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randomrichards · 4 years

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BEST MOVIE MOMENTS OF 2020

HONORABLE MENTIONS:

Abe Makes Dinner from ABE

Teen chef protégé Abe (Stranger Thing’s Noah Schnapp) hopes that his dinner blending Israeli and Palestinian dishes will mend a bridge between his Israeli and Palestinian families (as well as his atheist father). But he gets a sad dose of reality when he learns the hard way that a wedge between families can’t always be solved with a meal.

“Wait for It” from HAMILTON

On June 16, 2016, Leslie Odom Jr. surprised many by beating Hamilton star/creator Lin-Manuel Miranda for the Best Actor award at the Tony Awards. And now they understood why thanks to Disney+ presenting the musical. And it all has to do with the song “Wait for It.”

In this soulful musical number, Odom Jr. allows us to understand Aaron Burr’s beliefs in letting fate leads his path. Whether it’s winning the heart of a married woman or watching all his loved ones parish, Burr is willing to wait for destiny to reveal why. It also showcases the contrast between Burr and Hamilton. This song changes Burr from History’s villain to a complicated anti-hero.

10) Deku and Bakugo go full Super Sayan in MY HERO ACADEMIA: HEROES RISING

My Hero Academia always delivers great action scenes and they truly shine in their latest round in the cinema.

In his final battle to protect young brother and sister Mahoro (Tomoyo Kurosawa in Japanese, Dani Chambers in English) and Katsuma (Yuka Terasaki in Japanese, Maxey Whitehead in English) from ruthless power-stealer Nine (Yoshio Inoue in Japanese, Johnny Yong Bosch in English), underdog hero-in-training Izuku “Deku” Midoriya (Daiki Yamashita in Japanese, Justin Briner in English) transfers his “One-For-All” power to hotheaded classmate Bakugo (Nobuhiko Okamoto in Japanese, Clifford Chapin in English). The result is an image of the in super powered form resembling Super Sayans.

When Deku reaches 100% power, the film suddenly turns white then stretches into abstract imagery.

Honestly, the main reason I put this on the list is because it’s pure awesome and I’m not afraid to admit it.

9) A Survivor Model from COLLECTIVE

This documentary follows the reporters of Romanian Newspaper Gazeta Sporturilor as their investigation into the Colective Club fire in Bucharest that killed 27 people and left 180 injured exposed vast health care fraud that caused survivors to die in the hospital and would bring down the government. Another key focus is a survivor who was so badly burned she lost most of her fingers. The camera focuses on her as she watches conferences about the fire.

In a standout moment, she models for photo shoots. In this moment, we see a beautiful woman who refuses to allow her disability to stop her, revealing her power.

8) the Wuhan Flu Song from BORAT SUBSEQUENT MOVIEFILM

Many best scenes of 2020 will focus on the bed scene with Tutar and Rudy Gulianni. But I prefer to focus on the scene where Borat (Sacha Baron Cohen) performs the “Wuhan Flu Song” at a Anti-Masker Rally. Not only is it deliciously cringy and hilarious, but It perfectly captures all of Cohen’s strengths as a comedic performer.

As with Borat’s previous cringy yet catchy “Throw the Jew Down the Well, Cohen uses the Borat persona exposes the ugliest side of America. Watching the Qanon conspiracy theorists cheering on Borat (under the guise of Country Steve) singing about injecting Obama with the Coronavirus horrifies while splitting sides. This moment reveals the dangerous consequences of misinformation and conspiracy theorists on society. Plus, the song is shamelessly catchy as hell.

Add the fact that Cohen was nearly attacked during this scene shows how far he’s willing to go to make a point and get a laugh.

7) The Dinner Scene from LET HIM GO

This scene is a perfect example of how you put subtext in a scene. On the surface, It’s just Weboy matriarch Blanche (Lesley Manville) serving porkchops to her daughter in law Lorna’s(Kayli Carter) former parent in laws Margaret (Diane Lane) and George Blackledge (Kevin Costner). But with the context of Margaret and George trying to deliver Lorna and their grandson from her abusive husband, you can feel the hostility in the atmosphere.

It’s a credit to the actors and their ability to hide their aggression under a mask of southern hospitality. It’s especially true for Manville, who brings to life a woman who is a master of hiding her cruelty under a pleasant smile. She may sound welcoming to them, but you can tell something’s off about her. No wonder she’s able to manipulate the police into siding with her. Hell, many audience will be surprised when they find out she’s British in real life.

