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A few days after having watched Sanjay Leela Bhansali’s Gangubai Kathiawadi (2022), I found myself going back to an old favorite – Mandi, directed by Shyam Benegal and based on a story by the famous Urdu writer, Ghulam Abbas. It tells the story of a brothel in Hyderabad run by Rukmani Bai. Out of the many intriguing aspects of the film, I realized how much I look forward to the character of Tungrus, played by Naseeruddin Shah, a faithful helper filled with alcohol and prophetic words by night, and successfully tames a monkey by morning.

Shah impersonates the character so well that it is difficult to imagine that in the same year (1983), he starred in films like Masoom and Woh Saat Din. Such is the prowess of the auteur, Naseeruddin Shah! Aged 71 now and hailed as one of the best actors to grace the Indian film industry, he continues to bring...

Pippa Scott, who appeared in movies including “The Searchers,” “Petulia” and “Auntie Mame” before making numerous TV appearances and marrying Lorimar Productions co-founder Lee Rich, died May 22. She was 90.

Her daughter, Miranda Tollman, reported her death.

Among Scott’s other film roles were “The Confession,” “Mr. Lucky,” “For Pete’s Sake!”and “Cold Turkey.” One of her final parts was in the 2009 indie “Footprints.”

Born in Los Angeles, she was the daughter of stage actress Laura Straub and playwright and screenwriter Allan Scott, who wrote several musicals for Fred Astaire and Ginger Rogers. Her uncle, Adrian Scott, was one of the Hollywood Ten blacklisted during the McCarthy era.

She was educated at Radcliffe and the Royal Academy of Dramatic Arts in London, and debuted in Jed Harris’ 1956 Broadway production “Child of Fortune.”

That same year, Scott appeared in John Ford’s “The Searchers,” in which she played Lucy, a member...

Pippa Scott, who played one of abducted daughters alongside Natalie Wood in John Ford’s The Searchers and the secretary of Rosalind Russell’s title character in Auntie Mame, has died. She was 90.

Scott died peacefully May 22 of congenital heart failure at her home in Santa Monica, her daughter Miranda Tollman told The Hollywood Reporter.

Scott’s film résumé also included Gower Champion’s My Six Loves (1963), Richard Lester’s Petulia (1968), Norman Lear’s Cold Turkey (1971) and Michael Lindsay-Hogg’s The Sound of Murder (1982).

On television, the redhead portrayed the wife of a Broadway actor (Brian Aherne) transported back in time in the 1960 Twilight Zone episode “The Trouble With Templeton”; was the wife of a rabbi helping Morey Amsterdam’s character with his very belated bar mitzvah on the 1966 Dick Van Dyke Show installment “Buddy Sorrell: Man and Boy”; and played a nursery school teacher and love interest of Jack Warden...

Richard Burton never got around to writing an official set of memoirs before his untimely, alcohol-hastened death in 1984, though the star’s posthumously published diaries are among the great volumes of their kind in the showbiz library: sometimes brutally candid about himself, often savagely catty about others, and reflective of a wry, wicked mind behind the boorish antics that kept him in the headlines. There’s little of that wit or mischief to be found in Marc Evans’ quiet, earnestly soft-hearted biopic “Mr. Burton,” though that discrepancy is at least partly the point.

Dramatizing the Welshman’s formative early years as an actor, from his rough working-class adolescence to the brink of celebrity in his mid-twenties, Evans’ film intends to show us an unformed boy scarcely recognizable as the imposing, burgundy-voiced lead of “Who’s Afraid of Virginia Woolf?” and “Look Back in Anger,” right down to his unfamiliar childhood name: Richie Jenkins.

Exclusive: Billy Howle is so at home playing characters wading through pools of anger and angst that he had an “alien feeling” while playing idle rich boy Benji Winbury in Netflix hit The Perfect Couple.

The British actor, almost as a counterpoint to the Nantucket frippery on display in the adaptation of Elin Hilderbrand’s chart-topping beach read, can now be found on the stage of the prestigious Almeida Theatre in Islington, North London. There he opens tonight, taking on the theatre’s original angry young man, Jimmy Porter, a mammoth career-defining role, in a revival of John Osborne’s 1956 classic Look Back in Anger, which takes place in a dreary attic apartment where Jimmy rails at a society that has become “sick.”

“There’s all this talk about mental health,” says Howle, “and let’s face it, the guy has anger issues. It’s in the title of the play.

