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Tag: based on play

Gentlemen Prefer Blondes (1953)

by Jenoa Haymor on Sep.13, 2012, under Comedy, Drama, Musical, Romance

Director: Howard Hawks
Country: USA
Length: 91 min
Languages: English, French
Gross: $12,000,000 (USA)
IMDb: 7.10 (4103 votes)

Actors

Jane Russell (Dorothy Shaw), Marilyn Monroe (Lorelei Lee), Charles Coburn (Sir Francis ‘Piggy’ Beekman), Elliott Reid (Ernie Malone), Tommy Noonan (Gus Esmond), George Winslow (Henry Spofford III), Marcel Dalio (Magistrate), Taylor Holmes (Mr. Esmond Sr.), Norma Varden (Lady Beekman), Howard Wendell (Watson), Steven Geray (Hotel Manager), Henri Letondal (Grotier, the Prosecutor), Leo Mostovoy (Ship’s Captain), Alex Frazer (Pritchard), George Davis (Cab Driver Pierre)

Storyline

Lorelei and Dorothy are just “Two Little Girls from Little Rock”, lounge singers on a transatlantic cruise, working their way to Paris, and enjoying the company of any eligible men they might meet along the way, even though “Diamonds are a Girl’s Best Friend.” Based on the Broadway musical based on the novel.