Lane matches her every step of the way with the most nuanced jabs.

It won’t get as much appreciation due to it’s unassuming nature. But it’s a perfect scene to show how to bring nuance to a performance.

6) The Restaurant Scene from THE INVISIBLE MAN

At first, it seemed Cecilia (Elizabeth Moss) finally has the drop on her sociopathic control freak ex Adrian (Oliver Jackson-Cohen). After days being tormented by him, Cecilia finally has proof of how he turns invisible. Now she goes to a public restaurant to convince her sister Emily (Harriet Dyer). But then a levitating knife appears out of nowhere and slits Emily’s throat before flying into Cecilia’s hands.

Director Leigh Whannell and cinematographer Stefan Duscio do an excellent job using everyday envirnoments to create a sense of unease. Whenever the camera lingers on a kitchen, you search with anxious eyes for any sign of Adrian. In this case, they use the ambience of a crowded fancy restaurant to create a false sense of security. And yet, you can’t help but wonder if Adrian’s still watching them.

It’s in this scene where title character goes from a good villain to a great villain. Here we see what a cunning monster he truly is. The scene also showcases Moss’s terrific performance as her desperate eyes showcase the complete helplessness she feels in this scenario.

5) Edna sheds her skin in RELIC

Rarely do the words “horror” and “heartbreaking” go together, but that describes the ending to this underrated gem.

Kay (Emily Mortimer) returns to her family home to care for her mother Edna (Robyn Nevin), who seems to be suffering from dementia. Now she and her daughter Sam (Bella Heathcote) find themselves trapped in the crawlspace while fleeing a warped Edna, who has been warped by a supernatural force. With contorted joints and decaying flesh, she has become monstrous. At first it seems they have defeated Edna and are heading out the door.

Then Kay looks back to see her mother lying on the ground, struggling to breath. This brings the film into a unexpected turn as Kay carries the creature that used to be her mother to bed. When Kay peels the skin off Edna’s body to reveal a charcoal skinned, dying creature, the film goes from creepy to heartbreaing. Anyone who ever lost a loved one to dementia will recognize to devastating feeling of watching them fade away right in front of your eyes.

4) The one-take action scene in EXTRACTION

Well, we can’t have a best movie moments of 2020 list without mentioning the 10 minute action sequence from Extraction.

As black market mercenary Tyler Rake (Chris Hemsworth) shields the kidnapped son of a drug lord from other mercenaries, his race across a Bangladesh village delivers all you want from an action movie. Fast paced car chase? Check. Semi-automatic gun battles? Check. Hand to hand combat? Check. Parkour across rooftops? You bet. Sometimes you’ll even get people get hit by cars during hand to hand combat. All of this happens while cinematographer Newton Thomas Sigel makes it look like one take.

Sure, sophisticated viewers will recognize there the cuts are hidden. But when director Sam Hargrave is willing to ride on the hood of a car as it races across dirt roads for the sake of a shot, you can’t help but be impressed

3) Opening Bike Ride from THE CLIMB

The film begins with what sees like a regular bike ride. American Mike (Director and Co-Writer Michael Angelo Covino) and Kyle (Co-Writer Kyle Marvin) are racing across the road of a French mountain before Kyle’s wedding. But then Mike reveals he’s slept with Kyle’s fiancé, resulting in the furious Kyle to chase Mike. Unfortunately, they’re both too exhausted to commit to a long chase.

The whole opening sequence could be its own short film. Covino and cinematographer Zach Kuperstein) shoot it all in one unbroken take, allowing the awkward exchange to flow more naturally. It leads to a hilarious moment when Kyle tries to chase Mike, but neither have the energy to keep going. Plus, it summarizes the reoccuring cycle of the film with Mike becoming increasingly self-destructive and a terrible friend and Kyle being nice until pushed too far.

2) The Ending from UNCUT GEMS

After spending two hours in a state of panic, it looks like the audience will finally breath a sigh of relief. After locking his pissed off brother in law Arlo (Eric Bogosian) and his goons Phil (Keith William Richards) and Nico (Tommy Kominik) in the Jewelry store with him, smooth talking jeweler and gambling addict Howard Ratner (Adam Sandler) makes the biggest win of his life via pinpoint accurate predictions of a basketball game. Now he has millions of dollars; way more than enough to pay off his debt. Everything’s coming up Howard. That is until the furious Phil puts a bullet in Howard’s head and proceeds to rob his store.

