share. In an unexpected moment of cruelty, Charles tells a devastated Jean that he’s been on to her the whole time—a reversal of fortune that sets in motion the film’s second half, in which Jean will assume the identity of Lady Eve Sidwich in order to exact her revenge on Charles and his family in the form of a marriage proposal. Wells’s 1897 source novel are read by Cedric Hardwicke, describing the cold Martian intelligence that’s enviously surveyed Earth for ages, director Byron Haskin spotlights the solar system’s planets, which are visualized as paintings by Chesley Bonestell. It’s bookended by footage of the outraged Sundance premiere attendee who thought the film should be “banned and burned.”“Meet Peggy Cleek” is a charming interview with Lauren Ashley Carter, who touches on the process of finding the emotional intensity her role required, that fateful Sundance premiere, and the odd accommodations during filming (a rundown boarding school complete with a tank of piranhas and frog living in one of the shower stalls). Their discussion is replete with all the conversational pleasures and technological frustrations you’d expect from this sort of an endeavor in the time of Covid-19.Also included is a Lux Radio Theatre version of the film from 1942 with Barbara Stanwyck and Ray Milland filling in for Henry Fonda. She put a Bicycle Into Her Pocket and Walked Into a Scary 04. 07. Sturges cleverly, and often hilariously, parallels the process of Jean inveigling Charles and the trio attempting to swindle him. The show will help vault her into international superstardom.Julie’s relinquishment of her career to benefit Magnolia’s is played as a noble act of sacrifice, but it’s troubling in its implications: An impoverished and undeniably talented actress of color—we’ve just seen her deliver a show-stopping performance of the bluesy torch song “Bill”—gives up on herself so that a young white up-and-comer can have a chance at a lucrative career singing black songs. Musical historian Miles Krueger’s wide-ranging audio commentary has been carried over from Criterion’s original laserdisc release, and it remains a truly edifying presentation some 30 years on, particularly for its detailed comparisons of various versions of the musical.Speaking of which, three additional adaptations are represented here: Harry A. Pollard and Arch Heath’s 1929 part-talkie and two radio plays. There’s a fascinating panel discussion from the 2011 Frightmare Festival, in which a rogue’s gallery of contemporary indie horror filmmakers—including McKee, Adam Green, Ti West, and Larry Fessenden—discuss the state of horror cinema at the time (which is still largely the case, alas), sharing plenty of hilarious anecdotes involving pitch meetings and studio notes. This commentary, as well as the disc’s other extensive features, makes a strong case for Streisand as—in Jerry Lewis’s phrase—a “total filmmaker.” Not only did she produce, direct, and star in the film, she also pioneered her own process that involved shooting multiple versions of the same scene and keeping the option to use any of them alive throughout the editing process.
... republisher7.shenzhen@archive.org Republisher_time 1464 Scandate 20171019051203 Scanner ttscribe8.hongkong.archive.org Scanningcenter hongkong Shipping_container SZ0023 Tts_version v1.53 Worldcat (source edition) 224415714 . Reds, greens, and blues have a renewed sense of agency that’s complemented by rich and beautiful darkness, intensifying the mystery of the special effects. A 20-minute interview with Whale biographer James Curtis situates the film within the director’s all-too-brief body of work, while an interview program entitled “Recognizing Race in Criterion not only lovingly restores a neglected classic, it offers an invaluable reference guide for lovers of the groundbreaking stage musical.Criterion’s release of Noah Baumbach’s latest is built to last.At first looking to handle their divorce without the involvement of lawyers, Charlie and Nicole hit a rough patch when the latter, who gave up a Hollywood career to move to New York and act in Charlie’s avant-garde plays, heads back to Los Angeles to shoot a television pilot, taking with her the couple’s young son, Henry (Azhy Robertson). The unexpected appearance of mulberries on the tree—a sumptuous goad to the all-too-human senses—distracts him from his stated purpose. Archive: Lone Wolf and Cub Episode 2 2017-05-29 15:17:28; SUB Archive: Lone Wolf and Cub Episode 1 2017-05-29 15:17:06; Login to Drama Cool Log in with Google Remember me Forgot password? Gradually, Abruptly, an ostensibly pain-free divorce turns ugly, with Nicole serving a bewildered and hurt Charlie with legal papers. Please help us to describe the issue so we can fix it asap. These segments were tacked onto the completed silent film as a prologue to take advantage of the wide popularity of the stage show’s songs and provide a useful look at how the original production was staged. Indeed, Charlie is so mild-mannered that Nicole’s vindictive behavior toward him comes to feel monstrous in its overreaction. Then, in clearly degraded camcorder footage, we’re presented with the making of an earlier scene.