Greenwich Entertainment has acquired U.S. and Canadian distribution rights to “Mad About the Boy – The Noel Coward Story,” an intimate portrait of one of the 20th century’s greatest writers and wits.

Barnaby Thompson produced, wrote and directed the documentary about Coward, using unprecedented access to Coward’s estate. The film is told in his own words and music, using his diaries, photos and home movies, along with archival interviews with Coward and his contemporaries. Alan Cummings narrates and Rupert Everett voices Coward.

Coward was a popular and acclaimed playwright, actor, director, singer, songwriter and novelist. He wrote 60 plays, 500 songs, five screenplays, 14 films adapted from his plays, nine musicals, 300 poems, 21 short stories, two novels and three autobiographies. He also performed in over 70 plays and 12 movies.

But before he achieved fame, he grew up in poverty and left school when he was only nine years old. He was also covertly...

Adam Driver will star in a new Off Broadway production of Kenneth Lonergan’s Hold on to Me Darling this fall, producers announced today.

Neil Pepe will direct the limited 13-week engagement. Previews begin at the Lucille Lortel Theatre on Tuesday, September 24, ahead of an official opening night on Wednesday, October 16.

Additional casting will be announced at a later date. The creative team will include Walt Spangler (scenic design), Suttirat Larlarb (costume design), Tyler Micoleau (lighting design), and David Van Tiegham (sound design).

Producing are Seaview, Sue Wagner, and John Johnson.

The official synopsis: On learning of his mother’s death, country music icon Strings McCrane (Driver) finds himself in an existential tailspin. The only way out, he decides, is to abandon superstardom in favor of the simple life, so he moves back to his hometown in Tennessee. The simple life turns out to be anything but simple in this brilliantly observed tragicomedy,...

Exclusive: Lord of the Rings star Morfydd Clark and Under the Banner of Heaven’s Billy Howle will star in new versions of John Osborn’s Look Back In Anger and Arnold Wesker’s Roots, which will run in rep at London’s Almeida in what has been dubbed the Angry and Young season. Ahead of the season, Romola Garai will appear in Eline Arbo’s adaptation of Annie Ernaux’s exceptional Noble Prize-winning novel The Years.

Roots, with Clark in the central role of Beatie Bryant who returns to her family in Norfolk after living a highly charged political life in London, will run at the Almeida in Islington, North London, from September 10 through November 23, directed by Diyan Zora.

Howle will take a small part in Roots but in Look Back In Anger, which will run from September 20 through November 23, he’ll play Jimmy Porter, the theater’s original angry young man.

This generation of filmgoers mostly probably thinks of Irish actor-director Kenneth Branagh as Agatha Christie’s mustachioed detective Hercule Poirot in Murder on the Orient Express (2017), Death on the Nile (2022) and the upcoming A Haunting in Venice.

But there is so much more to Branagh’s career. As a director, he’s dabbled in multiple genres, including fantasy, action, science fiction, thriller, comedy and superhero.

Branaghs career as an actor has been equally as diverse. He’s acted in legal thrillers, Westerns, romantic thrillers, animation, fantasy pics and dramedies.

And then there’s Shakespeare. There’s always Shakespeare. Branagh has a self-professed love of the Bard. He’s acted in and directed...

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Cinema Retro continues covering films that are not currently available on home video in the U.S. or U.K.

By Brian Hannan

"Sanctuary" is an overheated melodrama that stands as a classic example of Hollywood’s offensive attitudes to women. Nobel prize-winning author William Faulkner could hardly blame the movies for sensationalising his misogynistic source material since, if anything, the movie took a softer line. The story is told primarily in flashback as headstrong southern belle Temple Drake (Lee Remick) attempts to mitigate the death sentence passed on her maid Nancy (Odetta). Given that such appeals are directed at Drake’s Governor father (Howard St John), and that the maid has been condemned for murdering Drake’s infant child, that’s a whole lot of story to swallow.

Worse is to follow. Drake takes up with Prohibition bootlegger Candy Man (Yves Montand...

After attending the Middleburg Film Festival in Virginia this past weekend, five-time Oscar nominee Kenneth Branagh earned a souvenir. His film “Belfast” won the coveted Audience Award for Best Narrative Film. He is the director-writer-producer behind a very personal nostalgic coming-of-age tale that’s being released by Focus Features on November 12. It stars Caitriona Balfe, Jamie Dornan, Judi Dench, Ciaran Hinds and newcomer Jude Hill.

