ellauri069.html on line 127: Sidney Joseph "S.J." Perelman (February 1, 1904 – October 17, 1979) was an American humorist and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, including Jude, as well as books, scripts, and screenplays. Perelman received an Academy Award for screenwriting in 1956.
ellauri119.html on line 614: Ayn Rand was a Russian-American novelist, philosopher, playwright, and screenwriter.
ellauri150.html on line 471: Karl Tunberg (March 11, 1907 − April 3, 1992) was an American screenwriter and occasional film producer. His screenplays for Tall, Dark and Handsome (1941) and Ben-Hur (1959) were nominated for the Academy Award for Best Original Screenplay and Best Adapted Screenplay, respectively. more…
ellauri150.html on line 482: Over the 57 years that have followed, a few things have contributed to granting the film untouchable status, the foremost being the fact that it won 11 Academy Awards, still the most Oscars any film has ever won. (That total was later matched by Titanic and Lord of the Rings: The Return of the King.) But while the Oscars, the prestige, and the fact that the plot of the film deals directly (if obliquely) with the life and death of Jesus Christ, all contribute to a certain image of Ben-Hur, there have always been alternate views of the film. One of the most famous came from the mouth of one of its own screenwriters.
ellauri150.html on line 484: Based on an 1880 novel, Ben-Hur: A Tale of the Christ, the film was directed by Hollywood great William Wyler, and screenwriter Gore Vidal was one of many who took a pass at the screenplay. In The Celluloid Closet, Vidal states in no uncertain terms that he scripted the film as a confrontation between ex-lovers Ben-Hur (Charlton Heston) and Messala (Stephen Boyd). Further, Vidal claims that, after consultation with Wyler and Boyd (but not Heston, who would have objected), he wrote one particular scene, where the estranged Ben-Hur and Messala meet again, with heavy gay subtext.
ellauri150.html on line 488: What the f---!? Based on a 1880 novel after all!? Whose novel? Fuck you screenwriters! Taking all the glory! “I said,’ Well, I’ll never use the "g" word,'” Vidal says. “‘There’ll be nothing overt. But it will be perfectly clear that Messiah is in love with Ben-Hur.”
ellauri156.html on line 461: King David and Diana Garland argue that, "Taking remarkable license with the story, the screenwriters changed Bathsheba from the one who is ogled by David into David's stalker." They go on to suggest that "the movie David and Bathsheba, written, directed and produced by males, makes the cinematic Bathsheba conform to male fantasies about women."
ellauri184.html on line 76: Barbary Shore (1951) was not well received by the critics. It was a surreal parable of Cold War leftist politics set in a Brooklyn rooming-house, and Mailer's most autobiographical novel. His 1955 novel, The Deer Park drew on his experiences working as a screenwriter in Hollywood from 1949 to 1950. It was initially rejected by seven publishers due to its purportedly sexual content before being published by Putnam's. It was not a critical success, but it made the best-seller list, sold over 50,000 copies its first year, and is considered by some critics to be the best Hollywood novel since Nathanael West's The Day of the Locust.
ellauri219.html on line 290: A satirical novelist and screenwriter, Terry Southern bridged the gap between the Beat Generation and The Beatles; he hung out with the former in Greenwich Village, and befriended the latter after moving to London in 1966. His dialogue was used in some of the most era-defining movies of the 60s, including Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb and Easy Rider.
ellauri219.html on line 975: Underworld (also released as Paying the Penalty) is a 1927 American silent crime film directed by Josef von Sternberg and starring Clive Brook, Evelyn Brent and George Bankrupt. The film launched Sternberg's eight-year collaboration with Paramount Pictures, with whom he would produce his seven films with actress Marlene Dietrich. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. Time felt the film was realistic in some parts, but disliked the Hollywood cliché of turning an evil character's heart to gold at the end. Filmmaker and surrealist Luis Buñuel named Underworld as his all time favorite film. Critic Andrew Sarris cautions that Underworld does not qualify as "the first gangster film" as Sternberg "showed little interest in the purely gangsterish aspects of the genre" nor the "mechanics of mob power." Film critic Dave Kehr, on the other hand, writing for the Chicago Reader in 2014, rates Underworld as one of the great gangster films of the silent era. "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist."
ellauri332.html on line 452: Love the book or hate it, but no novel deserves the shabby treatment that director Roland Joff and screenwriter Douglas Day Stewart have given the classic novel.
xxx/ellauri125.html on line 750: Courtney Michelle Harrison was born on July 9, 1964, at Saint Francis Memorial Hospital in San Francisco, California, the first child of psychotherapist Linda Carroll (née Risi) and Hank Harrison, a publisher and road manager for the Grateful Dead. Her parents met at a party held for Dizzy Gillespie in 1963. Her mother, who was adopted at birth and raised by an Italian-American family in San Francisco, was the biological daughter of novelist Paula Fox; Love's maternal great-grandmother was screenwriter Elsie Fox. Phil Lesh, the founding bassist of the Grateful Dead, is Love's godfather. According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast. Love is of Cuban, English, German, Irish, and Welsh descent.
xxx/ellauri304.html on line 588: James Mallahan Cain (1892-1977) was an American novelist, journalist and screenwriter. He is widely regarded as a progenitor of the hardboiled school of American crime fiction. His novels The Postman Always Rings Twice, Double Indemnity, Serenade, Mildred Pierce and The Butterfly brought him critical acclaim and an immense popular readership in America and abroad.
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