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A film whose HD version leaked months prior & got an A-rating plus ultra-disastrous WOM from all corners, is currently highest Tamil grosser of this year, beating a Swamy Padam rlsd during Summer Holidays & recieved unanimously +ve reviews🙏🔥#JanaNayagan

30,391 görüntüleme • 25 gün önce •via X (Twitter)

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Such was the lack of faith in “Seven Brides for Seven Brothers” that the MGM Studio considered this work a “B” picture. A cheap and low budget commercial film that was easily so dispensable. The studio even reassigning the film’s original budget to “Brigadoon” starring the draw of Gene Kelly and Cyd Charisse estimating that it was surely set to be the more successful film. All of the women’s dresses designed by Walter Plunkett were made from old quilts from the Salvation Army which is unclear whether this was done due to a curtailed budget, or artistic effect. Legendary choreographer Michael Kidd was not too excited at the prospect of the film’s premise: “I can’t see any dancing in this picture. You got these seven slobs living out in the country. They got horse manure on the floor. They’re unwashed. They’re unshaven. They look terrible. These people are going to get up and dance? We’ll be hooted out of the theater. It doesn’t make any sense to me. Had to find a way to have these backwoods men dance without looking ridiculous. I had to base it all around activities you would accept from such people. It couldn’t look like ballet. And it could only have been done by superbly trained dancers.” Many have attested this is a ballet sequence. It is not according to Kidd whose choreography came from a perception of “human behaviours” further stylised in a rhythmical form. A use of “real-life gestures.” Russ Tamblyn in this dance for instance - is not a trained dancer, but he was an exceptional gymnast/ acrobat. This “Barn Dance” sequence standing as one of the most technically executed dance performances ever put to screen. Full of muscular energy and vigor that showcase technical feats at the highest level. It was the one of the most successful films in 1954, and is preserved by the Library of Congress - as culturally significant. Same film made on a shoestring budget. Outselling Brigadoon - starring Gene Kelly and Cyd Charisse.

🎵💖Loves classical music🎻🎹

58,317 görüntüleme • 1 ay önce

Elizabeth Taylor as Cleopatra VII arriving in Rome in a lavish procession which wins the adulation of the Roman people in “Cleopatra” (1963), directed by Joseph L. Mankiewicz. ► Cleopatra's entrance into Rome was nearly ruined when enthusiastic extras started shouting “Liz! Liz!” instead of “Cleopatra! Cleopatra!” ► During Cleopatra's entry into Rome, the shots of the entry of Cleopatra's giant sphinx, and the parade that precedes it, were filmed several months apart, posing problems in matching the lighting. ► The American child actor who played Taylor's four-year-old son got taller during the delay. He was replaced by an Italian boy, complete with a thick, inappropriate accent. ► Elizabeth Taylor signed on to portray the title role for a record-setting salary of $1 million plus ten percent of the box-office gross. ► Taylor stipulated that the film would be shot in Europe and in the Todd-AO format, developed by Taylor's late husband Mike Todd (who had died in 1958), which ensured that Taylor would receive additional royalties. ► The budget for Elizabeth Taylor's costumes was $194,800 which was the highest ever for a single-screen actress. Taylor's costume in this video was made from 24-carat gold cloth. ► “Cleopatra” earned Elizabeth Taylor a Guinness World Record for the most costume changes in a film (65). This record was eclipsed in 1968 by Julie Andrews with 125 costume changes in the film Star!. ► Taylor's costumes were designed by Irene Sharaff who won the Academy Award for “Costume Design ― Color” at the 36th Academy Awards held on April 13, 1964.