With all his reckless behaviour (including putting his girlfriend at risk) and overconfidence, you knew at somehow Howard was going to be punished. But when the flilm cuts to scenes of Howard’s family celebrating the game and his girlfriend leaves with the money, you can’t help but know how bad they’re going to feel when they find Howard dead.

Then the camera zooms into Howard’s bullet wound to reveal the same colourful kaliedescope imagery as shown within the title uncut gems. With Daniel Lopatin’s enchanting new wave score playing, this moment gives the audience a moment to finally relax before closing with Gigi D’Agostino’s L’amour Toujours.

In spite of (or because of) his flaws; Howard is himself an uncut gem.

1) The little things inspire Joe from SOUL

Everyone recognizes “The Pixar Moment”; that scene that elevates a Pixar film from great to extraordinary. No one can truly define it, but it’s the one scene from the film everyone talks about. It’s the ten-minute prologue from Up. It’s Anton Ego’s reaction after trying Remy’s dish in Ratatouille. Even a lesser Pixar film can have this moment; a perfect example is when Lighting McQueen allows Ramirez to race in his place in Cars 3. Now we can add another film to the list thanks to Pixar’s latest masterpiece Soul.

After a day of escaping the afterlife and being trapped in the body of a therapy cat, Joe Gardner’s (Jamie Foxx) has finally achieved his dream of being in a Jazz band. And he feels…nothing. So, he heads back to his piano to ponder his direction in life. Then he finds the items 22 (Tina Fey) collected while in his body. What results is a moment fans will be coming back to in their moment of need.

As Joe rests 22’s items in front of his piano and starts playing, he comes to realize how a pizza crust and a seed truly meant to her. In the process, he comes realize the moments that seemed meaningless at first had some magic in them. The joy of playing for his father. The feel of the ocean waves flowing on his feet. The taste of a café’s pie.

In a time when many people can’t do any major activities, this moment serves as a reminder of to appreciate the little things in life. I imagine many audiences will return to this scene in their lowest moments.

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marraineoupresquefilmhdonline · 4 years

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Définition et définition de film / film Alors que les acteurs qui jouent un rôle dans le film sont appelés acteurs (hommes) ou actrices (femmes). Il y a aussi le terme figurants qui sont utilisés comme personnages de soutien avec peu de rôles dans le film. C’est différent des principaux acteurs qui ont des rôles de plus en plus nombreux. Être acteur et actrice doit être exigé pour avoir un bon talent d’acteur, ce qui est conforme au thème du film dans lequel il joue. Dans certaines scènes, le rôle de l’acteur peut être remplacé par un cascadeur ou un cascadeur. L’existence d’un cascadeur est importante pour remplacer les acteurs réalisant des scènes difficiles et extrêmes, que l’on retrouve généralement dans les films d’action et d’action.

Les films peuvent également être utilisés pour transmettre certains messages du cinéaste. Certaines industries utilisent également le film pour transmettre et représenter leurs symboles et leur culture. Le cinéma est aussi une forme d’expression, de pensées, d’idées, de concepts, de sentiments et d’humeurs d’un être humain visualisé dans un film. Le film lui-même est principalement une fiction, bien que certains soient basés sur des faits réels ou sur une histoire vraie. Il y a aussi des documentaires avec des images originales et réelles, ou des films biographiques qui racontent l’histoire d’un personnage. Il existe de nombreux autres films de genre populaires, allant des films d’action, films d’horreur, films d’humour, films romantiques, films fantastiques, films à suspense, films dramatiques, films de science-fiction, films policiers, documentaires et autres. C’est un peu d’informations sur la définition d’un film ou d’un film. Les informations ont été citées à partir de diverses sources et références. J’espère que cela peut être utile.

❍❍❍ TV MOVIE ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today.

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streaming-film-vostfr-on-blog · 4 years

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Durée: 105 minutes

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Etoiles: Donnie Yen, Wu Yue, Vanness Wu, Scott Adkins, Danny Chan Kwok-Kwan, Vanda Lee

Crew: Yuen Woo-ping (Action Director), Cheng Siu-keung (Director of Photography), Kenji Kawai (Original Music Composer), Wilson Yip (Director), Nick Cheung (Editor), Edmond Wong (Writer)

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Sinopsis : Ip Man 4 : Le dernier combat (2019) - Action Films 105 minutes. 叶问4, 叶问4：完结篇, Ip Man 4, 葉問4, 葉問4：完結篇, Ip Man 4: il finale, 엽문4, 엽문4 더 파이널, Ip Man 4, Ip Man 4, 葉問4, 葉問4：完結篇, Ip Man 4, Ip Man 4 The Final, Ip Man 4 The Finale. Le maître de Kung Fu se rend aux États-Unis où son élève a bouleversé la communauté locale des arts martiaux en ouvrant une école de Wing Chun.

