew up, for instance, in a spacious, rent-controlled Park Avenue apartment yet the family was usually penniless. His father would leaf through scrapbooks from his glory days, even making annual visits to the stables in Chantilly where he kept his prize-winning race-horses.

Though this precarious economic situation was known to Bo throughout his youth, it was not until much later that he discovered his father had another estranged family, and that his parents had never married.

He was educated at the Dalton school and Phillips Exeter academy prior to Princeton. There he wrote lyrics for the college’s Triangle Show and developed an enthusiasm for writing for the stage. He was in the US army for several years, then made inroads into the television industry, starting in the CBS postroom before progressing to script editing and producing on shows such as Playhouse 90.

Though First Impressions, which starred Farley Granger, was poorly received, he devoted most of the 1960s to writing a civil war musical, Hurrah Boys, Hurrah, which was never staged. He took odds and ends of TV work, but was plagued by thoughts of his father’s ignominies, and bruised by his own. “The only thing which kept me going was my wife and the kids who never cared about my success or lack of it,” he said. “They only cared because it was causing me pain.”

Around the time Shoot the Moon was released, his wife, Mab (nee Ashforth), whom he had met at Princeton and married in 1954, and who supported the family financially through endeavours such as her fish and bread shop, Loaves and Fishes, reflected on the disparity between the bad times and the good: “People were so contemptuous of us … it’s remarkable how success has transformed us into acceptable people.”

Goldman became a sought-after script doctor, working uncredited on Forman’s Ragtime (1981), Demme’s Swing Shift, the coming-of-age comedy The Flamingo Kid (both 1984), Warren Beatty’s Dick Tracy (1990) and the Arthurian adventure First Knight (1995).

Credited screenplays include Little Nikita (1988), an espionage thriller with River Phoenix and Sidney Poitier, and Meet Joe Black (1998), starring Brad Pitt as the pretty personification of death. Goldman also shared a story credit with Beatty on the period comedy-drama Rules Don’t Apply (2016). This was another Howard Hughes-related project, with Beatty playing the reclusive billionaire.

Though Goldman came close several times, his enduring dream of directing was never realised. “I think of myself as a filmmaker,” he said. “I’m a writer only because that is what they pay me to do.”

Mab died in 2017. He is survived by five of his children, Mia, Amy, Diana, Serena and Justin. A sixth child, Jesse, died in 1981.

🔔 Bo (Robert Spencer) Goldman, screenwriter, born 10 September 1932; died 25 July 2023

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