Hollywood Golden Age of Cinema

48,740 görüntüleme • 8 ay önce

Black Christmas (1974) 🎄 This film is considered one of the most influential horror films ever made, often cited as the "mother" of the modern slasher genre. Despite a modest initial financial performance, it has achieved massive cultural impact and critical re-evaluation over the last 50 years. Produced on a budget of roughly $686,000, it was a major hit in its native Canada, becoming the third-highest-grossing Canadian film of its time. It initially struggled in the U.S. due to competition from The Godfather Part II, but eventually grossed over $4 million worldwide, cementing its status as a financial success. Upon release, critics largely dismissed it as "senseless mayhem" or "trash". However, modern reviews are overwhelmingly positive, with a 71% rating on Rotten Tomatoes and rankings on numerous "Best Horror Movie" lists by outlets like IndieWire and Esquire. Cultural Impact and Innovation The film pioneered several tropes that defined the 1980s slasher boom: The "Final Girl": Jess Bradford (Olivia Hussey) is recognized as one of the first "final girls" in horror. Unlike later iterations, she was sexually active and had full agency, challenging the "virginal survivor" trope. It introduced the Killer's POV tracking shots, the concept of a killer stalking a group of young women, and the "calls are coming from inside the house" plot device later famously used in “When a Stranger Calls”. Influence on “Halloween”: Director Bob Clark’s discussions with John Carpenter about a hypothetical Black Christmas sequel (involving a killer escaping a psychiatric ward on Halloween) directly inspired Carpenter's 1978 classic. Released just one year after Roe v. Wade, the film is praised for its progressive treatment of reproductive rights, as Jess remains steadfast in her decision to have an abortion despite pressure from her boyfriend. Fun Fact Director Bob Clark later directed the 1983 holiday classic “A Christmas Story”. While the two films are tonally opposites, they both remain essential viewing for the Christmas season.

Tom😈Loves❤️Horror😱

23,585 görüntüleme • 8 ay önce

Tom Cruise told an interviewer in 1986 that box office success was "gravy." That interview was filmed while promoting "Top Gun", one of the highest-grossing films of that decade. He was 23 years old. The interviewer asked Cruise how important the film's success was to him. He answered without hesitation: "When you spend 10 months making a movie, the result is not as important as what you're going through. I do not choose a film looking for a result; I look for what I am going to get from the piece, what I can communicate, and what I am going to learn about myself as an actor. Does it challenge me? The result, essentially, is gravy." This was not a man hedging his bets after a flop. "Top Gun" was already forming into something audiences would respond to. He knew it. And he still said this. What's remarkable about the interview is how clearly Cruise understood what he was building, even at that stage. He spent 10 months on the film, embedded with real Navy aviators, and came away with a specific view of who these men were. When the interviewer asked if the pilots were "kind of crazy," Cruise pushed back: "No, they're very sound. There is that cockiness when you get into it, but it's a thing of being sure of themselves. They're extremely bright and confident. You've got to know every nut and bolt in that aircraft. When you go up there every day, you are risking your life." He then added something that rarely gets quoted: "But there's a compassion and a love of flight." That detail mattered to him. Because Maverick was never supposed to be a weapon. Cruise was explicit about the intention behind the character: "The important thing when I got involved is I wasn't interested in making a war picture, which this could have easily turned out to be. I wanted the character... What is it that makes this guy tick? There was an absolute effort not to make a Rambo or an Iron Eagle." 1986 was peak Cold War cinema. Rambo: First Blood Part II had come out the year before. "Iron Eagle" released the same year as *Top Gun*. The market was saturated with a specific kind of American military fantasy, and Cruise was actively steering away from it. That choice is a big part of why the film still holds up. The interview also touches on his time with Paul Newman on "The Color of Money", directed by Scorsese. Cruise described Newman as "a man who is still striving, learning about himself, and growing as an actor and a person." And then he said something that reads almost like a personal mantra: "Seeing that as a young artist makes you feel good, that it's an endless struggle." Source: KCRA Entertainment Archives

