Cinema Retro has received the following press release: A Loving ode to a VHS galaxy not that far, far away. Star Wars, Spielberg and Us is a universal and affectionate tale about the pop cultural remembrances stuck in all our R2 unit's memories. The Extra Terrestrial, Raiders of the Lost Ark, Superman and of course Star Wars weren't just changing cinema - they were making lasting highways into our childhoods, toy boxes and video stores like never before, In this energetic and insightful memoir-through-cinema, Mark O'Connell flies a gilded X-Wing through a universe of bedroom remakes of Return of the Jedi, close encounters with Christopher Reeve, sticker album swaps, a honeymoon on Amity Island and the trauma of losing an entire Star Wars figure collection.
A unique study on how a rich galaxy of movie continue shaping big and vital cinema to this day, Watching Skies is for all Star Wars kids - whatever their era. Published by The History Press.
Mark O'Connell is an award-winning writer and author. As a comedy writer he has written for a wide range of actors, performers, titles, and media.
He is the author of Catching Bullets: Memoirs of a Bond Fan. With the spy rage booming at the time, some companies decided to save the licensing fees they would have to spend to market official James Bond and Man from U. It should be noted that young Kurt also guest-starred in a first season episode of U. Click here to visit the Flashbak web site for more Agent Zero-M info.
Gayson played the sexy, single woman Sean Connery's encounters at a high end gambling club in the first Bond thriller "Dr. Gayson's character set the standard for future "Bond Girls" by portraying an independent, self-assured woman who had no pangs of guilt in regard to engaging in a sexual relationship for the pure pleasure of it.
In fact, it is she who seduces Bond, turning up in his apartment and putting a golf ball while clad only in one of his shirts. The character, Sylvia Trench, also appeared in a brief love scene with Bond in the second film in the series, "From Russia with Love". Gayson got the role because she had worked with director Terence Young previously in the production "Zarak". The original idea was to have Trench appear in each of the films as a recurring character but that idea was dropped when Young, the director of the first two films, temporarily left the series and Guy Hamilton took over.
On a personal level, we at Cinema Retro mourn her passing. Eunice was a lovely, talented lady with a wonderful wit and sense of humor. We treasure the many hours we spent with her over the years and we are grateful that we saw her again recently at the memorial service for her old friend, Sir Roger Moore, which was held at Pinewood Studios last October.
Bond producers Barbara Broccoli and Michael G. Wilson have issued the following statement: Our sincere thoughts are with her family. This first public screening of the lavishly produced and choreographed story, which took Broadway by storm in the s, was a laborious experience for everyone involved.
Even the star, Lucille Ball, attended this highly publicized event. For the first time, fans got a different glimpse of their favorite television personality.
That evening, she arrived not as the ravishing redhead people were used to seeing, but as a black-haired beauty in a white dress, which was quite short and just happened to be featured in the film. Moviegoers were getting a preview of what was to come.
And what an entertaining extravaganza it was! The alluring ambiance in every scene, as well as the divine dancing and sensational singing, kept viewers enthralled for the entire two hours and twelve minutes of the picture. Everybody except the critics, of course. For the most part, the reviewers did not have nice things to say about Mame or its featured players. Considering the faith Warner Brothers had in their chosen leading lady, the negative notices were a major letdown to the studio and to the actress herself.
Playing Mame meant so much to Lucille. She saw the role as her last chance to prove to the world that she possessed what it took to be a glamorous movie star. Never one to pass up an opportunity, Lucille made it her ultimate goal to win the producers over.
Indeed, they saw something special in her that no other actress could radiate. Once she nabbed the covered part, Lucille put a lot of effort into creating her own interpretation of the character. Unfortunately, all of this hard work came to a halt when she broke her leg while skiing in Colorado. Lucille felt bad about holding up production.
When producers learned about her fear of being replaced, they quickly assured her they would wait for her return.
With projects featuring such big names as Barbra Streisand and Robert Redford, Warner Brothers cranked out movies that were popular among the younger crowds. When the company purchased the rights to the musical version of Mame, they envisioned it as a picture everyone could enjoy.
Therefore, finding a seasoned entertainer who had plenty of clout became necessary. At the time, Lucille was one of the most influential women in Hollywood, due to her achievements behind the scenes as much as on camera. This factor made it practically impossible for her fellow contenders to be chosen over her. All of the power in the world could not prevent the barrage of crass comments made by the critics.