Dans le dernier opus de la saga mythique, Ip Man se rend aux Etats-Unis à la demande de Bruce Lee afin d'apaiser les tensions entre les maîtres locaux du Kung-fu et son protégé. Il se retrouve très vite impliqué dans un différend raciste entre les forces armées locales et une école d'arts martiaux chinoise établie dans le quartier de Chinatown à San Francisco. Dans une apothéose de combats ultra-maîtrisés, avec la grâce et la sérénité qui le caractérisent, Donnie Yen donne vie, pour la première fois sur grand écran en France, au légendaire maître chinois de Wing Chun.

Regarder Ip Man 4 : Le dernier combat Movie Online Les déchirures Blu-ray Bluray sont encodées directement à partir du disque Blu-ray en 1080p ou 720p (selon la source du disque) et utilisent le codec x264. Ils peuvent être extraits de disques BD25 ou BD50 (ou de disques UHD Blu-ray à des résolutions plMy Spy élevées). Les BDRips proviennent d’un disque Blu-ray et sont codés à une résolution inférieure à celle de sa source (c’est-à-dire 1080p à 720p / 576p / 480p). Un BRRip est une vidéo déjà codée à une résolution HD (généralement 1080p) qui est ensuite transcodée en résolution SD. Regarder Ip Man 4 : Le dernier combat Movie BD / BRRip en résolution DVDRip est plMy Spy esthétique, peu importe, car l’encodage provient d’une source de meilleure qualité. Les BRRips sont uniquement d’une résolution HD à une résolution SD, tandis que les BDRips peuvent aller de 2160p à 1080p, etc. tant qu’ils ont une résolution inférieure du disque source. RegarderIp Man 4 : Le dernier combat Movie FullBDRip n’est pas un transcodage et peut évoluer en sens inverse pour l’encodage,Ip Man 4 : Le dernier combatis BRRip ne peut descendre que dans les résolutions SD lorsqu’elles sont transcodées. Les résolutions BD / BRRips dans DVDRip peuvent varier entre les codecs XviD et x264 (généralement de 700 Mo et de 1,5 Go, ainsi que pour les DVD5 ou DVD9 plMy Spy grands: 4,5 Go ou 8,4 Go), la taille varie en fonction de la longueur et de la qualité des versions,Ip Man 4 : Le dernier combatis elle est également supérieure plMy Spy ils utilisent probablement le codec x264.

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Definition and definition of film / film While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍

The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ formats and genres ❍❍❍

See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

❍❍❍ Thanks for everything and have fun watching ❍❍❍

Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ”

#Ip Man 4 : Le dernier combat #ip man 4: the finale #2019 #film #complet #francais

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ralph-n-fiennes · 5 years

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Hey! Is there any chance you could post the entire interview from The Times here? Thanks

Sure! Here it is

Ralph Fiennes: ‘There is a kind of political correctness that’s in danger of becoming totalitarianism’

The actor and director talks about his new Nureyev film, the perils of mob justice, and why he’s tired of playing evil

Ralph Fiennes’s The White Crow, the actor’s third film as a director, is as fine a portrait of an artist as a young man as you will find outside the pages of James Joyce. Set in Paris in 1961, it is the story of the defection of Rudolf Nureyev from Russia, the climax of the Kirov Ballet star’s belligerent growing-up, and a big publicity coup for the West.

Its writer, David Hare, who has done a job as brilliant as The White Crow’s director, has said that he loathes the idea that Nureyev’s defection was a balletic “leap to freedom”. At the time, he points out, there was optimism in Russia after the death of Stalin and the accession of the more liberal Khrushchev. In microcosm it is true, certainly, that the man Fiennes plays, Nureyev’s teacher Alexander Pushkin, was no tyrant. Indeed, it is vaguely upsetting to see the much lusted-after leading man who, two decades ago, was the seducer in The English Patient, now at 56 play a bald professorial type, cuckolded by his protégé — although the real seducer in this case was, it seems, Pushkin’s wife, who cajoled the mostly homosexual Nureyev into her bed.