The festival itself also bestowed him with a Director Spotlight Award during the four-day event. Previously, the ‘60s-era look back at the ongoing troubles in Northern Ireland that besieged his hometown also claimed Toronto International Film Festival’s People’s Choice Award. Consider that all the nine previous winners made the cut for a Best Picture slot on the Oscar ballot..

Gold Derby chatted with Branagh at Middleburg as he talked about casting, making a movie during a pandemic and how he gently tweaked the story of his own childhood.

An arrest was made in the hit-and-run accident that killed actress Lisa Banes, who died in June after being struck by a scooter.

NYPD said Friday that a New York man from Manhattan, Brian Boyd, 26, was arrested and charged with leaving the scene of an accident resulting in a death and for failure to yield to a pedestrian (via the New York Times). Police said that patrol cops recognized Boyd through a wanted poster and that he was taken into custody around 6:30 p.m. Thursday.

Banes was struck on June 4 while crossing the street near Lincoln Center, and she died 10 days later in Mount Sinai Morningside Hospital. She was 65.

Lisa Banes was known for roles on stage and screen, including movies like “Gone Girl,” “A Cure for Wellness” and “Cocktail.” In New York she appeared in several Broadway and Off-Broadway plays, winning a Theatre World Award in 1981 for the...

Lisa Banes, an actress known for roles in “Gone Girl,” “Cocktail,” “A Cure for Wellness” and roles on stage and screen, has died after being struck in a hit-and-run accident. She was 65.

Banes was struck by a scooter or motorcycle in New York while crossing the street on June 4 near Lincoln Center, an NYPD spokesperson told AP. Banes then died Monday at Mount Sinai Morningside Hospital, as confirmed to TheWrap by a rep for Banes.

The driver did not stop and police have made no arrests.

“We are heartsick over Lisa’s tragic and senseless passing. She was a woman of great spirit, kindness and generosity and dedicated to her work, whether on stage or in front of a camera and even more so to her wife, family and friends. We were blessed to have had her in our lives,” Banes’ manager David Williams told TheWrap.

Lisa Banes was born in Chagrin Falls,...

Actress Lisa Banes is in critical condition at a Mount Sinai Morningside hospital in New York after a hit-and-run incident involving a man on a scooter on Friday.

“We have several days ahead of us to pray for Lisa,” Banes’ wife, Kathryn Kranhold, told the New York Daily News. “If anyone has any information about the scooter driver, we ask them to please call police.”

Banes, whose on-screen credits include “Gone Girl” and “A Cure for Wellness,” was in New York to perform a show for the Manhattan Theater Club. According to police, she was on her way to dinner when a man on a motorcycle or scooter ran through a red light and collided with Banes in the crosswalk.

“He just wiped her out,” a witness told the Daily News. “He didn’t even stop. He just kept going … People were filming her, not helping her.”

No arrests have been made.

Chris Barber’s death is a reminder of trad’s key place n the explosion of a film style that moved to the music of the era

In the opening scene of the 1959 film of Look Back in Anger, Richard Burton, as “angry” icon Jimmy Porter, establishes his nonconformist credentials by indulging in a sweaty jazz-trumpet freakout as the local youth bop in a frenzy nearby. The scene is an invention of the film-makers – the original play takes place entirely inside a single cramped attic flat – but the took its cue from play-Porter’s fondness for playing a trumpet offstage, to wind everybody up.

Well, it was a smart move by the film-makers – director Tony Richardson and writer Nigel Kneale – to ally their pioneering essay in the film kitchen-sink realism with trad jazz, then at the height of its popularity in the UK. The death this week of Chris Barber...

David Bowie’s Nineties live performances will be the focus of an upcoming set of six concert albums that will be released individually over the next few months.

Dubbed Brilliant Live Adventures, the series kicks off with Ouvrez Le Chien (Live Dallas 95), a recent digital-only release that will make its vinyl and CD debut on October 30th.

The live LP — recorded at Dallas’ Starplex Amphitheater on October 13th, 1995 — captures the late icon midway through his tour in support of 1995’s Outside. The gig’s setlist leans heavily on that Brian Eno co-produced album,...

Above: 1976 Hungarian poster for The Wizard of Oz. Art by Olga Tövisváry.In the world of East European poster design, Hungary has always been somewhat of a poor relation to Poland and Czechoslovakia, whose artists have been justly celebrated for years. In that indispensable bible of international postwar movie poster design, Art of the Modern Movie Poster, 66 pages are devoted to Polish posters and 40 to the Czechs, but not only is Hungary lumped into a section with Russia, Romania, and Yugoslavia but there are only two Hungarian posters featured. But that dearth of attention is all due to access rather than to the quality of Hungarian design. I recently came across a treasure-trove of Hungarian movie posters on a number of websites that could go a long way to redressing the balance. The posters that I am featuring here were all found on the auction site Bedo and they come...