They took aim at everything from her gravelly voice to her extreme thinness. Despite the harsh remarks, Lucille refused to let her anguish interfere with the promotional tour she embarked on soon after filming wrapped. She willingly posed for photographs, endured the mundane task of answering repetitive questions asked by inquisitive reporters, and appeared on talk shows like The Tonight Show Starring Johnny Carson and Phil Donahue. Suddenly, the most recognizable female in the field of physical comedy was popping up everywhere.
The cheerful facade occasionally slipped, allowing her candor to reveal itself. Blaming photographers, Lucille once admitted to a journalist that she felt old. Tired of seeing unflattering images of herself every time she picked up a newspaper or magazine and the press stomping on her already crushed ego, she vented her vexation at anyone who would listen.
Having devoted such a huge chunk of time to understanding the inner workings of an outspoken woman began affecting what she said when discussing other topics as well. Always thought of as brash, the ordeal that came with making and advertising Mame only hardened Lucille, solidifying her opinion of the changing industry. Interviewers expecting her jocular side were shocked when she unabashedly addressed her abhorrence for movies containing excessive nudity and sex.
This wholesomeness started when she worked at MGM. Mayer prided himself on preserving the pristine illusion so meticulously maintained by all who flourished under his supervision. Mame took on a deeper meaning for those who could remember that simpler, carefree time in history. Just as they had done during the Great Depression, people forgot about their worries and eagerly embraced the energy exuded on camera.
Women related to her optimism. They felt the movie catered to their tastes. In actuality, it was produced with them in mind. When speaking about Mame, Lucille expressed a strong urge to please the ladies who waited in line to see the film. She wanted them to know it was their picture. Finally given the respect they deserved, their gratitude poured out. If only Lucille Ball and Mame had received the same reverence. Most recently, she wrote a very detailed profile about Angela Lansbury and her husband, Peter Shaw.
This is her first article for Cinema Retro. Presented for the first time on Blu-ray, featuring a new p HD master from a 2K scan in its original 2. Of note is that two versions of the film exist, one in CinemaScope and the other in traditional widescreen. In when Cinemascope was brand new, MGM was concerned that if it was a fad they would have an unusable film in the long-run, so for protection they shot the film twice.
Two different takes of each shot with different staging was filmed which reflect the different frame size of traditional widescreen which is less wide and more rectangular and CinemaScope. By the time the film was released, CinemaScope had proven a huge success and the alternate version was rarely seen until its release on DVD in He convinces Milly Jane Powell to marry him that same day.
After they return to his backwoods home she discovers he has six brothers -- all living in his cabin. Milly sets out to reform the uncouth siblings, who are anxious to get wives of their own. Then, after reading about the Roman capture of the Sabine women, Adam develops an inspired solution to his brothers' loneliness Remastered in p HD, 16x9 2.
However, his non-Superman flicks were a decidedly mixed bag. Reeve proved to be a good, if unremarkable actor, who had an affable screen presence and the kind of handsome features and physique that recalled the more traditional Hollywood leading men of days gone by. However, Reeve's scattershot record of choosing film projects prevented him from fully capitalizing on his potential. There were too many boxoffice bombs along the way and Reeve sometimes returned to his first love, live theater, to continue to grow as an artist.
The movie was based on the novel by Ernest K. Gann, who specialized in aerial adventure stories. The film opens intriguingly at a military air base in WWI. Reeve is Edgar Anscombe, a cocky pilot who is training a novice on his first flight when things go wrong.
The trainee panics and the plane crashes, leaving the student pilot dead and Anscombe suffering from severe burns. The plot then jumps ahead by a decade. Anscombe is now a bitter and introverted man still haunted by his wartime experiences, especially the deadly training accident that he feels responsible for. He's now working for Moravia Jack Warden , the owner of a small air fleet that delivers mail from Nevade across the western states.
In order to supplement the company's meager profits, Moravia sometimes accepts a passenger to accompany the pilots on their route. Along comes Tillie Hansen Rosanna Arquette , a perky but troubled 17 year-old whose father Sam Wanamaker finds her to be incorrigible. Against Tillie's wishes, he decides to send her to a strict, disciplinarian aunt in order to teach her social and personal values.
Anscombe immediately resents having to take Tillie along on his next flight. He snubs her overtures at friendliness and makes it clear that he wants no part of socially interacting with her.