Film in Theatre ?
2007 -- script.vtheatre.net/video: play script analysis & dramatic literature
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THR334 Film Analysis
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List, I have to make more lists on recommended books and videos(?).
Summary2007 : 2006 new pages
Questions... Amadeus (exposition, openning) and (resolution, ending) Forman.
NotesSample from Amadeus [ assignment -- stage vs. screen ]
Amadeus (fragments in class, bottom)
Other movies by Forman
* Novel & Film: One Flew Over...
"Who is affraid of Virginia Woolf?" Albee
"12 Angry Man" (?)
[ More: Dangerous Liaisons ]
BEST FILMS ABOUT THEATRE:
(Compiled from responses to ASTR-L)
AN ACTOR'S REVENGE. Ichikawa. //Ehren Fordyce AMADEUS. //Edward Pixley AN AWFULLY BIG ADVENTURE. Based on the Beryl Bainbridge book, is very hard to beat. //Paul Fryer. Christopher Moore. Joseph Kissane ALL ABOUT EVE. //David Dalton. Jo Cooney BAMBOOZLED. For theatre historians, the recreation of the process of applying blackface alone is worth seeing the film. //David Krasner BEING JOHN MALKOVICH. The central character is a puppeteer and puppet theatre is a master trope for the entire film. //Arvid Sponberg THE CIRCUS OF DR. LOA. A brilliant little movie that wreaks havoc with your ideas of reality. Talk about your minimalistic theatre of the poor on film no less. //Briant Hamor Lee COSI. Australian amateur theatre director mounts Cosi Fan Tutti with and for mentally ill. //Richard Lee. THE CRADLE WILL ROCK. //Anne Bomar CYRANO. Gerard Depardieu. //Rodney G. Higginbotham THE DESIGNATED MOURNER. Wallace Shawn. //Patrick Finelli A DOUBLE LIFE. a wonderful film that is not known as well as it should be with Signe Hasso and Ronald Colman. //Albert Wertheim THE DRESSER. //Christine Moore. FAIRY TALE. Peter Pan Trope at the Beginning. //Kurt Eisen FANNY AND ALEXANDER. Bergman wonderfully captures the theatre's ability to arouse the Imagination. //Mary Fleischer FAREWELL MY CONCUBINE. A number of Chinese films which are available in the U.S. deal with various aspects of theatre. //Daphne Lei. Cheryl Black FAUST. Jan Svankmajer. best production ever. He uses not only actors and giant puppets but also an interesting combination of Goethe's and Marlowe's texts. And there are no borders whatsoever between theater and "reality." //Denise Corte GIORGIO. Features Pavarotti in _Turandot_ at the Met. //Maarten Reilingh THE GOLDEN COACH. For the commedia scenes. //Rodney G. Higginbotham THE GOODBYE GIRL. //Thomas Cavano HENRY V. Laurence Olivier.//Thomas Cavano ILLUMINATI //C. David Frankel IN THE BLEAK MIDWINTER. // Michael Patterson INTERVIEW WITH A VAMPIRE. Scene(s) about the Theatre du Vampires as an example of Grand Guignol. //Michael Mauldin JESUS OF MONTREAL. //Christopher Moore KING OF MASKS. about a performer of something theatrical (though not, perhaps, theatre) and includes some scenes from Chinese opera. //Rick Jones LA COMEDIE FRANCAISE, OU L'AMOUR JOUE. Frederick Wiseman. A great documentary. 4 hours with no narration. // David G. Muller LES ENFANTS DU PARADIS. recreates the mid-19th C Parisian boulevard theatre; noted for Mime Barrauld's Harlequinade sequence (and it's stunning crowd scene). //Philip Ormond LOOKING FOR RICHARD. Al Pacino. //Scott Phillips THE MAGIC FLUTE. Ingmar Bergman. //Mary Fleischer. Michael Schinasi A MAN OF NO IMPORTANCE. Albert Finney. //Kurt Eisen MARAT/SADE. //Scott Phillips MEPHISTO //C. David Frankel MIGHTY APHRODITE. Woody Allen. Spoof of Greek Chorus throughout. //Arvid Sponberg MOLIERE. Ariane Mnouchkine. //Jay Malarcher A NIGHT AT THE OPERA. //Philip Ormond OPENING NIGHT. Cassavetes. //Ehren Fordyce PEKING OPERA BLUES (Hong Kong) //Daphne Lei THE PUPPET MASTER (Taiwan) //Daphne Lei ROSENCRANTZ AND GUILDENSTERN ARE DEAD. //Tom Pallen SAN FRANCISCO. Jeanette MacDonald. Clark Gable. Spencer Tracy. Don't Laugh. There are several opera sequences where students can see "painted scenery", the size of the stage, the size of the auditoriums, elaborate decor, and so on. I've showed this several times to good effect in theatre history classes--with the caveat that the filmmakers probably took some liberties. Nevertheless, it's worth a look. //Jerry D. Eisenhour SATYRICON. Fellini. //Ehren Fordyce THE SEVENTH SEAL. Bergman. //Kurt Eisen SHAKESPEARE IN LOVE. //Philip Ormond SHAKESPEARE WALLAH. About a company staging Shakespeare. //Michael Patterson SMILES OF A SUMMER NIGHT. Bergman.Includes a lovely theatre scene. //Albert Wertheim SWEENEY TODD. comes as close as film can come to replicating a stage performance. shows all the stage machinery, stagehands, and so forth--and, I believe, gives students a good look at what live theatre can be like. The play was filmed before a live audience, so we hear their reactions as well. // Jerry D. Eisenhour THE TALL GUY. about an American actor working in London theatre. At one point, he's playing the title role in a musical version of THE ELEPHANT MAN. Enough said. //Ben Fisler THEATRE OF BLOOD. Grand Guignol. Vincent Price. Very good on the relationship between actors and critics. //C. David Frankel TITUS. Julie Taymor. //Patrick Finelli TO BE OR NOT TO BE. With Carol Lombard. //Ehren Fordyce TO LIVE (China) // Daphne Lei. Cheryl Black. TOPSY TURVY. about G&S's creation of The Mikado. //Mary Fleischer TROUPERS. Documentary about SF Mime Troup.//John Ball TWENTIETH CENTURY. With Carol Lombard. //Ehren Fordyce VANYA ON 42ND STREET. //Patrick Finelli WAITING FOR GUFFMAN. Christopher Guest and Eugene Levy. //Arvid Sponberg. John Paul. Richard Lee YOUR FRIENDS AND NEIGHBORS. Neil Labute. Ben Stiller plays a drama teacher. //Kurt Eisen ----------------------------------------- Arvid Sponberg Email: Arvid.Sponberg@valpo.edu Valparaiso University