An unreleased David Bowie concert recording from 1995 will debut on streaming services July 3rd with the release of Ouvrez Le Chien (Live Dallas 95).

The live LP — recorded at Dallas’ Starplex Amphitheater on October 13th, 1995 — captures the late icon midway through his tour in support of 1995’s Outside. The gig’s set list leans heavily on that Brian Eno co-produced album, with tracks like “The Voyeur of Utter Destruction (as Beauty),” “I Have Not Been to Oxford Town,” “I’m Deranged,” and “The Hearts Filthy Lesson.”

The concert also finds Bowie...

An important piece of the short-lived British New Wave of the early 1960s was John Schlesinger’s sophomore film Billy Liar (1963). But if the wave began with the ‘angry young man’ archetype established with Tony Richardson’s Look Back in Anger (1959), its trajectory slid into something a bit more melancholically fanciful with Schlesinger, who presented Tom Courtenay as a lonely, immature character drifting along in his own increasingly aimless fantasies.

The film would make Julie Christie into a star with her brief supporting turn (she’d go on to win an Academy Award for her next stint with Schlesinger in 1965’s Darling), here a pseudo-love interest for the titular Billy, their interactions finally motivating him to think about future possibilities.…...

One of the first ‘kitchen sink realist’ films of the British New Wave is also one of the best English films ever — believable, absorbing, and emotionally moving. The adaptation of John Braine’s novel launched Laurence Harvey as a major star, and English films were suddenly touted as being just as adult as their continental counterparts. It attracted a bushel of awards, especially for the luminous Simone Signoret. Unlike the average Angry Young Man, Joe Lampton’s struggle feels universal — bad things happen when ambition seeks a way through the class ceiling, ‘to get to the money,’ as says Donald Wolfit’s character.

Room at the Top

Blu-ray

Kl Studio Classics

1959 / B&W / 1:66 widescreen / 115 min. / Street Date January 14, 2020 / available through Kino Lorber / 29.95

Starring: Laurence Harvey, Simone Signoret, Heather Sears, Ambrosine Phillpotts, Donald Wolfit, Donald Houston, Hermione Baddeley, Allan Cuthbertson, Raymond Huntley, John Westbrook, Richard Pasco, Ian Hendry, April Olrich,...

“Rise Of The Angry Young Man”

By Raymond Benson

Along with the French New Wave that kick-started in 1959, Britain had its own informal New Wave of what was referred to as the “angry young man” or “kitchen sink” dramas. They began on the stage with such playwrights as John Osborne. Filmmakers like Jack Clayton, Tony Richardson, Lindsay Anderson, and Karel Reisz are most often associated with the movement, which presented gritty, realistic tales of domestic or socio-economic situations involving working class families and/or single protagonists struggling to get ahead in an England that hadn’t quite pulled herself out of the post-war doldrums.

Room at the Top was one of the first—and best—of the bunch, and even more remarkable is that it was Jack Clayton’s feature directorial debut. Made on a low budget in stark black and white (photographed by the great Freddie Francis), Room stars...

Parlophone Records announced Wednesday that “David Bowie: Loving the Alien 1983-1988,” the fourth in its series of boxed sets compiling the late artist’s work from 1969, will be released on Oct. 12. The era was Bowie’s most commercially successful period and includes the hit albums “Let’s Dance” and “Tonight.”

The 11 CD/15 LP set follows the formidable collections “Five Years (1969-1973),” “Who Can I Be Now? (1974-1976),” and “A New Career in a New Town (1977-1982).”

It also includes a near-complete re-recording of Bowie’s 1987 album “Never Let Me Down,” which he’d often said he wanted to re-do, overseen by producer / engineer Mario McNulty with new instrumentation by longtime Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), and Tim Lefebvre (bass), as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on “Shining Star (Makin’ My Love).”

It...

David Bowie‘s mid-Eighties career will be explored in the new box set Loving the Alien (1983-1988), a massive collection that gathers the late icon’s albums, live LPs and more from the era.

The 11-cd or 15-lp Loving the Alien, due out October 12th, features three Bowie studio albums – 1983’s Let’s Dance, 1984’s Tonight and 1987’s Never Let Me Down – alongside a pair of first-time-on-vinyl live albums – Serious Moonlight (Live ’83) and Glass Spider (Live Montreal ’87) – and the newly assembled compilation Dance, which collects 12 contemporaneous remixes from the era.