Quotes

  • [repeated line]
    Lorelei Lee: Thank you ever so!
  • Dorothy Shaw: [singing] When love goes wrong, nothing goes right. This one thing, I know.
    Lorelei Lee: [singing] When love goes wrong, a man take flight.
    Dorothy Shaw: [singing] And women get uppity-oh.
  • Henry Spofford III: Hello.
    Lorelei Lee: Oh, Mr Spoffard. Would you please give me a hand? I’m sort of stuck!
    Henry Spofford III: Are you a burglar?
    Lorelei Lee: Heaven’s no! The steward locked me in. I was waiting for a friend.
    Henry Spofford III: Why didn’t you ring for him?
    Lorelei Lee: I didn’t think of it. Isn’t that silly?
    Henry Spofford III: If you were a burglar, and I helped you escape…
    Lorelei Lee: Please help me before somebody comes along.
    Henry Spofford III: I’m thinking.
  • Lorelei Lee: I always say a kiss on the hand might feel very good, but a diamond tiara lasts forever.
  • Mr. Esmond Sr.: Are you out of your mind?
    Ernie Malone: Mm-hmm, but I like it that way.
  • Dorothy Shaw: You know I think you’re the only girl in the world who can stand on a stage with a spotlight in her eye and still see a diamond inside a man’s pocket.
  • Dorothy Shaw: [singing] Bye bye baby. Remember you’re my baby when they give you the eye.
  • Dorothy Shaw: I like a man who can run faster than I can.
  • Lorelei Lee: I want you to find happiness and stop having fun.
  • [Lorelei is stuck going through the porthole]
    Henry Spofford III: All right. I’ll help you. I’ll help you for two reasons.
    Lorelei Lee: Never mind the reasons. Just help me.
    Henry Spofford III: The first reason is I’m too young to be sent to jail. The second reason is you got a lot of animal magnetism.
  • Mr. Esmond Sr.: Say, they told me you were stupid! You certainly don’t seem stupid to me!
    Lorelei Lee: I can be smart when I need to be.
  • Dorothy Shaw: If we can’t empty his pockets between us, then we’re not worthy of the name Woman.
  • Gus Esmond: [trying to have a serious talk with Lorelei, but she is bouncing up and down on the bed] Dear… dear… dear, stop that! It’s most distracting.
  • Lady Beekman: You’ll find I mean business!
    Dorothy Shaw: Oh, really? Then why are you wearing that hat?
  • Gus Esmond: [as she tries on the diamond ring he's just given her] Is it the right size?
    Lorelei Lee: Well, it can never be too big. Do you think that’s too small, Dorothy?
    Dorothy Shaw: [whistles] Looks like it oughta have a highball around it.
  • Olympic athlete: Hi. Remember me?
    Lorelei Lee: Yes. You’re one of the Olympic athletes.
    Olympic athlete: I’m the only 4-letter man on the team.
    Lorelei Lee: You should be ashamed to admit it. No, don’t say another word. No, don’t say another word.
  • Dorothy Shaw: In bed by nine? That’s when life just begins!
  • Ernie Malone: What are you girls made of? What was that?
    Lorelei Lee: Just equal parts of scotch, vodka, brandy, and gin.
  • Lorelei Lee: I’ve been wondering, what is your line, Mr. Malone?
    Ernie Malone: My line? My most effective one is to tell a girl she has hair like a tortured midnight, lips like a red couch in an ivory palace that I’m lonely and starved for affection. Then, I generally burst into tears. It seldom works.
  • Lorelei Lee: Dorothy. Mr. Esmond and I are getting married.
    Dorothy Shaw: To each other?
    Gus Esmond: Of course to each other. Who else to?
    Dorothy Shaw: Well, I don’t know about you Gus, but I always figured Lorelei would end up with the Secretary of the Treasury.
  • Lorelei Lee: If you’ve nothing more to say, then pray, scat!
  • Ernie Malone: [complaining to the steward as he's lead from the girls' room after their "dinner party"] It’s just not fair. Two against one. Take a man’s pants.
  • Henry Spofford III: Hey, look someone’s coming.
    Lorelei Lee: Oh dear, what’ll I do?
    Henry Spofford III: Quick! Hold this around your neck tight!
  • Lorelei Lee: [sing] A kiss on the hand may be quite continental, / But diamonds are a girl’s best friend. / A kiss may be grand, but it won’t pay the rental on your humble flat. / Or help you at the automat. / Men grow cold as girls grow old, and we all lose our charm in the end. / But square-cut or pear-shaped, these rocks won’t lost their shape. / Diamonds are a girl’s best friend.
  • Dorothy Shaw: [singing] I like a beautiful hunk of man. But I’m no physical culture fan. Ain’t there anyone here for love?
  • Lorelei Lee: [singing] We’re just two little girls from Little Rock.
  • [Staring at Lorelei and Dorothy]
    Evans: Say, suppose the ship hits an iceberg and sinks. Which one of them do you save from drowning?
    William J. Stevens: Those girls couldn’t drown.
  • Dorothy Shaw: For instance, who’s the young man who just tried to steal second base?
    Ernie Malone: Name is Malone.
    Dorothy Shaw: I’m Dorothy, well Mr. Malone…
    Ernie Malone: You’re the most attractive girl in the room so I came over to tell you, do you mind?
    Dorothy Shaw: No, I might as well warn you, flattery will get you anywhere.
    Ernie Malone: In that case we haven’t got any problems.
  • Lorelei Lee: Don’t you know that a man being rich is like a girl being pretty? You wouldn’t marry a girl just because she’s pretty, but my goodness, doesn’t it help?
  • Lorelei Lee: Excuse me, but what is the way to Europe, France?
    Dorothy Shaw: Honey, France is IN Europe.
    Lorelei Lee: Well, who said it wasn’t?
    Dorothy Shaw: Well… you wouldn’t say you wanted to go to North America, Mexico.
    Lorelei Lee: If that’s where I wanted to go, I would.
    Dorothy Shaw: [to the Ticket Checker in exasperation] The dealer passes.
  • Lady Beekman: It’s a tiara.
    Lorelei Lee: You DO wear it on your head. I just LOVE finding new places to wear diamonds.
  • Dorothy Shaw: Honey, did it ever occur to you that some people just don’t care about money?
    Lorelei Lee: Please, we’re talking serious here.
  • Lorelei Lee: There was an old man named Sidney… Who drank till he ruined a kidney. It shriveled and shrank, but he drank and he drank… He had his fun doing it, didn’t he?
  • [Dorothy is admiring some athletes]
    Gus Esmond: Dorothy Shaw. I want you to remember you’re supposed to be the chaperone on this trip.
    Dorothy Shaw: Now lets get this straight, Gus. The chaperone’s job is to see that nobody else has any fun. Nobody chaperone’s the chaperone. That’s why I’m so right for this job.
  • Lorelei Lee: Dorothy, please, a woman never admits her feet hurt.
  • Dorothy Shaw: Remember, honey, on your wedding day it’s All right to say “yes.”
  • Lorelei Lee: [Lorelei is holding a tiara] How do you put it around your neck?
    Dorothy Shaw: You don’t, honey, it goes on your head!
    Lorelei Lee: You must think I was born yesterday.
    Dorothy Shaw: Well, sometimes there’s just no other possible explanation.
  • Lady Beekman: You might be interested in my tiara. I always carry it with me. Afraid to leave it in the stateroom.
    Dorothy Shaw: And you’re not afraid to show it to Lorelei?
  • Esmond Sr.: Have you got the nerve to tell me you don’t want to marry my son for his money?
    Lorelei Lee: It’s true.
    Esmond Sr.: Then what do you want to marry him for?
    Lorelei Lee: I want to marry him for YOUR money.

