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Showing 1 - 7 of 7 matches in All Departments
The Kingdom (2007)
Jarhead (2006)
From Academy Award-winning director and writer Sam Mendes, Empire Of Light is a moving drama about the power of human connection during turbulent times. Set in and around a faded old cinema in an English coastal town in the early 1980s, It follows Hilary a cinema manager struggling with her mental health, and Stephen, a new employee who longs to escape this provincial town in which he faces daily adversity. Academy Award nomination for Best Cinematography.
Tom Hanks stars in this gangster drama set in the American Midwest during the 1930s. Twelve-year-old Michael Sullivan Jr is curious about what his father (Hanks) does for a living, and one night decides to hide in his car as he goes off to work. It soon transpires that the elder Sullivan is a hitman for the mob, and when young Michael witnesses a killing carried out by the gangster boss' son Connor (Daniel Craig), it starts off a chain of events which will mark Michael's life forever. Co-starring Paul Newman and Jude Law and directed by Sam Mendes.
At the height of the First World War, two young British soldiers, Schofield and Blake are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake’s own brother among them. (Winner of 3 Academy Awards: Best Cinematography, Best Visual Effects, Best Sound Mixing. Also nominated for Best Picture, Best Director, Best Original Screenplay, Best Production Design, Best Make-Up & Hairstyling, Best Musical Score, Best Sound Editing)
The legendary 1964 Broadway run of Hamlet directed by John Gielgud is one of the most famous productions of Shakespeare’s most important play. Audacious for its time in concept and execution, it placed the actors in everyday clothes within an unassuming “rehearsal” set, with the Ghost of Hamlet’s father projected as a shadow against the rear wall and voiced by the director himself. It was also a runaway critical and financial success, breaking the then-record for most performances of a Broadway show. This was in no small part due to the starring role played by Richard Burton, whose romance with Elizabeth Taylor was the object of widespread fascination. Present throughout, and ever attentive to the backstage drama and towering egos on display, was the actor William Redfield, who played Guildenstern. During the three months of the play’s preparation, from rehearsals through out-of-town tryouts to the gala opening night on Broadway, Redfield wrote a series of letters describing the daily happenings and his impressions of them. In 1967, they were in 1967 collected into Letters from an Actor, a brilliant and unusual book that has since become a classic behind-the-scenes account that remains an indispensable contribution to theatrical history and lore. This new edition at last brings Redfield’s classic back into print, as The Motive and the Cue—the Sam Mendes-directed play about the Gielgud production that is based in part on the book—continues its successful run on London’s West End.
Daniel Craig returns as 007 in the 24th instalment of the James Bond franchise. After the devastating attack on MI6, a cryptic message leads Bond on a rogue mission to Rome where he meets Lucia Sciarra (Monica Bellucci), the widow of a notorious crimelord. On ilfiltrating a top secret meeting, Bond discovers the existance of the global crime organisation SPECTRE and sets about trying to expose them and ultimately bring them down. The cast also includes Ralph Fiennes, Christoph Waltz and Ben Whishaw.
Michael Coveney has been writing theatrical obituaries alongside reviews for several decades and makes a telling, sometimes surprising, selection of the best performers of our time, from Laurence Olivier to Alan Rickman, Peggy Ashcroft to Helen McCrory, Richard Briers to Ken Dodd. Most of these obits appeared in the Guardian, several in the Observer, the Financial Times and the Evening Standard. The fifty articles are arranged in chronological order of each actor’s demise and constitute a vivid history of postwar theatre through the lives of the actors, ‘the abstract and brief chronicles of the time’ as Hamlet called them. There are happy/sad juxtapositions of shooting stars Robert Stephens and Alan Bates; tragic niece and aunt, Natasha Richardson and Lynn Redgrave; classical queens Diana Rigg and Barbara Jefford; and versatile showtime hoofers Una Stubbs and Lionel Blair.
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