The Incredible Shrinking Man

Blu ray – Region Code: B

Arrow Video

1957 / 1.85:1 / Street Date November 13, 2017

Starring Grant Williams, Randy Stuart

Cinematography by Ellis W. Carter

Directed by Jack Arnold

Richard Matheson’s The Shrinking Man debuted in 1956, published by Gold Medal Books in an economical paperback edition with electrifying cover art by Mitchell Hooks.

Disguised as a modest science-fiction potboiler, Matheson’s brainy thriller appeared the same year Look Back in Anger opened at the Royal Court, The Man in the Gray Flannel Suit arrived at New York’s Roxy and Howl was unleashed via City Lights in San Francisco. Existential angst was all the rage and The Shrinking Man was its poster boy.

The first hand account of Scott Carey, a well-heeled suburbanite who suddenly finds himself growing smaller and smaller, Matheson’s briskly paced novella charts Carey’s literal and figurative descent as the tokens of his success – home,...

Movie adaptations of classic texts can be disappointing. Transitioning from one form to the next is dangerous, particularly when nothing original arises from the outgoing medium. Sometimes it’s as if the filmmakers have left the camera pointed at a stage-play or between the pages of a book. But the 1958 film adaptation of Look Back in Anger is a masterful translation of John Osborne’s (now-)classic play – incorporating the essence of the newly-emerging British New Wave and continuing the legacy of the “angry young men” literary movement.

Set in the grey and wet city of Derby, sweet-seller Jimmy Porter (Richard Burton) lives with his wife Alison (Mary Ure) and best friend Cliff (Gary Raymond). He is a stern, explosive individual – consistently aggressive and searingly misogynistic, even by the standards of 1958. Alison feels tired and trapped by him, never finding the right opportunity to say she’s carrying his child.

Above: UK one sheet for The Shout (Jerzy Skolimowski, UK, 1978)One of the greatest but perhaps less heralded of British actors, Sir Alan Bates (1934-2003) is being deservedly feted over the next week at the Quad Cinema in New York with the retrospective series Alan Bates: The Affable Angry Young Man. The title makes sense: before he had acted on film Bates was in the original West End and Broadway productions of Look Back in Anger, but he played not the disaffected anti-hero Jimmy Porter, made famous on film by Richard Burton, but the amiable Welsh lodger Cliff. Though a performer of great virility, intelligence and passion, he often played second fiddle to his more demonstrative co-stars—whether Anthony Quinn in Zorba the Greek (1964), Lynn Redgrave in Georgy Girl (1966), Julie Christie in Far From the Madding Crowd (1967) and The Go-Between (1971), or Jill Clayburgh in An Unmarried Woman (1978). Consequently, he is...

According to the story he himself tells in the documentary series Hollywood, UK, Canadian filmmaker Sidney J. Furie came to England to take part in the British new wave, whose films he admired. First, he had to pay his dues with nonsense like Dr. Blood's Coffin, The Snake Woman and The Young Ones (starring pop singer Cliff Richard), but eventually, with The Leather Boys in 1964, he was able to make the kind of dynamic working-class social realism he'd been admiring from afar (Rita Tushingham's presence in the cast provides the stamp of authenticity).But During One Night (1961) shows Furie working on a small-scale independent film that has more in common with his mid-sixties work than it does with the cheesy exploitation movies he marked time on, and its date shows how quick off the mark Furie must have been: Look Back in Anger only hit cinemas in 1959, and by '61 Furie was in Britain,...

Following the horrific bombings that took place during Ariana Grande’s concert in Manchester earlier this year, Oasis’ “Look Back In Anger” became something of an anthem for the city’s residents, symbolizing their resilience and recovery from the devastating attack. “Music is playing a part in the recovery story,” Manchester Mayor Andy Burnham told Rolling Stone of […]...

As Britain mourned those killed in the Manchester Arena bombings, Oasis’ hit single “Don’t Look Back In Anger” became an anthem of healing and soared to the top of the UK charts. Now Liam and Noel Gallagher are doing their part by donating their royalties from the song’s latest sales spike to a Manchester relief fund. The song first became associated with Manchester when a choir from Chetham’s School of Music performed the song two days after the attack. A day later, a crowd gathered at Manchester’s city center and sang “Don’t Look Back In Anger,...

This article originally appeared on NME.com.

The organizers of last weekend’s One Love Manchester benefit concert have issued a statement regarding Noel Gallagher‘s absence at the event.