More…

Facts

  • A song written for ‘Marilyn Monroe’ to perform in this picture, “Down Boy” (music by ‘Hoagy Carmichael’, lyrics by ‘Harold Adamson’), was rejected, but later sung and danced by ‘Betty Grable’ in Three for the Show (1955).
  • The story was based on an ocean voyage to Europe that Anita Loos took on the same boat taking the US Olympic Team. Whichever ship Anita Loos actually took, the ocean liner that is mentioned in this film was the SS Ile de France. The famous ocean liner was actually used in the 1960 film, “The Last Voyage,” but it has a more heroic place in history. It was the SS Ile de France that played a major role in the rescue of the passengers from the Italian Liner Andrea Dorea in 1956, after the latter ship collided with the Swedish ship Stockholm off the coast of Nantucket, Massachusetts. The SS Ile de France was decommisioned shortly before the filming of “The Last Voyage,” in which she was partially sunk for several key scenes. When filming was completed, she was towed to the scrap docks.
  • ‘Marilyn Monroe’ reportedly suggested the line “I can be smart when it’s important, but most men don’t like it.”
  • When told she was not the star of the film, ‘Marilyn Monroe’ was quoted: “Well whatever I am, I’m still the blonde.”
  • The ship model shown is the one used previously in Titanic (1953) and was refurbished to resemble the SS Ile de France, which is clearly named in the film. The model (2009) resides in a Marine Museum in Falls River, Massachusetts. Some of the ocean liner sets used were also left over from “Titanic”.
  • The teaming of ‘Jane Russell’ and ‘Marilyn Monroe’ proved to be so successful, critically and commercially, that Fox wanted to re-team the duo. A December 1954 item in the Hollywood Reporter’s “Rambling Reporter” column indicated that the studio wanted Russell and Monroe to star in the film How to Be Very, Very Popular (1955). Monroe passed on the project because she didn’t like the script. In January 1955, the studio cast ‘Sheree North’ as Curly (the part intended for Monroe) and ‘Betty Grable’ as “Stormy Tornado” (originally intended for Russell).
  • Gentlemen Prefer Blondes opened at the Ziegfeld Theater on December 8, 1949 and ran for 740 performances starring ‘Carol Channing’. The original play of the same name opened in 1928 and ran 128 performances.
  • ‘Judy Holliday’ turned down the role of Lorelei Lee because she felt no actress other than ‘Carol Channing’ (who played the part on Broadway) should be cast.
  • ‘Marilyn Monroe’ wears a gold lame evening dress previously worn by ‘Ginger Rogers’ in Dreamboat (1952).
  • In the “Ain’t There Anyone Here for Love?” sequence, ‘Jane Russell’’s fall into the pool was an accident. When ‘Howard Hawks’ saw the dailies, he kept it in the film.
  • For Gentlemen Prefer Blondes (1953), ‘Gwen Verdon’ coached stars ‘Jane Russell’ and ‘Marilyn Monroe’ in both their dance and walk – Monroe with less sex, Russell with more. It’s rumored that at one point in the film, Verdon dubs both Monroe’s and Russell’s swaying bottoms.
  • Originally bought by Fox as a vehicle for ‘Betty Grable’. After the success of Niagara (1953) (which featured ‘Marilyn Monroe’), however, the studio believed they had a more potent and far less expensive sex symbol than Grable (who was earning around $150,000 per picture vs. Monroe’s $18,000).
  • This was ‘Jane Russell’’s only film with ‘Marilyn Monroe’. They got along well. Russell called Monroe “Blondie” and was often the only person on the set who could coax Monroe out of her trailer to begin the day’s filming.
  • According to ‘Marni Nixon’, the studio initially wanted ‘Marilyn Monroe’’s entire voice dubbed, as they thought her voice was silly. Nixon thought that was “awful”, as she felt Monroe’s voice suited her persona so beautifully. Nixon told The New York Times in March 2007 that she ended up only dubbing the operatic “no, no, nos” at the beginning of the song.
  • At least one other number was shot, then cut. In the original theatrical trailer, ‘Jane Russell’ and ‘Marilyn Monroe’ were shown among dancers, climbing the steps of a slide in a children’s playground. The song was a French version of “Two Little Girls from Little Rock”. Marilyn and Jane wear the costumes when ‘Tommy Noonan’ corners them backstage in the French nightclub.
  • The “Diamonds Are A Girl’s Best Friend” number was later re-shot in Cinemascope, to be used as part of a Cinemascope demonstration held on the Fox lot in March of 1953. Producer ‘Darryl F. Zanuck’ told “Daily Variety” that it only took 3-1/2 hours to shoot the number in Cinemascope versus four days for the original film version. The film-going public finally saw the CinemaScope version ten years later when it closed Fox’s documentary tribute to MM, “Marilyn”.
  • ‘Marilyn Monroe’ kept insisting on retakes despite approval of takes by director ‘Howard Hawks’. When Fox asked Hawks how production could be sped up he retorted: “three wonderful ideas: Replace Marilyn, rewrite the script and make it shorter, and get a new director.”
  • In her very last interview, (10 years after making “Gentlemen Prefer Blondes,”) ‘Marilyn Monroe’ recalls the lack of respect studio execs had for her, but makes a point of mentioning co-star, ‘Jane Russell’: “I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell, she was the brunette in it and I was the blond. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She by the way, was quite wonderful to me.”

