ANTONY AND CLEOPATRA by William Shakespeare. Filmed live from the National Theatre, Ralph Fiennes and Sophie Okonedo play Shakespeare’s famous fated couple in his great tragedy of politics, passion and power. Director Simon Godwin returns to National Theatre Live screens with this hotly anticipated production.
Caesar and his assassins are dead. General Mark Antony now rules alongside his fellow defenders of Rome. But at the fringes of a war-torn empire the Egyptian Queen Cleopatra and Mark Antony have fallen fiercely in love. In a tragic fight between devotion and duty, obsession becomes a catalyst for war.Continue reading ANTONY AND CLEOPATRA FROM NT LIVE. PREVIEW GIVEAWAY→
George Bernard Shaw’s 1903 MAN AND SUPERMAN with more than 57,000 words, is an epic romantic comedy of manners, a witty social satire and presents a range of very profound philosophical arguments and other existential topics and theories.
Full of contradictions, the play is a comedy about ideas – most of the characters passionately discuss and debate a range of subjects including politics, capitalism, socialism, social reform, male/female roles in courtship. It definitely has a certain Wildean appeal, with a multitude of clever witticisms, about music and the morals of the English upper classes, whilst questioning the integrity of English politicians.
When first published it was pronounced as being unstageable, because its verbosity made it unwieldy. The play asks fundamental questions about how we live, during its four acts lasting nearly four hours, and all the messages conveyed remain still very relevant today, and in its genre this play remains forever a provocative theatre landmark.
James Bond 007 returns. This week, full details for the latest outing of Daniel Craig as James Bond 007 were announced live from the franchise’s British studio home Pinewood Studios
The upcoming 24th James Bond 007 film will be called SPECTRE. The title was announced Thursday, along with new cast members Christoph Waltz, Lea Seydoux, Dave Bautista, Andrew Scott and Monica Bellucci.
At the height of his brilliant career, Charles Dickens meets a younger woman who becomes his secret lover until his death. The younger woman was Nelly Ternan, 27 years his junior. They met when she was 18 and appearing with her mother and sisters in a play Charles was producing.
THE INVISIBLE WOMAN, a new film directed by Ralph Fiennes from a screenplay by Abi Morgan, is based on the biography of the same name, by Claire Tomalin, published in 1991. The biography tells of their long-term clandestine affair, after Charles had ceased to love his wife Catherine who had borne him 10 children.
It’s worth checking in to THE GRAND BUDAPEST HOTEL (M) for the cavalcade of rich characters and invigorating incident.
A flashback story related by one guest to another, it concerns a consummate concierge by the name of M. Gustave, played with esteemed eloquence and incandescent clowning by Mr. Ralph Fiennes.
Gustave has elevated beck and call to a sublime service to become the indispensable and undisputed crown custodian of the hotel’s guests whims and desires. Not merely a keeper of the keys but a caretaker of comforts, especially with a coterie of grateful dowagers who show their gratitude in gratuity.
Most glorious of all endowments comes from Madame D., an almost unrecognisable Tilda Swinton whose bequest raises the murderous ire of her son, Dimitri, played in arch villainous mode by Adrain Brody, who dispatches his homicidal henchman, Jopling, played with bulldog stubborn, tripping on a high wire menace by Willem Dafoe.
Loosely based on the writings of Stefan Zweig, Wes Anderson’s film is a romp, a collide-a-scope, articulate, detailed, gorgeous to the eye and ear, and peopled with a cast that illustrates fidelity from previous films and the obvious desire of performers to work with the wunderkind Wes-meister.
Among the galaxy of stars in this big bang movie is F. Murray Abraham, Jeff Goldblum, Jude Law, Harvey Keitel, Edward Norton, Bill Murray, Owen Wilson, Bob Balaban, Mathieu Almaric and Lea Seydoux.
The faded opulence of THE GRAND BUDAPEST HOTEL as conjured by production designer Adam Stockhausen confers a wonderful piss elegance to the picture which is beautifully shot in old fashioned format by Robert D. Yeoman, Anderson’s cinematographer of choice since the director’s debut, Bottle Rocket. The tinge of tat eloquently conveys the eclipse of empire and the emerging shadow of fascism and totalitarianism that would engulf Europe.
With a dip o’ the lid to Lubitsch, Coward and the Marx Brothers, Anderson conveys a warm welcome to The GRAND BUDAPEST HOTEL such a lovely place, such a funny place, to bring a happy face. You’ll be glad you checked in. It’s an engaging and enchanting stay.
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