Frederick Wiseman's four-hour (sans narration!) documentary LA COMÉDIE
FRANÇAISE, OU L'AMOUR JOUÉ (1994) is a great film about the theatre.
David G. Muller
Here are some suggestions of films from my list to consider for Arvid's ranked list, with comments on each: After the Rehearsal -- at one pt. labeled "Ingmar Bergman's last film," this is a three-hander about a director's relationships on and off stage with two actresses -- a beautiful evocation of theatre's ephemerality; also worthy of note among Bergman's other films are The Magician and The Seventh Seal (depicting a medieval troupe). All That Jazz -- Bob Fosse's loosely autobiographical look at the energized but exhausting life of a Broadway jack-of-all-trades The Entertainer -- Olivier's turn as a has-been music hall comic during the Suez crisis on 1956 42nd Street -- Broadway Melody was the backstage musical that won the Oscar for best picture, but this is filled with Busby Berkeley choreography, a fine leading performance as a driven director by Warner Baxter, and, of course, is the basis for the recent stage musical The Last Metro -- Truffaut's depiction of a French theatre operating under Nazi watch during the Resistance, during which the theatre's Jewish director hides in the theatre's basement; meanwhile, his wife (Catherine Deneuve) and leads actor (Gerard Depardieu) begin a relationship. Lilies -- Quebec film, in English, in which an entire prison population stages a recreation of the life of a guest -- a bishop -- they hold hostage, to force him to admit to his sins. Fascinating cross-gender performances (because it's a men's prison, the women in the bishop's life are played by men...) Looking for Richard -- Al Pacino's documentary about his attempts to make a film of Richard III, with Kevin Spacey as Buckingham and Winona Ryder as Lady Anne; but it's a film about the theatre, and about Shakespeare, more than it is about filmmaking -- one of the best examples of a film which is both highly entertaining and usefully educational Mephisto -- winner of an Oscar for best foreign film, this movie depicts a German actor (played by Klaus Maria Brandauer) who clings to his profession despite the gradual Nazi takeover of the country, and so compromises his principles The Producers -- Mel Brooks's look at two scamming B'way producers (Gene Wilder and Zero Mostel) who get angels to invest in a bad musical so they can take off with their funds when the show flops -- but Springtime for Hitler doesn't flop... Shall We Dance -- Astaire / Rogers vehicle, with a theatrical frame (he's an actor pretending to be a Russian ballet star) -- notable, as are all of their films, for the use of the camera as if in a theatrical audience member's seat -- other Astaire - Rogers films set in a theatrical context include Top Hat and The Barkeleys of Broadway. Stage Door -- Ferber / Kaufman look at an actresses' boarding house in '30s New York, with charm and character mix similar to that of a lower-class Grand Hotel; with Katharine Hepburn, Lucille Ball, Ginger Rogers, Adolphe Menjou, Eve Arden, Ann Miller.... Hepburn's character is involved in some speculation as to what acting is... Summer Stock -- Gene Kelly and Judy Garland in perhaps the original of the "let's put on a show in the barn" MGM musicals Twentieth Century -- Howard Hawks directs John Barrymore as a manipulative B'way director / producer, and Carole Lombard as the actress she "shapes" and then turns on him when her success burgeons. The first half the film is especially involved theatrically, depicting rehearsals, performances, etc.; sometimes called "the earliest screwball comedy" Yankee Doodle Dandy -- James Cagney won the Oscar as George M. Cohan, grand old man of early 20th century Broadway Zoot Suit -- Luis Valdez's film of his musical play about the 1943 Zoot Suit Riots in LA; Valdez depicts the play as a theatrical performance, with stage sets and an audience viewing, and then cuts away frequently to non-theatrical locations for other scenes; experiment in combining the strengths of live theatre and film; not wholly successful, but powerful, with Edward James Olmos as the archetypal Latino, El Pachuco Hope these are reasonable films to add, Arvid. I have no idea how to actually rank these; and I must admit that it's been tough for me to come up with my final list of 15. When I do so, I'll let list members know. Michael Swanson Director of Theatre Franklin College 501 E. Monroe St. Franklin, IN 46131-2598 317-738-8242 (o) 317-346-0102 (H) MSwanson@franklincollege.edu