More…

Goofs

  • Lorelei’s hair in her “Diamonds are a Girl’s Best Friend” number is straight. But when she is backstage, minutes after having finished, her hair is curly.
  • In the courtroom, Malone introduces Piggy as Sir Francis Beekman. Minutes later, the judge addresses Piggy as Lord Beekman. As Piggy holds a knighthood, not a peerage, he would never be addressed as anything other than “Sir”.
  • When Loreli and Dorothy are in New York, it is announced that the ship is bound for Cherbourg. Yet, when they dock, they are in Paris which can’t accommodate large ocean liners.
  • In the scene where Lorelei is seeing Mr Esmond off at the ship, the words “Bye, lover!” are heard but Lorelei’s lips do not move.
  • Lorelei has slender hands with long fingers and her nails are manicured. But, when she pulls the roll of film out of Ernie’s pants, her hand is short with thick fingers and her nails are cut.

More…

Soundtrack

  • “A Little Girl from Little Rock” Music by ‘Jule Styne’ Lyrics by ‘Leo Robin’ Sung as “Two Little Girls from Little Rock” by ‘Marilyn Monroe’ and ‘Jane Russell’ with Chorus Also sung at the wedding
  • “When Love Goes Wrong” Music by ‘Hoagy Carmichael’ Lyrics by ‘Harold Adamson’ Performed by ‘Marilyn Monroe’ and ‘Jane Russell’ with Parisians
  • “Bye Bye Baby” Music by ‘Jule Styne’ Lyrics by ‘Leo Robin’ Performed by ‘Jane Russell’ and ‘Marilyn Monroe’ with Passengers
  • “Diamonds Are a Girl’s Best Friend” Music by ‘Jule Styne’ Lyrics by ‘Leo Robin’ Performed by ‘Marilyn Monroe’ with Chorus Also performed by ‘Jane Russell’ Also sung at the wedding Sung by a chorus at the end
  • “Ain’t There Anyone Here for Love?” Music by ‘Hoagy Carmichael’ Lyrics by ‘Harold Adamson’ Performed by ‘Jane Russell’ and the Olympic Team
  • “Bridal Chorus” From “Lohengrin” (uncredited) Music by ‘Richard Wagner’ Played at the wedding
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Dangerous Liaisons (1988)

by Jenoa Haymor on Dec.14, 2011, under Drama, Romance

Director: Stephen Frears
Countries: UK, USA
Length: 119 min
Language: English
Budget: $14,000,000
Gross: $34,700,000 (USA)
IMDb: 7.60 (14096 votes)