“Alexander was very kind and very, very gentle,” Fiennes says. He is in a suite at the Dorchester in London, dressed in jeans and coatigan. His long, floppy hair, I notice to my relief, has, in reality, suffered no more than some widow’s peaking. “People talk about his technique, which was to let the students discover their own mistakes. Now, I’ve seen ballet classes where the teacher literally comes and forces the arm and turns the head and wrestles with a student’s body.”

Fiennes agrees with Hare that it was claustrophobia, rather than tyranny, that Nureyev was fleeing and that his defection was a spur-of-the-moment decision prompted by the heavy-handedness of KGB minders alarmed at his carousing in Paris. Still, the urge had surely been building. “Subconsciously, for him there was a world elsewhere,” Fiennes says, quoting from Coriolanus, which he has starred in and directed for cinema.

Nureyev’s “leap” is performed at Le Bourget airport in front of a scrum of reporters, whose colleagues would pursue the dancer right up to his death from Aids in 1993, aged 54. Perhaps, I say, the film suggests that the dancer trades one form of surveillance for another? Fiennes, however, barely concedes the point even though his own private life — in 1996 he left his wife, Alex Kingston, for Francesca Annis, his co-star in Hamlet almost 20 years his senior — has suffered its share of scrutiny.

A newer form of western tyranny seems to disturb him more. In recent weeks he has offered his support to Liam Neeson, his Schindler’s List co-star, after Neeson said in an interview that he had once wandered the streets with a cosh hoping to be attacked by a “black bastard” so he could avenge the rape of a woman close to him. Fiennes has also stood firm by Michael Colgan, a former director of the Gate Theatre in Dublin, who has been accused of bullying and sexual harassment during his tenure. In the first case, Fiennes says that Neeson was attempting an honest confession. In the second, to be accused is not invariably to be guilty.

“I think there’s a kind of political correctness which has its strength, but is in danger of becoming its own sort of totalitarianism,” Fiennes says.

It is harder, perhaps, to argue the case for Sergei Polunin, the Ukrainian dancer with a supporting role in The White Crow who in January was dropped from a ballet in Paris after posting rants on Instagram, but Fiennes says that he was a joy to work with. “Basically, I ignore all the stuff that he said because I believe there’s the noise the human being can make and then there’s who they truly are as a person, and I think Sergei is a good man, a kind man.”

Fiennes, I observe, occasionally makes a bit of noise in his private life (in 2007 an air stewardess claimed that she had inducted him into the mile high club). “I’ve been guilty of shit,” he agrees. He is less ready to concede that his description of “the unpleasantness and ruthlessness” of the young Nureyev as he looked to “create” himself may have once applied to him.

“I��m uncomfortable saying an overt yes to that. I connected with aspects of his hunger to learn, I suppose, his hunger to absorb.”

Fiennes’s self-creation remains a fascinating subject. His career looked set to be in art until, enrolled at Chelsea College of Arts, he noticed a young New Zealand painter and the “fury” he had about his vocation.

“I thought, ‘He is driven and I’m here painting that bowl of fruit, but I don’t know what I’m trying to say.’ I think I had acted at school and there was some moment at college when the penny dropped and I thought, ‘No, I want to be an actor.’ It suddenly became very clear to me, certain.”

Was there fury about his acting? “I think there was a bit. There was a real sort of determination, but I remember one audition at one drama school. I came out with this RP voice and I think they thought, ‘Who is he? Is he pretending to be a Shakespeare actor?’ I felt maybe I wasn’t the kind of actor that was cool at the time.”

Rada recognised the real thing. Leaving in 1985, he was quickly taken up by the RSC and the National Theatre. By the time I last interviewed him, in 1995, he had already been nominated for an Oscar from his remarkable portrayal of the concentration camp commandant Amon Goeth in Schindler’s List, and was about to play Hamlet at the Almeida in London — which was where he would fall in love with Annis, who was playing the prince’s mother. There was no doubting his greatness. Of his range, however, there was less inkling.From Goeth, we knew he could play a particularly nuanced kind of evil, but who could have predicted his terrifying box-office turn as Voldemort in the Harry Potter films?“I did actually say to my agent, after Voldemort, ‘Please don’t send me any bad guys. I’ve done that now.’ And I don’t think I’ve broken that promise, unless you count David Hare getting me to play his version of Tony Blair in Page Eight.”A consequence of that resolution was our discovery that Fiennes could be wickedly funny on film — as the suavely savage Gustave in Wes Anderson’s The Grand Budapest Hotel and then that grab-bag of ego, the music producer Harry, in A Bigger Splash. However, this is also a serious actor who learnt Russian for the movie Two Women and speaks it beautifully in The White Crow, indistinguishable from Russian cast members speaking in their native tongue. His Bafta-nominated directorial debut with Coriolanus in 2011, meanwhile, was followed up by an impressive Dickens movie, The Invisible Woman.