Liam Gallagher made a surprise appearance at the concert to perform ‘Live Forever’ with the help of Coldplay, “Rock N’ Roll Star” and his new solo single “Wall Of Glass.” There had been speculation over a possible Oasis reunion, with Liam later hitting out at his older brother and calling him a “sad f–k” for his apparent no-show.

Now organizers of the events have defended Noel, stating that he was never booked to perform,...

Cheer up, Noel Gallagher — Coldplay has your back, even if your brother thinks you’re a jerk. Chris Martin and and his band sent some love to the former Oasis guitarist, after Noel Gallagher’s brother and former bandmate Liam trashed him for pulling a no-show at the One Love Manchester concert over the weekend. In a tweet published Tuesday, Coldplay thanked Noel for giving the Ok for the band to play the Oasis hits “Don’t Look Back in Anger” and “Live Forever” (Noel was the band’s primary songwriter) at the benefit concert. Also Read: Piers Morgan Apologizes to Ariana Grande for Manchester.

Liam and Noel Gallagher's famously complicated relationship continues.

Oasis frontman Liam Gallagher made a surprise appearance at Sunday's One Love Manchester benefit concert, singing the band's hit, "Rock 'n' Roll Star," and one of his solo songs, "Wall of Glass." On Monday, he revealed that his brother, Noel, had been invited to perform with him.

"Manchester I'd like to apologize for my brother's absence last night, very disappointed, stay beautiful, stay safe," he tweeted.

Watch: Oasis' Noel Gallagher Slams Adele -- Her Music is for 'F**king Grannies'

The notoriously outspoken singer then bluntly called out Noel for not performing, with a few choice expletives.

"Noel's out of the f**king country, weren't we all love, get on a f**king plane and play your tunes for the kids you sad f**k," he wrote.

Interestingly enough, Coldplay and Ariana Grande ended up singing Oasis' classic, "Don't Look Back in Anger," during the star-studded...

While performing for a crowd of 50,000 gathered at Old Trafford for the “One Love Manchester” benefit concert, Ariana Grande was joined by Coldplay for a rendition of Oasis’ classic hit, “Don’t Look Back In Anger.” The song, which was written by Oasis in 1996 and reached the top of the U.K. charts shortly after its release, became an anthem for Manchester residents following the May 22 bombing of the Manchester Arena during one of Grande’s concerts, killing 22 people. It was performed by students from Manchester’s Chetham’s School of Music the day after the attack, and was spontaneously sung by mourners after.

Oasis frontman Liam Gallagher made a surprise appearance at Sunday’s One Love Manchester benefit concert.

The English singer, 44, was met with plenty of cheers and applause from the crowd as he began his performance of his band’s song “Rock ‘n’ Roll Star.” He then launched into his solo song “Wall of Glass.”

Gallagher, 44, was born in Manchester and Oasis is one of the city’s most famous exports, so his presence at the charity concert was surely special for the fans in the audience. Despite many fans’ hopes, Liam did not reunite with his brother Noel Gallagher for the concert.

A group of Manchester residents gathered together in song on Thursday evening. Manchester Crowd Sings “Don’T Look Back In Anger” A crowd of about 400 got together at St. Ann’s Square in the city to honor the victims of the Manchester bombing. The UK was holding a nationwide, minute-long silence in tribute. After the silence, Lydia […]

Source: uInterview

The post Manchester Crowd Sings Oasis’ ‘Don’t Look Back In Anger’ [Video] appeared first on uInterview.

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Thousands joined in an impromptu sing-along of Oasis’ “Don’t Look Back in Anger” in Manchester on Thursday morning, following a one minute moment of silence for the 22 people killed and dozens injured in Monday’s terrorist attack following an Ariana Grande concert. “We can’t be looking backward to what happened, we have to look forwards to the future,” said Lydia Bernsmeier-Rullow, the woman who started the sing-along, according to The Guardian. “We’re all going to join together, we’re all going to get on with it because that’s what Manchester does.” The vigil was hosted in Alberts Square,...

A video essay examines our most private moments.

Strap on your thinking caps for this one, film fans, because it’s a doozy.

According to director Nicolas Roeg (The Man Who Fell to Earth, Don’t Look Now, The Witches), mirrors are cinema in all its glory and in fact the essence of the medium. See, mirrors are the only time we truly look at ourselves; photographs of us are from other perspectives, for other people or posterity, and as such we don’t show our real faces in them, we show projections of who we think we should be or how we think we should feel in a certain situation. But the mirror isn’t public, it’s private, it is us alone with ourselves and thus the way we look into mirrors, into ourselves, is different from every other face we show the world.