Actors

Glenn Close (Marquise Isabelle de Merteuil), John Malkovich (Vicomte Sébastien de Valmont), Michelle Pfeiffer (Madame Marie de Tourvel), Swoosie Kurtz (Madame de Volanges), Keanu Reeves (Le Chevalier Raphael Danceny), Mildred Natwick (Madame de Rosemonde), Uma Thurman (Cécile de Volanges), Peter Capaldi (Azolan), Joe Sheridan (Georges), Valerie Gogan (Julie), Laura Benson (Emilie), Joanna Pavlis (Adèle), Nicholas Hawtrey (Major-domo), Paulo Abel Do Nascimento (Castrato), François Lalande (Curé)

Storyline

Set in France around 1760-1770. The Marquise de Merteuil needs a favour from her ex-lover, Vicomte de Valmont. One Marquise de Merteuil’s ex-lover, Gercourt, is planning on marrying a young, virtuos, woman called Cecile de Volanges. The Marquise would like Valmont to seduce Cecile before her wedding day. Meanwhile Valmont has a conquest of his own in mind, Madame de Tourvel, a beautiful, married, and God fearing woman. The Marquise doesn’t think that Valmont can do it, she tells him that if he can provide written proof of a sexual encounter with Madame de Tourvel, that she will offer him a reward, one last night with her. But Valmont will find himself falling in love with Mrs. de Tourvel, embrasing the deadly jealousy of the marquise de Merteuil.

Quotes

  • [repeated line]
    Vicomte de Valmont: It’s beyond my control.
  • Marquise de Merteuil: One does not applaud the tenor for clearing his throat.
  • Marquise de Merteuil: When one woman strikes at the heart of another she seldom misses, and the wound is invariably fatal.
  • Madame de Rosemonde: [referring to the Vicomte de Valmont] What is true of most men is doubly so of him.
  • Marquise de Merteuil: Adopt a less marital tone of voice.
  • Vicomte de Valmont: You see, I have no intention of breaking down her prejudices. I want her to believe in God and virtue and the sanctity of marriage, and still not be able to stop herself. I want the excitement of watching her betray everything that’s is most important to her. Surely you understand that. I thought betrayal was your favorite word.
    Marquise de Merteuil: No, no…”cruelty.” I always think that has a nobler ring to it.
  • Madame de Rosemonde: I’m sorry to say this, but, those who are most worthy of love are never made happy by it.
    Madame Marie de Tourvel: But, why? Why should that be?
    Madame de Rosemonde: Do you still think men love the way we do? No… men enjoy the happiness they feel. We can only enjoy the happiness we give. They are not capable of devoting themselves exclusively to one person. So to hope to be made happy by love is a certain cause of grief.
  • Marquise de Merteuil: When I came out into society I was 15. I already knew that the role I was condemned to, namely to keep quiet and do what I was told, gave me the perfect opportunity to listen and observe. Not to what people told me, which naturally was of no interest, but to whatever it was they were trying to hide. I practiced detachment. I learned how to look cheerful while under the table I stuck a fork into the back of my hand. I became a virtuoso of deceit. It wasn’t pleasure I was afer, it was knowledge. I consulted the strictest moralists to learn how to appear, philosophers to find out what to think, and novelists to see what I could get away with, and in the end, I distilled everything to one wonderfully simple principle: win or die.
  • Vicomte de Valmont: I often wonder how you manage to invent yourself.
    Marquise de Merteuil: Well, I had no choice, did I? I’m a woman. Women are obliged to be far more skillful than men. You can ruin our reputation and our life with a few well-chosen words. So, of course, I had to invent, not only myself, but ways of escape no one has every thought of before. And I’ve succeeded because I’ve always known I was born to dominate your sex and avenge my own.
  • [Cécile is startled by a sudden noise, Valmont gets up to investigate]
    Vicomte de Valmont: It’s only the wind. [Cécile is gasping] Where are you? It’s nothing to be frightened about.
    Cécile de Volanges: Yes there is. I’m bleeding!
  • Marquise de Merteuil: You’ll find the shame is like the pain, you only feel it once.
  • Vicomte de Valmont: Now, yes or no? It’s up to you, of course. I will merely confine myself to remarking that a “no” will be regarded as a declaration of war. A single word is all that’s required.
    Marquise de Merteuil: All right. War.
  • Marquise de Merteuil: Like most intellectuals, he’s intensely stupid.
  • Madame Marie de Tourvel: I’m beginning to think you may have planned the whole exercise.
    Vicomte de Valmont: I had no idea you were staying here! Not that it would have disturbed me in the slightest if I had known. You see, until I met you, I had only ever experienced desire. Love, never.
    Madame Marie de Tourvel: That’s enough.
    Vicomte de Valmont: No, no, you made an accusation and you must allow me the opportunity to defend myself! Now, I’m not going to deny that I was aware of your beauty. But the point is, this has nothing to do with your beauty. As I got to know you, I began to realize that beauty was the least of your qualities. I became fascinated by your goodness. I was drawn in by it. I didn’t understand what was happening to me. And it was only when I began to feel actual, physical pain every time you left the room that it finally dawned on me: I was in love, for the first time in my life. I knew it was hopeless, but that didn’t matter to me. And it’s not that I want to have you. All I want is to deserve you. Tell me what to do. Show me how to behave. I’ll do anything you say.
  • Vicomte de Valmont: Be careful of the Marquise de Merteuil.
    Chevalier Danceny: You must permit me to treat with skepticism anything you have to say about her.
    Vicomte de Valmont: Nevertheless, I must tell you in this affair, we are both her creatures, as I believe her letters to me will prove. When you have read them, you may decide to circulate them.
  • Marquise de Merteuil: When it comes to marriage, one man is as good as the next. And even the least accomodating is less trouble than a mother.
  • Vicomte de Valmont: Why do you suppose we only feel compelled to chase the ones who run away?
    Marquise de Merteuil: Immaturity?
  • Vicomte de Valmont: I ended by falling on my knees and pledging her eternal love. And do you know that, at that time, and for several hours afterwards, I actually meant it.
  • Vicomte de Valmont: Surely I’ve explained to you before how much I enjoy watching the battle between love and virtue.
    Marquise de Merteuil: What concerns me is that you seem to enjoy watching it much more than you used to enjoy winning it.
    Vicomte de Valmont: All in good time.
    Marquise de Merteuil: The century is drawing to its close.
  • Marquise de Merteuil: Tell us we should think of the opera.
    Chevalier Danceny: Oh, it’s sublime, don’t you find?
    Marquise de Merteuil: Monsieur Danceny is one of those rare eccentrics who come here to listen to the music.