There is an off-the-peg explanation for Fiennes’s overachievements. As a child, he had to compete with his siblings for attention, for love and to impress.

“At the age of seven, I was the eldest of six, and I probably had a little bit of special treatment, being the eldest, and then felt the competition coming up behind,” he says. “When we get together as a family, we laughingly acknowledge our need to have our space. Because we’re all quite close together in age, I think you define your territory. ‘This is my territory. This is who I am.’”

He says that his mother, Jennifer Lash, a writer known as Jinni, who was married to Mark Fiennes, a farmer-turned-photographer, inspired her brood with her love of words and performance. Two of his sisters, Martha and Sophie, became film-makers; one brother is a composer; and another is Joseph Fiennes, the actor.

“But it was frantic. She often felt huge distress. She wanted to write, and sometimes the pressure and the strain and the frustration of not being able to write, not having the time to write, the peace and the space to write, would explode, but the love was always there, incredible love.”

Jinni, who published her first novel at 23, died of cancer aged 55, when Fiennes was 30. He says that he still feels her presence, although that could just be his “own need to feel that something”.

Does he dream about her? “Sometimes. My father too. What’s so weird is my mother died in 1993 and my father died in 2004 and yet somehow in the brain they’re restored. In the dreams, if they come, they’re completely clear, completely present and as they were. Somehow the brain has stored the memory of the voice, the person.”

Do friends ever say to him that his career has been incredibly Oedipal? I am thinking not just of Hamlet and his leaving a wife of his own age for his Gertrude, but the mother-son dynamic of Coriolanus.

“Yes, people have commented on that, and I shouldn’t be ashamed of it. I mean, Oedipal is probably how we’re wired as the sons of mothers. I don’t feel any awkwardness about there being an Oedipal element in one’s self. I think that’s quite healthy. It’s part of who you are.”

Has he been in therapy? “I had what they call psychotherapy for a little bit. It was interesting.”

Did he go because he was unhappy or because he wanted to explore himself? “I was going through a time of crisis and emotional disturbance and upset.”

Can he say about what? “No, I don’t want to.”

Having come from a noisy, competitive family, I can see why he might, in his fifties, choose the apparent solitary life that he has, living in a studio loft in east London. Since his relationship with Annis ended in 2006, there have been rumours of girlfriends, but nothing, apparently, very permanent.

“There’s living alone and being lonely. They are different things. I feel quite content, living on my own. It’s funny, isn’t it? Some people say, ‘Don’t you want children?’ And for me it’s not a negative. It’s not a dislike of children. I respect that some people do.”

I quote something that Hare has said about Fiennes, that he likes to surround himself professionally with people who love him. I wonder whether film sets and theatre companies are his substitute families.

“I think you’re in a kind of parental mode as a director, and that is your family. As an actor in a company, you’re less parental, although if you’re possibly in a leading role, there is a leadership element.”

I like the idea that he joins families of actors and, now that he is older, he becomes their father. “Yes, although I haven’t consciously thought I’m achieving parenthood that way,” he begins. And then thinks of Oleg Ivenko, the 22-year-old Ukrainian ballet dancer from whom he has conjured up a light yet intense performance in the lead role in The White Crow.

“Oleg, you see, he was a totally inexperienced actor. That was definitely a version of creative parenting, guiding him through the requirements of a feature film and a main role.”

In loco parentis, as a teacher, Fiennes, we can assume, is a Pushkin rather than a Stalin. Papa Ralph. It has a ring to it.The White Crow is out on general release

#ralph fiennes #ask #anon

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streaming-film-ip-man · 4 years

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[[ Streaming HD ]] Ip Man 4 : Le dernier combat (2019) Film Complet En Gratuit Vf En Francais Online

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22 juillet 2020 / 1h 45min / Action, Arts Martiaux, Drame, Biopic De Wilson Yip Avec Donnie Yen, Scott Adkins, Danny Kwok-Kwan Chan Nationalités Hong-Kongais, Chinois

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#ip man 4 : le dernier combat #2019 #film #complet #francais #online #hd

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papermoonloveslucy · 7 years