The mirror is an eye, Roeg...

by Dancin' Dan

This is not your parents' Glass Menagerie.

It's not uncommon for theatrical "reinventions" to take place nowadays. Ivo van Howe has made it into a cottage industry of sorts, creating an intimate, visceral A View From the Bridge and a raw, elemental The Crucible in recent years. Sam Gold is of the same cloth. He made his name with an audacious revival of Look Back in Anger at the Roudabout in 2012, won the Tony in 2015 for his sensitive in-the-round staging of the musical Fun Home, and most recently directed a searing Othello with David Oyelowo and Daniel Craig off Broadway at the New York Theater Workshop.

But all those pieces benefit from a stripped back, in-some-cases radical rethinking. Tennessee Williams's memory play is a much more delicate thing, announcing as narrator Tom Wingfield does right at the start that this is a subjective work of art,...

Author: Competitions

The perfect companion piece to Carol Reed’s The Third Man, post-war spy thriller The Man Between comes to Blu-Ray for the first time, DVD and VOD on 2 January, boasting brand new extra features. To celebrate, we have 3 copies of the film on Blu-Ray to give some lucky winners courtesy of Studiocanal.

Set against the backdrop of a haunted, newly divided Berlin, Ivo Kern (James Mason: 5 Fingers, Spring & Port Wine, Cross of Iron) – a troubled former lawyer now working the Black Market – gets caught up in a cat and mouse chase with potentially tragic consequences as he attempts to free a young British lady (Claire Bloom: Richard III, Look Back in Anger, The Spy Who Came in from the Cold) who has been kidnapped in a case of mistaken identity. Starring British screen icons James Mason and Claire Bloom Cbe alongside German sweetheart Hildegarde Neff,...

A24 has acquired U.S. rights to Supersonic, the in-depth look at the Manchester rock band led, and then undone, by Gallagher brothers Liam and Noel. From director Mat Whitecross and the producers of Amy and Senna, the film tells the story of the meteoric rise, chaotic reign, and epic explosion of the 90s group whose enduring hits include the eponymous tune as well as “Champagne Supernova,” “Don’t Look Back In Anger” and “Wonderwall.” Check out the trailer above. A24 is…...

For those who clutch their first-issue copies of “Definitely Maybe” and proudly sing “Don’t Look Back In Anger” during karaoke, there’s a new film just for you. The documentary “Supersonic” presents the story of Oasis, the beloved but famously erratic British pop duo, helmed by brothers Liam and Noel Gallagher, as they ascend to Rock and Roll royalty and culminate their collaboration in a hostile, much publicized break-up in 2009, when the duo split in the middle of a tour. Watch it below.

Read More: Review: Asif Kapadia’s Amy Winehouse Documentary is Heartbreaking and Extraordinary

The film’s narration was compiled from separate interviews with each Gallagher on their experience going from two unknown “head-cases” with guitars to the music giants we know and love. Their journey includes plenty of debauchery, fan mania, and most of all, a peek into their epic, lasting impact on Britpop, the British...

Titles include classics such as The Life and Death of Colonel Blimp.

UK digital channel Talking Pictures TV has acquired some of the most iconic titles in British film history in two major library deals with ITV Studios Global Entertainment and the Samuel Goldwyn and Woodfall libraries, distributed by Miramax.

Talking Pictures TV, which broadcasts classic British movies on the Freeview and Sky platforms, has secured rights to more than 70 films from the ITV Studios Global Entertainment library and 33 films from the Samuel Goldwyn and Woodfall libraries through Miramax.

The ITV Studios Global Entertainment deal includes Lawrence Olivier’s Henry V; Reach For The Sky; Whistle Down The Wind; In Which We Serve; The Life and Death of Colonel Blimp; Hell Drivers; The Bulldog Breed; Séance on a Wet Afternoon; Defence of the Realm and Tarka The Otter.

Among the seminal films included in the Samuel Goldwyn and Woodfall deal are: The Entertainer; Loneliness of the Long...

This masterpiece of romantic cinema was conceived in another time and place when sexual repression and self-sacrifice made moral sense, but it’s still a wonderful film

Related: Brief Encounter: is it still relevant at 70?