More…

Facts

  • The original Broadway production of “Les Liaisons Dangereuses” by ‘Christopher Hampton’ opened at the Music Box Theater in New York on August 30, 1987, ran for 149 performances and was nominated for the 1987 Tony Award (New York City) for the Best Play.
  • ‘Sarah Jessica Parker’ was originally offered the role of Cécile but turned it down.
  • The young ‘Drew Barrymore’ was tested for and came close to getting the role of Cécile.
  • ‘Michelle Pfeiffer’ was offered the role of the Marquise de Mertueil in Valmont (1989) but she chose to play Mme de Tourvel in this film instead.
  • When the novel “Les Liaisons dangereuses” by ‘Choderlos de Laclos’ was first published in 1782, it was considered so scandalous that when Queen Marie-Antoinette commissioned a copy for her personal library she had to have it bound in a blank cover so that no-one would recognise the author’s name or title
  • ‘Swoosie Kurtz’, who plays Madame de Volange, went on to play Dr. Greenbaum in Cruel Intentions (1999), the modern retelling of Dangerous Liaisons. In both films, Valmont seduces her daughter.
  • ‘Mildred Natwick’’s final film

More…

Goofs

  • In one scene (in Mme de Rosemonde’s garden), Valmont sits behind Mme de Tourvel and asks “Why are you so angry with me?” The camera then cuts to a close-up of Michelle Pfeiffer’s face, and John Malkovich is sitting much closer behind her.

