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Luis Buñuel “L’Age d’Or” 1930 (Love4Gays Movie) Meowsjr =^.^=

Luis Buñuel "L'Age d'Or" 1930 (Love4Gays Movie) Meowsjr =^.^=

Luis Buñuel “L’Age d’Or” 1930 (Love4Gays Movie) Meowsjr =^.^=

Luis Buñuel “L’Age d’Or” 1930 (Love4Gays Movie) Meowsjr =^.^=
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L’Age d’Or (1930)

Late in 1929, on the strength of Un Chien Andalou, Buñuel and Dalí were commissioned to make another short film by Marie-Laurie and Charles de Noailles, owners of a private cinema on the Place des États-Unis and financial supporters of productions by Jacques Manuel, Man Ray and Pierre Chenal.[27]Razz.124 At first, the intent was that the new film be around the same length as Un Chien, only this time with sound. But by mid-1930, the film had grown segmentally to an hour’s duration.[27]Razz.116 Anxious that it was over twice as long as planned and at double the budget, Buñuel offered to trim the film and cease production, but Noailles gave him the go-ahead to continue the project.[27]Razz.116

The film, entitled L’Age d’Or, was begun as a second collaboration with Dalí, but, while working on the scenario, the two had a falling out; Buñuel, who at the time had strong leftist sympathies,[55] desired a deliberate undermining of all bourgeois institutions, while Dalí, who eventually supported the Spanish nationalist dictator Francisco Franco and various figures of the European aristocracy, wanted merely to cause a scandal through the use of various scatological and anti-Catholic images.[56] The friction between them was exacerbated when, at a dinner party in Cadaqués, Buñuel tried to throttle Dalí’s girlfriend, Gala, the wife of Surrealist poet Paul Éluard.[57] In consequence, Dalí had nothing to do with the actual shooting of the film.[58]Razzp.276–277 During the course of production, Buñuel worked around his technical ignorance by filming mostly in sequence and using nearly every foot of film that he shot. Buñuel invited friends and acquaintances to appear, gratis, in the film; for example, anyone who owned a tuxedo or a party frock got a part in the salon scene.[27]Razz.116

“A film called L’Âge d’or, whose non-existent artistic quality is an insult to any kind of technical standard, combines, as a public spectacle, the most obscene, disgusting and tasteless incidents. Country, family, and religion are dragged through the mud”.[59]

Excerpt from Richard Pierre Bodin’s review in Le Figaro, 7 December 1930.

L’Âge d’Or was publicly proclaimed by Dalí as a deliberate attack on Catholicism, and this precipitated a much larger scandal than Un Chien Andalou.[60] One early screening was taken over by members of the fascist League of Patriots and the Anti-Jewish Youth Group, who hurled purple ink at the screen[61] and then vandalised the adjacent art gallery, destroying a number of valuable surrealist paintings.[62] The film was banned by the Parisian police “in the name of public order”.[63] The de Noailles, both Catholics, were threatened with excommunication by The Vatican because of the film’s blasphemous final scene (which visually links Jesus Christ with the writings of the Marquis de Sade), so they made the decision in 1934 to withdraw all prints from circulation, and L’Age d’Or was not seen again until 1979, after their deaths,[64] although a print was smuggled to England for private viewing.[65] The furor was so great that the premiere of another film financed by the de Noailles, Jean Cocteau‘s The Blood of a Poet, had to be delayed for over two years until outrage over L’Age d’Or had died down.[66] To make matters worse, Charles de Noailles was forced to withdraw his membership from the Jockey Club.[67]

Concurrent with the succès de scandale, both Buñuel and the film’s leading lady, Lya Lys, received offers of interest from Metro-Goldwyn-Mayer and traveled to Hollywood at the studio’s expense.[68] While in the United States, Buñuel associated with other celebrity expatriates including Sergei Eisenstein, Josef Von Sternberg, Jacques Feyder, Charles Chaplin and Bertolt Brecht.[33] All that was required of Buñuel by his loose-ended contract with MGM was that he “learn some good American technical skills”,[69] but, after being ushered off the first set he visited because the star, Greta Garbo, did not welcome intruders, he decided to stay at home most of the time and only show up to collect his paycheck.[70] His only enduring contribution to MGM came when he served as an extra in La Fruta Amarga, a Spanish-language remake of Min and Bill.[71] When, after a few months at the studio, he was asked to watch rushes of Lili Damita to gauge her Spanish accent, he refused and sent a message to studio boss Irving Thalberg stating that he was there as a Frenchman, not a Spaniard, and he “didn’t have time to waste listening to one of the whores”.[72]Razz.18 He was back in Spain shortly thereafter.[68]