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LUCY AND ANDY GRIFFITH

S6;E8 ~ October 29, 1973

Directed by Coby Ruskin ~ Written by Robert O'Brien

Synopsis

When Lucy meets a charismatic man (Andy Griffith) raising money for underprivileged youth in the park, Kim decides to investigate to see if he's really who he says he is.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter)

Guest Cast

Andy Griffith (Andy Johnson) was a former music teacher. He began his screen career in 1948 on variety shows hosted by Ed Sullivan and Steve Allen. In 1955 he was nominated for a Tony Award for his appearance on Broadway in No Time for Sergeants. He also appeared in the 1958 film version of the play. In 1960 he appeared with Danny Thomas on “Make Room for Daddy” as Sheriff Andy Taylor and the character was spun-off into his own series “The Andy Griffith Show.” He stayed with the show until 1968. That same year he appeared on “The Tennessee Ernie Ford Special” on NBC with Lucille Ball. He also appeared as Andy Taylor on two episodes of “Gomer Pyle: USMC.” In 1971 he starred in “The New Andy Griffith Show” which lasted only one season. He had another hit series in 1986 with “Matlock” which ran until 1995. Griffith died in 2012 at age 86.

Sid Gould (Policeman) made more than 45 appearances on “The Lucy Show,” all as background characters. This is one of his nearly 50 episodes of “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton.

Randall Carver (Henry, left) began his career in 1969 and is best remembered as John Burns on the first season of “Taxi” (1978-79). This is his only appearance with Lucille Ball. He was 27 years old when he appeared in this episode.

Rick Kellman (Jerry, above right) played Lucille Ball and Bob Hope's son in the film Critic's Choice in 1963. He started acting at age 6 and is best remembered for playing Randy in “The Dennis O'Keefe Show” (1959-60) and Tommy in “Our Man Higgins” (1962-63). A year after this appearance on “Here's Lucy” he left show business.

The character's name is not spoken aloud, just listed in the final credits.

Hank Stohl (Bill Adams) began his career in 1959 and was the voice on the radio on “The Waltons” from 1977 to 1980. This is his only appearance with Lucille Ball.

Bob Whitney (Stage Manager) appeared with Lucille Ball in The Facts of Life (1960). This is the second of his five appearances on the series.

The character has no lines. He tallies the donations on a chalk board at the end of the episode.

Marl Young (Conductor) was the musical director for “Here's Lucy” as well as making several on-camera appearances when the shows included live music.

Vocalists: Nancy La Mar, Rosemary O'Brien, Dave Anderson Stuart, and Marvin Robinson

The musicians and others in the park and restaurant are played by uncredited background performers.

In March 1965, Lucille Ball interviewed Andy Griffith for two installments of her CBS radio show “Let's Talk To Lucy” while he was still playing Sheriff Andy Taylor on TV.

Six Degrees of Lucy! Although none of Lucille Ball's TV incarnations ever came face to face with Sheriff Andy Taylor, they traveled in the same TV world:

In 1959, the year before Andy Taylor met Danny Williams on “Make Room for Daddy”, Danny Williams and family met Lucy Ricardo and family on a 1958 episode of “The Lucy-Desi Comedy Hour.”

Keith Thibodeaux, who played Lucy Ricardo's son, Little Ricky, played Opie's pal Johnny Paul Jason in 13 episodes of “The Andy Griffith Show” between 1962 and 1966.

Gomer Pyle, who lived in Mayberry, joined the Marines and was spun off in his own series “Gomer Pyle USMC” when he made a brief appearance on “The Lucy Show” in 1966.

“The Andy Griffith Show” had a sequel series titled “Mayberry RFD” starring Ken Berry, a protégé of Lucille Ball's who had appeared on “The Lucy Show” in 1968.

All of these shows were filmed on the Desilu backlot (formerly RKO, later Paramount).

Don Knotts, who played Andy Griffith's bumbling sidekick Deputy Barney Fife, guest starred in “Lucy Goes on Her Last Blind Date” (S5;E6). Some other “Lucy” actors who frequently showed up in Mayberry include Hal Smith, Parley Baer, Norman Leavitt, Amzie Strickland, Dub Taylor, Stanley Farrar, Will Wright, Herbie Faye, Jonathan Hole, Byron Foulger, Tol Avery, Reta Shaw, Lurene Tuttle, Ruth McDevitt, Ruta Lee, Jay Novello, Ross Elliot, Maxine Semon, Herb Vigran, and Sid Melton.

