Scrooge is a 1951 film adaptation of Charles Dickens’s A Christmas Carol. It starred Alastair Sim as Ebenezer Scrooge and was directed by Brian Desmond Hurst, with a screenplay by Noel Langley. It was released as A Christmas Carol in the United States.
Comparison with the source material:
In the film, Mrs Dilber is the name of the charwoman, whereas in the book the woman was unnamed and the laundress was named Mrs Dilber. The charwoman’s role is greatly expanded in the film, to the point that she receives second billing in the list of characters. Continue reading
An evil troll, Torok, the transformed state of the ex-husband of an old friendly witch named Eunice St. Clair, has chosen her apartment building to be the heart of the restoration of the world he once knew. To do this he uses an Emerald ring, and takes possession of a little girl named Wendy, whose brother Harry immediately suspects something wrong. Torok, often in the form of the little girl, goes into each occupant’s apartment, hideously transforming people into plant pods. Continue reading
It has often been said that Jean Cocteau was the first major poet and writer to treat the cinema with total seriousness. But actually it was the cinema that made him into a major artist. “The movie screen,” he said, “is the true mirror refecting the flesh and blood of my dreams.” And one of his most poetic, dreamlike films was La Belle et La Bête.
Watching it now, you can’t feel its audacity as you might have done at the time. Faithfully, but not totally innocently, based on the fairy tale by Madame LePrince de Beaumont, it is almost purely visual, even if a Freudian analysis is possible. And it is certainly completely different in atmosphere and style from anything that had gone before, at least in the commercial cinema.
The team who made it in 1946 – and it was a team – broke a good many rules at the urging of Cocteau. Georges Auric’s memorable music didn’t so much underline the visuals as frequently cut across them, reaching a synthesis at vital moments. Henri Alekan’s equally extraordinary cinematography, which the studio described unsympathetically as “white cheese”, is the opposite of conventionally fantastic. Continue reading
Little Shop of Horrors, Russian Style
By Oleg Liakhovich The Moscow News
On the heels of the XXVI Moscow International Film Festival came an event even more pompous and widely publicized – the premiere of a movie meant to spark a revival of Russia’s popular cinema while giving Hollywood a battle royale on its own terms
Night Watch (Nochnoy Dozor in original Russian) depicts the on-going struggle between the magical forces of good and evil in present-day Moscow. The movie was eagerly awaited by fans and became an object of an intense advertising campaign in all media. Its US $3mln budget – an incredible sum for a local movie – and plentiful special effects, also a novelty for Russian cinema with its established traditions of inexpensive quality dramas and solid adaptations of literary classics, were to make Night Watch Russia’s equivalent of an American summer blockbuster. The producers actually went as far as officially calling it “the first Russian blockbuster” long before it had the chance to appear on screen. Even Russia’s own Oscar winner and self-styled national sage director Nikita Mikhalkov, while admitting that the film “wasn’t his thing”, said that it was “cool” and called it Russia’s “answer to Quentin Tarantino”. Serious praise indeed – after all, only a dirty mind would suspect Mikhalkov of still being sore at old Quentin for “stealing” his Palme d’Or in Cannes back in 1994.
Lightsaber, Anyone? Continue reading
A more horrific and gloomy version of The Beauty and the Beast. Julie is a bankrupt merchant`s daughter who as the only one of the three daughters chooses to save her father`s life by going to the Haunted Wood`s Castle where she meets Netvor. He wants to kill her, but her beauty prevents him from that. Although she is forbidden to see him she starts to love him and the love rescues him from his curse… Continue reading
Having been caught stealing money from his employer to pay for a holiday with his girlfriend Juliette, Michel finds himself in a prison cell. He falls into a deep sleep and awakes to find the door of his cell open. Stepping through the doorway, he finds himself in the most beautiful sun-drenched countryside. A peaceful country road leads him to a remote village whose inhabitants have lost their memory. Husbands and wives no longer recognise one another but everyone seems to know Juliette when Michel enquires about her…
The third and definitive film adaptation of L. Frank Baum’s 1900 children’s fantasy, this musical adventure is a genuine family classic that made Judy Garland a star for her heartfelt performance as Dorothy Gale, an orphaned young girl unhappy with her drab black-and-white existence on her aunt and uncle’s dusty Kansas farm.
Dorothy yearns to travel “over the rainbow” to a different world, and she gets her wish when a tornado whisks her and her little dog, Toto, to the Technicolorful land of Oz. Having offended the Wicked Witch of the West (Margaret Hamilton), Dorothy is protected from the old crone’s wrath by the ruby slippers that she wears.
At the suggestion of Glinda, the Good Witch of the North (Billie Burke), Dorothy heads down the Yellow Brick Road to the Emerald City, where dwells the all-powerful Wizard of Oz, who might be able to help the girl return to Kansas.
En route, she befriends a Scarecrow (Ray Bolger), a Tin Man (Jack Haley), and a Cowardly Lion (Bert Lahr). The Scarecrow would like to have some brains, the Tin Man craves a heart, and the Lion wants to attain courage; hoping that the Wizard will help them too, they join Dorothy on her odyssey to the Emerald City. Continue reading