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Marx Brothers “Animal Crackers” (Love4Gays Movie) Meowsjr =^.^=

Marx Brothers "Animal Crackers" (Love4Gays Movie) Meowsjr =^.^=

Marx Brothers “Animal Crackers” (Love4Gays Movie) Meowsjr =^.^=

Marx Brothers “Animal Crackers” (Love4Gays Movie) Meowsjr =^.^=

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Animal Crackers is a musical with music and lyrics by Bert Kalmar and Harry Ruby and a book by George S. Kaufman and Morrie Ryskind. The musical starred the Marx Brothers.

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Blue Angel “1930” (Love4Gays Movie) Meowsjr =^.^=

Blue Angel "1930" (Love4Gays Movie) Meowsjr =^.^=

Blue Angel “1930” (Love4Gays Movie) Meowsjr =^.^=

Blue Angel “1930” (Love4Gays Movie) Meowsjr =^.^=

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The Blue Angel (German: Der blaue Engel) is a 1930 German tragicomedic film directed by Josef von Sternberg and starring Emil Jannings, Marlene Dietrich and Kurt Gerron. Written by Carl Zuckmayer, Karl Vollmöller and Robert Liebmann – with uncredited contributions by von Sternberg. It is based on Heinrich Mann‘s novel Professor Unrat (“Professor Garbage”, 1905), and set in Weimar Germany. The Blue Angel presents the tragic transformation of a man from a respectable professor to a cabaret clown, and his descent into madness. The film is considered to be the first major German sound film, and brought Dietrich international fame.[2] In addition, it introduced her signature song, Friedrich Hollaender and Robert Liebmann’s “Falling in Love Again (Can’t Help It)“.

The film was shot simultaneously in German- and English-language versions, although the latter version was thought lost for many years.

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The Sugar Land Express “1974” (Love4Gays Movie) Meowsjr =^.^=

The Sugar Land Express "1974" (Love4Gays Movie) Meowsjr =^.^=

The Sugar Land Express “1974” (Love4Gays Movie) Meowsjr =^.^=

The Sugar Land Express “1974” (Love4Gays Movie) Meowsjr =^.^=

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The Sugarland Express is a 1974 American neo-noir drama film co-written and directed by Steven Spielberg in his theatrical feature film directorial debut.[1] It stars Goldie Hawn, Ben Johnson, William Atherton, and Michael Sacks.

It is about a husband and wife trying to outrun the law and was based on a true story. The event partially took place, the story is partially set, and the movie was partially filmed in Sugar Land, Texas.[citation needed] Other scenes for the film were filmed in San Antonio, Lone Oak, Floresville, Pleasanton, Converse and Del Rio, Texas.[citation needed]

The Sugarland Express marks the first collaboration between Spielberg and composer John Williams. Williams has scored all but two of Spielberg’s directed films since (Twilight Zone: The Movie and The Color Purple being the only two exceptions).

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Way Down East “Silent Movie 1920″ (Love4Gays Movie) Meowsjr =^.^=

Way Down East "Silent Movie 1920" (Love4Gays Movie) Meowsjr =^.^=

Way Down East “Silent Movie 1920″ (Love4Gays Movie) Meowsjr =^.^=

Way Down East “Silent Movie 1920″ (Love4Gays Movie) Meowsjr =^.^=

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Way Down East is a 1920 American silent romantic drama film directed by D. W. Griffith and starring Lillian Gish. It is one of four film adaptations of the melodramatic 19th century play Way Down East by Lottie Blair Parker. There were two earlier silent versions, and one sound version in 1935, starring Henry Fonda.[3]

Griffith’s version is particularly remembered for its exciting climax in which Lillian Gish’s character is rescued from doom on an icy river. Some sources, quoting newspaper ads of the time, say a sequence was filmed in an early color process, possibly Technicolor or Prizmacolor.[4][5]

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100 Rifles (Love4Gays Movie) Meowsjr =^.^=

100 Rifles (Love4Gays Movie) Meowsjr =^.^=

100 Rifles (Love4Gays Movie) Meowsjr =^.^=

100 Rifles (Love4Gays Movie) Meowsjr =^.^=

100 Rifles is a 1969 western directed by Tom Gries based on the 1966 novel The Californio by Robert MacLeod. The film stars Jim Brown, Burt Reynolds, Raquel Welch, and Fernando Lamas and was shot in Spain. The original music score was composed by Jerry Goldsmith.[4]

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Girl Crazy (Love4Gays Movie) Meowsjr =^.^=

Girl Crazy (Love4Gays Movie) Meowsjr =^.^=

Girl Crazy (Love4Gays Movie) Meowsjr =^.^=

Girl Crazy (Love4Gays Movie) Meowsjr =^.^=

Girl Crazy is a 1943 musical film produced by Metro Goldwyn Mayer. Based on the stage musical of the same name, Girl Crazy stars Mickey Rooney and Judy Garland in their ninth of ten pairings, partly filmed on location near Palm Springs, California. This was also June Allyson‘s feature film debut. Music and lyrics by George and Ira Gershwin.