There are some very basic similarities between “The Lucy Show” and “The Andy Griffith Show.”

Both Griffith and Ball used their own first names, which consist of four letters ending in ‘y’ and also appear in the title.

Both characters have spouses that died before the series' begins.

Both have children and faithful sidekicks.

Both started filming in black and white and eventually aired in color.

Both shows ended in early 1968 only to be re-born in the fall as newly-titled shows: “Here's Lucy” and “Mayberry RFD.”

The Christian overtones in this episode are unusual for this series. A few weeks earlier Kim jokingly said that they missed church on Sunday!

When Lucy and Andy are in the same shot together it becomes visibly clear that Lucille Ball is being filmed by a camera with a filtered lens to soften her look, while the other camera remains unfiltered. The contrast is especially noticeable when Lucy is standing next to Andy in the motel room and goes in and out of soft focus depending on which camera angle is used.

The show opens with Andy and his back-up singers performing “I'll Fly Away” by Albert E. Brumley. First published in 1932 it has been called the most recorded Gospel song of all time. Andy passes the hat for donations for his Right Path Youth Camp in Northern California – only getting thirty eight cents.

At a local restaurant, Andy Johnson tells Lucy that after he came out of the service he became a Sheriff. Lucy responds with disbelief: “A Sheriff!” Although he had left the role of Sheriff Taylor in 1969, Griffith would play him again in the 1986 TV movie “Return to Mayberry.” He would play another Sheriff on “Adams of Eagle Lake,” a 1975 police drama that lasted just two episodes on ABC. The two episodes were later issued on DVD under the titles “Deadly Game” and “Winter Kill.”

Andy tells Lucy his fiancee Alice ran off with his best man Charlie.

Dressed in her downmarket blue jeans, Kim says “What do I look like? Jackie Onassis.” Jacqueline Lee Bouvier Kennedy Onassis (1929-94) was first mentioned in “Lucy Visits the White House” (TLS S1;E25) in 1963, when she was First Lady of the United States. She married Greek millionaire Aristotle Onassis in 1968.

On Bill Adams' TV show, Andy and his singers perform “I'm Gonna Write a Song” by Jerry Reed and released in 1973. They raise $464.00 for the Right Path Youth Camp – quite a step up from their initial take of thirty eight cents!

The TV camera is labeled ‘KBEX COLOR.’ KBEX were the call letters for fictional TV and radio stations. They were used in many TV shows and films, including in Desilu’s “Mannix” and “Mission: Impossible.” They were first used on “Here’s Lucy” in “Lucy Is Really in a Pickle” (S5;E15) and most recently in "Lucy, the Wealthy Widow" (S6;E4). Starting in 2005, the FCC (Federal Communications Commission) started using KBEX for actual broadcast stations. Similarly, the 555 telephone exchange is used exclusively for fictional numbers seen in films and television. Here, the telethon number on the chalkboard is 555-8732.

Lucy Ricardo also meet a charity organization in a public park in “Lucy's Last Birthday” (ILL S2;E25). They were called The Friends of the Friendless.

Recycling! The exterior plaza where Andy sings in the first scene is the same one used for the gallery courtyard in “Lucy and Danny Thomas” (S6;E1). The red booth in the restaurant also makes the rounds. It has been seen many different restaurants throughout the series.

Character Consistency! Lucy says that Kim works for a talent agency. In “Kim Cuts You-Know-Whose Apron String” (S3;E24) she said she worked for a Public Relations firm.

“Lucy and Andy Griffith” rates 1 Paper Heart out of 5

This is an unusual and awkward episode – not funny or serious. The chemistry between Andy and Lucy is given short shrift in favor of Kim's suspicions about his veracity. When she allows Andy (an older, single man from out of town) to bring her to his run-down motel room things just get weird. Then he turns her over his knee and spanks her with his slipper, and things turn from weird to uncomfortable. This sort of thing might have passed for funny in 1953, but not in 1973. She leaves the room through a window (luckily they were on the first floor) after writing on the mirror in shaving cream “You are a nice man.” Huh? There's also an undertone of religion (gospel songs, mentions of 'the Lord'), something that Lucy meticulously avoided throughout her television career. The only exception to this unpleasantness is the brief scene where Lucy schools Andy in how to relax on television. This must have been something that Lucille Ball did when coaching young actors as part of the Desilu Playhouse. There are so many ways Andy Griffith could have been used on “Here's Lucy,” but this seems the least satisfactory showcase for his talents.

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