History Nerd

212,878 görüntüleme • 1 ay önce

I rarely have reasons to be proud of France these days, but this is definitely one. France's parliament just voted - unanimously, 170 votes to 0 - a law that institutionalizes the restitution of cultural artifacts looted during the colonial era (the law covers a massive 157-year period). It's going absolutely viral in Chinese social media because of this speech 👇 by MP Jérémie Patrier-Leitus who noted in Parliament that it included items stolen to China during the joint British-French sack of the Summer Palace in 1860. Patrier-Leitus cites Victor Hugo's famous 1861 letter to Captain Butler, the British officer who wrote to him seeking his endorsement of the expedition - and got the exact opposite. Hugo wrote (whole letter here: "One day two bandits entered the Summer Palace. One plundered, the other burned. Victory can be a thieving woman, or so it seems. The devastation of the Summer Palace was accomplished by the two victors acting jointly. Mixed up in all this is the name of Elgin, which inevitably calls to mind the Parthenon. What was done to the Parthenon was done to the Summer Palace, more thoroughly and better, so that nothing of it should be left. All the treasures of all our cathedrals put together could not equal this formidable and splendid museum of the Orient. It contained not only masterpieces of art, but masses of jewelry. What a great exploit, what a windfall! One of the two victors filled his pockets; when the other saw this he filled his coffers. And back they came to Europe, arm in arm, laughing away. Such is the story of the two bandits. We Europeans are the civilized ones, and for us the Chinese are the barbarians. This is what civilization has done to barbarism. Before history, one of the two bandits will be called France; the other will be called England. But I protest, and I thank you for giving me the opportunity! the crimes of those who lead are not the fault of those who are led; Governments are sometimes bandits, peoples never. The French empire has pocketed half of this victory, and today with a kind of proprietorial naivety it displays the splendid bric-a-brac of the Summer Palace. I hope that a day will come when France, delivered and cleansed, will return this booty to despoiled China. Meanwhile, there is a theft and two thieves. I take note. This, Sir, is how much approval I give to the China expedition." Hugo's letter is so revered in China that a bronze bust of him stands today at the Summer Palace ruins - I believe the only instance of a Westerner honored in China at the site of his own country's crime. A powerful testament of how much a single act of intellectual honesty can redeem, if not a nation, then at least a name. Hugo was also prescient: as Patrier-Leitus notes, that day "when France, delivered and cleansed, will return this booty to despoiled China" has indeed come (even though the "delivered and cleansed" part is, overall, pretty questionable in the current context). This new law doesn't only concern China and the Summer Palace: it concerns ALL stolen artifacts by France during the period ranging between November 1815 and April 1972 - corresponding to the start of the second French colonial empire to the entry into force of the UNESCO convention on cultural property. It's a massive scope: 157 years, thousands of objects and dozens of nations with potential claims. It's France reckoning with its colonial past in an unprecedented way and the fact ALL of France's MPs voted in favor of the law, without a single exception, is also pretty remarkable. Hopefully this will also serve as a signal to other countries, especially the UK - the other "bandit" in Hugo's letter. There is this Chinese saying from the Zuo Zhuan (左传), one of the foundational Confucian classics: "To err and be able to correct it - there is no greater virtue." ("过而能改,善莫大焉", "guò ér néng gǎi, shàn mò dà yān"). France, with this law, proved its virtue.

Arnaud Bertrand

423,917 görüntüleme • 4 ay önce

Its rumored that Sean Connery's character in the 1996 movie The Rock is actually an older, imprisoned version of James Bond. Matching age ranges, timelines, and skill sets help line up this theory. In The Rock, the FBI states that John Mason was a British operative jailed in Alcatraz in 1962 who escaped in 1963. 1962 is also the year of the movie Dr. No. In the 1963 sequel From Russia with Love, dialogue even mentions Bond was missing for months, possibly imprisoned before his escape. He was allegedly recaptured for good in 1971, the last year Connery was in an official Bond role. John Mason is a master escape artist, excels in weapons and hand to hand combat, and highly trained by British Intelligence. James Bond is just a code name and would explain why there are multiple people who go by James Bond, and why the Bonds use it so openly. Mason even uses exact dialogue from Connery's Bond era: "But of course you are" When Mason reunites with his estranged daughter in The Rock, it is revealed she was conceived during a one night stand, which would match Bond's history. Bond returned to the United States on a rogue mission to steal microfilm containing state secrets to use against the United States. His mission was a success and he hid the film in a church, but was then captured by U.S. authorities. Because the British government denied his existence, he was wiped from all records and locked away without trial. James Bond began a new era with a new agent, and John Mason ceased to exist.

The Movie Professor 🎬🎥📺

327,451 görüntüleme • 4 gün önce