Production began with Busby Berkeley as director, but Berkeley was fired after continued run-ins with Garland. An elaborate production number set to “I Got Rhythm” was his only major contribution to the film.[2] Norman Taurog, who went on to direct Elvis Presley‘s rock and roll musicals, took over.

The film used six songs from the original stage musical, plus another Gershwin song, “Fascinating Rhythm”.[3]

The musical numbers were recorded in stereophonic sound but mixed into mono for release to theaters. Rhino Records released a compact disc featuring the original stereo recordings, which include probably the only stereo tracks of Tommy Dorsey and his orchestra.[4]

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All About Eve (Love4Gays Movie) Meowsjr =^.^=

All About Eve (Love4Gays Movie) Meowsjr =^.^=

All About Eve (Love4Gays Movie) Meowsjr =^.^=

All About Eve (Love4Gays Movie) Meowsjr =^.^=

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All About Eve is a 1950 American drama film written and directed by Joseph L. Mankiewicz, and produced by Darryl F. Zanuck. It was based on the 1946 short story “The Wisdom of Eve” by Mary Orr, although screen credit was not given for it.

The film stars Bette Davis as Margo Channing, a highly regarded but aging Broadway star. Anne Baxter plays Eve Harrington, an ambitious young fan who insinuates herself into Channing’s life, ultimately threatening Channing’s career and her personal relationships. George Sanders, Celeste Holm, Hugh Marlowe, Barbara Bates, Gary Merrill, and Thelma Ritter also appear, and the film provided one of Marilyn Monroe‘s earliest important roles.

Praised by critics at the time of its release, All About Eve was nominated for 14 Academy Awards (a feat unmatched until the 1997 film Titanic) and won six, including Best Picture. As of 2014, All About Eve is still the only film in Oscar history to receive four female acting nominations (Davis and Baxter as Best Actress, Holm and Ritter as Best Supporting Actress). All About Eve was selected in 1990 for preservation in the United States National Film Registry and was among the first 50 films to be registered. All About Eve appeared at #16 on AFI‘s 1998 list of the 100 best American films.[5]

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Cleopatra (Love4Gays Movie) Meowsjr =^.^=

Cleopatra (Love4Gays Movie) Meowsjr =^.^=

Cleopatra (Love4Gays Movie) Meowsjr =^.^=

Cleopatra (Love4Gays Movie) Meowsjr =^.^=

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Cleopatra is a 1963 epic drama film directed by Joseph L. Mankiewicz. The screenplay was adapted by Mankiewicz, Ranald MacDougall and Sidney Buchman from a book by Carlo Maria Franzero. The film starred Elizabeth Taylor, Richard Burton, Rex Harrison, Roddy McDowall, and Martin Landau. The music score was by Alex North. It was photographed in 70 mm Todd-AO and DeLuxe Color by Leon Shamroy.

Cleopatra chronicles the struggles of Cleopatra VII, the young Queen of Egypt, to resist the imperial ambitions of Rome.

Cleopatra achieved notoriety during its production for its massive cost overruns and production troubles, which included changes in director and cast, a change of filming locale, sets that had to be constructed twice, lack of a firm shooting script, and personal scandal around its co-stars. Adjusted for inflation, it is one of the most expensive films ever made. It received mixed reviews from critics, although critics and audiences alike generally praised Taylor and Burton’s performances. It was the highest grossing film of 1963, earning US $26 million ($57.7 million total), yet made a loss due to its production and marketings costs of $44 million, making it the only film ever to be the highest grossing film of the year yet to run at a loss;[4] for this, the film has been considered a moderate (but not total) box office failure. The film nearly bankrupted 20th Century Fox, though the studio would be rescued from bankruptcy, and have both its prestige and legacy restored, two years later with the release of the highly popular and acclaimed movie musical The Sound of Music. Cleopatra later won four Academy Awards, and was nominated for five more, including Best Picture (which it lost to Tom Jones).

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