Brief Encounter is back in cinemas again, this time for the 70th anniversary, and to paraphrase what Ken Tynan said about Look Back in Anger: I doubt if I could love anyone who did not wish to see it, again and again. This is the masterpiece of writer-producer Noël Coward (based on his one-act stage-play Still Life) and a jewel in the filmography of director David Lean – an atypically intimate chamber piece for Lean, yes, but the soaring music of Rachmaninov is where the epic sweep comes in.

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From Quatermass to The Year Of The Sex Olympics, the voice of classic British screenwriter Nigel Kneale is still resonant and exciting...

Conflict drives drama. What people want and how they set out to get it makes for the best entertainment: Chief Brody wants to make Amity Island a safe place for his kids; Indiana Jones wants to find the Ark of the Covenant; Mark Watney wants to survive on Mars, A giant shark, a bunch of Nazis, and a planet without an atmosphere respectively stand in their way.

But conflict isn't only a device from which to hang big action sequences. The tension between ideas can make for brilliant drama - the kind of film and television that you think about for years afterwards - and one of the best screenwriters for this conflict of ideas was Nigel Kneale.

Kneale was born in 1922 in Barrow-in-Furness and,...

Amy Adams drop dead gorgeous on Oscars' Red Carpet Amy Adams at the 83rd Academy Awards Looking drop dead gorgeous, Amy Adams is pictured above donning a scintillating blue dress while arriving at the 2011 Oscar ceremony, held on Feb. 27 at the Kodak Theatre in the fast-thumping heart of Hollywood. Adams was – for the third time in six years (more info below) – a Best Supporting Actress nominee. This time around, she was shortlisted for her performance in David O. Russell's The Fighter, a generally well-regarded and surprisingly successful (in the U.S.) boxing drama that earned fellow supporting actress Melissa Leo the evening's Oscar. Another The Fighter actor, Christian Bale (Batman Begins, The Dark Knight), took home the Best Supporting Actor Oscar statuette. In fact, the film's only major cast member left without an Oscar nomination in the acting categories was lead Mark Wahlberg (pictured with wife) – though he did...

Part I. Anger, Suez and Archie Rice

“There they are,” George Devine told John Osborne, surveying The Entertainer‘s opening night audience. “All waiting for you…Same old pack of c***s, fashionable assholes. Just more of them than usual.” The Royal Court had arrived: no longer outcasts, they were London’s main attraction.

Look Back in Anger vindicated Devine’s model of a writer’s-based theater. Osborne’s success attracted a host of dramatists to Sloane Square. There’s Shelagh Delaney, whose A Taste of Honey featured a working-class girl pregnant from an interracial dalliance; Harold Pinter’s The Room, a bizarre “comedy of menace”; and John Arden’s Serjeant Musgrave’s Dance, which aimed a Gatling gun at its audience. Devine encouraged them, however bold or experimental. “You always knew he was on the writer’s side,” Osborne said.

Peter O’Toole called the Royal Court actors “an...

Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper.[1] Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year.

‘It Follows’ is fun and gorgeously moody

Is David Robert Mitchell’s atmospheric horror film It Follows parody? Its ambiguous decade could be the heyday of ‘80s American horror, replete with tube TVs, a very retro-looking aboveground pool, and costuming that’s very Blue Velvet. But then there’s a reading device that looks like a rather chic Kindle… read the full article.

‘Chappie’ is gloriously bonkers

Writer-director Neill Blomkamp pushes all his chips onto the table with this fascinating sci-fi gamble that dares you not to be entertained. Derivative, ultra-violent, and completely baffling, Chappie also manages to be insightful and sweet at times. This technically-accomplished and thematically-suspect robot melodrama has something for everyone to love (and hate). Mostly, it offers the giddy exhilaration of a movie that’s determined to tell its story, no matter how bat-shit crazy it is… click here to read the full article.

John Osborne...

I. The Landmine

In August 1955, George Devine, director of London’s Royal Court Theatre, ventured to meet a promising writer, living on a Thames houseboat. “I had to borrow a dinghy… wade out to it and row myself to my new playwright,” he recalled. Thus began a partnership between Devine, who sought to rescue the English stage from stale commercialism, and the 26 year old tyro, John Osborne. Together, they’d revolutionize modern theater.

Born in London but raised in Stoneleigh, Surrey, Osborne lost his father at age 12, resented his low-born mother and was expelled from school for striking a headmaster. While acting for Anthony Creighton’s repertory company, his mercurial temper and violent language appeared. In 1951 he wed actress Pamela Lane, only to divorce six years later. Osborne soon immortalized their marriage: their cramped apartment, with invasive friends and intruding in-laws, John and Pamela’s pet names and verbal abuse,...