Soundtrack

  • “La Cetra Op. 9, Concerto No. 9″ Composed by ‘Antonio Vivaldi’
  • “O Malheureuse Iphigénie !” (aria from the opera “Iphigénie en Tauride”) Composed by ‘Christoph Willibald Gluck’ Performed by ‘Catherine Bott’ sporano
  • “Ombra mai fu” (from opera “Serse”) Written by ‘Georg Friedrich Händel’ Performed by ‘Paulo Abel Do Nascimento’ sopranista
  • “Organ Concerto No. 13 in F.” Written by ‘Georg Friedrich Händel’ Performed by Leslie Pearson
  • “Concerto BWV 1065″ Written by ‘Johann Sebastian Bach’
  • “Concerto for Harpsichords” Written by ‘Johann Sebastian Bach’
  • “Concerto in A minor for Four Harpsichords, BWV 1065 – Allegro” Written by ‘Johann Sebastian Bach’
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Mamma Mia! (2008)

by Jenoa Haymor on Jun.03, 2011, under Comedy, Musical, Romance

Director: Phyllida Lloyd
Countries: UK, USA
Length: 108 min
Language: English
Budget: $52,000,000
Gross: $602,609,487 (Worldwide) (5 April 2009)
IMDb: 7.00 (20162 votes)

Actors

Meryl Streep (Donna), Pierce Brosnan (Sam Carmichael), Colin Firth (Harry Bright), Stellan Skarsgård (Bill), Julie Walters (Rosie), Dominic Cooper (Sky), Amanda Seyfried (Sophie), Christine Baranski (Tanya), Juan Pablo Di Pace (Petros), George Georgiou (Pannos), Chris Jarvis (Eddie), Philip Michael (Pepper), Enzo Squillino Jr. (Gregoris), Dylan Turner (Stag), Norma Atallah (Irini)

Storyline

Set on a colorful Greek island, the plot serves as a background for a wealth of great ABBA songs which are used in remarkably appropriate ways. A young woman about to be married discovers that any one of three men could be her father. She invites all three to the wedding without telling her mother, Donna, who was once the lead singer of Donna and the Dynamos. In the meantime, Donna has invited her backup singers, Rosie and Tanya.