"AMADEUS" by Peter Shaffer Final Draft INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823 Total darkness. We hear an old man's voice, distinct and in distress. It is OLD SALIERI. He uses a mixture of English and occasionally Italian. OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried: the Valet is thin and middle-aged; the Cook, plump and Italian. It is very cold. They wear shawls over their night-dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. It is locked. Behind it the voice goes on, rising in volume. OLD SALIERI Show some mercy! I beg you. I beg you! Show mercy to a guilty man! The Valet knocks gently on the door. The voice stops. VALET Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love. Silence. VALET Signore Salieri! Open the door. Come now. Be good! The voice of Old Salieri continues again, further off now, and louder. We hear a noise as if a window is being opened. OLD SALIERI Mozart! Mozart! I confess it! Listen! I confess! The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs. EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT The street is filled with people: ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress: they wear masks on their faces or hanging around their necks, as if returning from parties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri stands there calling to the sky: a sharp-featured, white-haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I cannot bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you! The door of the house bursts open. The Valet hobbles out, holding the sugared cake. The wind catches at his shawl. OLD SALIERI Mozart, perdonami! Forgive your assassin! Pietˆ! Pietˆ! Forgive your assassin! Forgive me! Forgive! Forgive! VALET (looking up to the window) That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. Some of the passersby have now stopped and are watching this spectacle. VALET Come on, Signore! Look what I have for you! I can't give it to you from down here, can I? Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. He'll be all right. Poor man. He's a little unhappy, you know. He makes a sign indicating 'crazy,' and goes back inside the house. The onlookers keep staring. CUT TO: INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT The Cook is standing holding the candlestick in one hand, the dish of cakes in the other. The Valet arrives, panting. VALET Did he open? The Cook, scared, shakes his head: no. The Valet again knocks on the door. VALET Here I am, Signore. Now open the door. He eats the sugared cake in his hand, elaborately and noisily. VALET Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you don't know what you're missing! Mmmm! We hear a thump from inside the bedroom. VALET Now that's enough, Signore! Open! We hear a terrible, throaty groaning. VALET If you don't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more. He looks down. From under the door we see a trickle of blood flowing. In horror, the two men stare at it. The dish of cakes falls from the Cook's hand and shatters. He sets the candlestick down on the floor. Both servants run at the door frantically - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 (the Little G Minor) begins. We see what the servants see. INT. OLD SALIERI'S SALON - NIGHT Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse the room - an old chair, old tables piled with books, a forte- piano, a chamber-pot on the floor - as the Valet and the Cook struggle to lift their old Master, and bind his bleeding throat with a napkin. INT. BALLROOM - NIGHT Twenty-five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's. EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants, and placed in a horse-drawn wagon under the supervision of a middle- aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in beside his patient. The driver whips up the horse, and the wagon dashes off through the still-falling snow. MONTAGE: EXT. FOUR STREETS OF VIENNA AND INT. THE WAGON - NIGHT The wagon is galloping through the snowy streets of the city. Inside the conveyance we see Old Salieri wrapped in blankets, half-conscious, being held by the hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives outside the General Hospital of Vienna. CUT TO: INT. A HOSPITAL CORRIDOR - LATE AFTERNOON A wide, white-washed corridor. Doctor Gulden is walking down it with a priest, a man of about forty, concerned, but somewhat self-important. This is Father VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several patients -- some of them visibly disturbed mentally. All patients wear white linen smocks. Doctor Gulden wears a dark frock-coat; Vogler, a cassock. DOCTOR GULDEN He's going to live. It's much harder to cut your throat than most people imagine. They stop outside a door. DOCTOR GULDEN Here we are. Do you wish me to come in with you? VOGLER No, Doctor. Thank you. Vogler nods and opens the door. INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON A bare room - one of the best available in the General Hospital. It contains a bed, a table with candles, chairs, a small forte-piano of the early nineteenth century. As Vogler enters, Old Salieri is sitting in a wheel-chair, looking out the window. His back is to us. The priest closes the door quietly behind him. VOGLER Herr Salieri? Old Salieri turns around to look at him. We see that his throat is bandaged expertly. He wears hospital garb, and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. OLD SALIERI What do you want? VOGLER I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone. OLD SALIERI About what? ....
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