Showing posts with label heartbreak. Show all posts
Showing posts with label heartbreak. Show all posts
Wednesday, November 16, 2011
An Officer and a Gentleman - 1982
"In every class, there's always one joker who thinks that he's smarter than me. In this class, that happens to be you. Isn't it, Mayonnaise?"
Dreams of being a Navy pilot prompt Zack Mayo (Richard Gere) to enroll in officer training school, where he runs afoul of a drill instructor (Oscar winner Louis Gossett Jr.) who senses the cadet's loner instinct and aims to school him on the importance of teamwork -- or break him in the process. In the meantime, Mayo romances a working girl (Debra Winger), ignoring warnings to steer clear of the local lasses out to bag hotshot Navy flyboys.
It is a Navy tradition for newly-commissioned officers to give a silver dollar to the person who gives them their first salute. In the scene where the new graduates of Foley's class receive their "first salutes," you can see them giving Foley a silver dollar prior to each salute. It is also a tradition for the D.I. to place the silver dollar of his memorable students in his right pocket; you can see that Mayo's dollar is placed in Foley's right pocket, rather than the left pocket as it is for, for example, Ensign Della Serra.
Monday, June 6, 2011
The Heiress - 1949
I had never seen a film starring Montgomery Clift and I came across this one. It also stars Olivia deHavilland who is remarkable (She won the Oscar as BEST ACTRESS for this film). I love watching an old B&W picture sometimes. This is a great one.
The Heiress is a 1949 American drama film. It was written by Ruth and Augustus Goetz, adapted from their 1947 play of the same title that was based on the 1880 novel Washington Square by Henry James.
The film was directed by William Wyler, with starring performances by Olivia de Havilland as Catherine Sloper, Montgomery Clift as Morris Townsend, and Ralph Richardson as Dr. Sloper.
After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play. He agreed and encouraged Paramount Pictures executives to purchase the rights from the playwrights for $250,000 and offer them $10,000 per week to write the screenplay. The couple was asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.
In his review in the New York Times, Bosley Crowther said the film "crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale" and added, "Mr. Wyler . . . has given this somewhat austere drama an absorbing intimacy and a warming illusion of nearness that it did not have on the stage. He has brought the full-bodied people very closely and vividly to view, while maintaining the clarity and sharpness of their personalities, their emotions and their styles.
The Heiress is a 1949 American drama film. It was written by Ruth and Augustus Goetz, adapted from their 1947 play of the same title that was based on the 1880 novel Washington Square by Henry James.
The film was directed by William Wyler, with starring performances by Olivia de Havilland as Catherine Sloper, Montgomery Clift as Morris Townsend, and Ralph Richardson as Dr. Sloper.
After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play. He agreed and encouraged Paramount Pictures executives to purchase the rights from the playwrights for $250,000 and offer them $10,000 per week to write the screenplay. The couple was asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.
In his review in the New York Times, Bosley Crowther said the film "crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale" and added, "Mr. Wyler . . . has given this somewhat austere drama an absorbing intimacy and a warming illusion of nearness that it did not have on the stage. He has brought the full-bodied people very closely and vividly to view, while maintaining the clarity and sharpness of their personalities, their emotions and their styles.
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