Quotes

  • Rosie: [to Tanya] Typical isn’t it? You wait 20 years for a dad and then three come along at once.
  • Tanya: [before singing 'Does Your Mother Know'] Little boys who play with fire get their fingers burned.
  • Rosie: [regarding Sophie's potential fathers] Now, listen, what we’re gonna do is… we’ll get them plastered tonight and then tomorrow Tanya and I will take them fishing.
    Tanya: Fishing? Oh, please!
    Rosie: What do you suggest we do with three men?
    Tanya: Now THAT takes me back.
  • Donna: Ohh my baby, with her entire life ahead of her!
    Sophie: Oh *please*, I’m getting married, I’m not joining a convent!
  • Donna: I’m gonna arrange for a boat to take you all back to the mainland.
    Bill: I have a boat Donna
    Donna: You have a boat? Good get on it! And anchors away.
    Sam Carmichael: Donna…
    Donna: Away away.
  • [from trailer]
    Donna: You sound like you’re having fun already.
    Ali: Oh, we are!
    Donna: [woefully] I used to have fun!
    Ali: [giggles] Oh, we know!
    [Donna looks worried]
  • Sam Carmichael: Last time I saw your mother she said she never wanted to see me again.
  • Harry Bright: Bugger.
    Sam Carmichael: My sentiments exactly.
  • Donna: And welcome to- to Sophie’s dad. I have to tell you, he is here.
    Sophie: I know, I invited him.
    Donna: You couldn’t have, I don’t even know which one it is.
  • Sky: [talking about Sam, Bill, and Harry] You invited these guys and you didn’t tell me?
    Sophie: No! I thought you would – you would try to stop me. I *know* I messed up…
    Sky: Sophie… is this what this whole big white wedding was about? You finding your dad?
    Sophie: No, no!
    Sky: I wanted to take a boat to the mainland with a couple of witnesses and you *insisted* on this sodding circus so you could play happy family.
    Sophie: It’s about knowing who I am and-and I wanted to get married knowing who I am!
    Sky: That doesn’t come from finding your father. That comes from finding yourself. And… the irony is I was travelling to find *myself*. I put everything on hold for you because I loved you and I thought I wanted what you wanted… and now I just don’t know.
    Sophie: You don’t know if you love me.
    Sky: Of course I *love* you, I just wish you’d told me!
  • Rosie: [to Tanya] It’s very Greek.
  • Sam Carmichael: [after Donna falls on Harry's air bed] You always knew how to make an entrance.
  • Sophie: I wanted to get married knowing who I am.
    Sky: You don’t find that from finding your father, Sophie, you find it by finding yourself.
  • Sophie: But I love Sky. I love Sky more than anything.
  • Harry Bright: What would the father of the bride normally do?
    Tanya: Pay. [beat] Though my dad drew the line at my 3rd.
  • Tanya: [after a crack loudly appears in the courtyard after "Money, Money, Money] What happened?
    Donna: [laughs] Didja feel it? The earth moved, darling. We’re falling apart here.
    [she snatches the bottle of champagne from Tanya's hands and walks off]
    Donna: Don’t think about it. C’mon. Let’s go have fun…
  • Donna: I grew up.
    Tanya: Well, grow back down then!
  • Sophie: You took mom’s guitar!
    Harry Bright: Um no, no I borrowed it. I bought her this. It cost me ten quid plus my Johnny Rotten T-shirt. See here – where is it? Ah yes. DS: Donna Sheridan. and HB: Head Banger.
  • Donna: Wh-wh what are you all doing here?
    Bill: I’m writing a travel piece.
    Harry Bright: I- I’m on a spontaneous holiday.
    Sam Carmichael: I-I-I I just dropped in to say… hi.
  • Sophie: Do you think I’m letting you down?
    Donna: Why would you even think that?
    Sophie: Oh because, of what you’ve done! I mean the Dynamos, raising a kid and running a business all on your own…
    Donna: Honey, I didn’t have a choice. I couldn’t go home. When I got pregnant, my mother told me not to bother coming back. And I wouldn’t have had it any other way! My God, look at what we’ve had!
  • Donna: I better be dreaming, you better not be here.
    Bill: You want me to pinch you Donna?
  • Sophie: I don’t care if you slept with hundreds of men, you’re my mom, and I love you so much.
    Donna: Oh Soph… [hugs] And I haven’t slept with *hundreds* of men.
  • [from trailer]
    Sophie: I don’t care if you’ve slept with hundreds of men!
    Donna: I haven’t slept with HUNDREDS of men…!
  • Sam Carmichael: [while Donna and the Dynamos are singing "Super Trouper"] Our song!
    Harry Bright: Your song?
    Bill: It’s my song!
  • Tanya: [talking about Donna's money troubles and her life in general] Yeah, but are you being taken care of?
    Donna: What do you mean?
    Tanya: Are you getting any?
    Donna: Oh, you mean…
    [turns on the drill, making loud noises, then says to the drill:]
    Donna: Down, boy.
  • Rosie: [in a very Cockney accent] Excuse me, hello! This is a hen party! Women only! Thank you!
    Sam Carmichael: [mocking the Cockney accent] Okaay!
  • [from trailer]
    Bill: We’re here for the wedding. [Sophie is frazzled]
    Sam Carmichael: You are expecting us?
    Sophie: [pause] Oh my god, yeah.
  • [from trailer]
    Harry Bright: Is your father here?
    Sophie: [smiling] You tell me.
  • Tanya: [to Sophie] I bet you don’t remember me.
    Rosie: Not with all that plastic surgery.
  • Sam Carmichael: Hold on! You’re saying I might be Sophie’s father, but she might be Bill’s or Harry’s?
    Donna: Yes and don’t get self righteous with me…
    Sophie: Yeah if you hadn’t left my mother to go off and get married!
    Sam Carmichael: I had to go. I was engaged. But I couldn’t do it and I came right back!
    Donna: Wha… why… What… Why didn’t you call me?
    Sam Carmichael: Because I was stupid enough to think you would be waiting for me. But when I got there they told me you were off with some other guy.
  • Rosie: I’m a lone wolf!
  • Father Alex: And a welcome to Donna, who’s representing her side of the family.
    Donna: And a welcome to… Sophie’s dad… He’s here.
    Sophie: I know, I invited him.
    Donna: How could you? I don’t know which one it is… OH MY GOD… that’s why they’re here!
    Sophie: I’m sorry, please forgive me!
    Donna: I don’t know… Can you forgive me?
    Sophie: What? I don’t care if you slept with hundreds of men. You’re my mother and I love you.
    Donna: Oh Sophie… And I haven’t slept with hundreds of men…
  • Tanya: This fricking yoga made my feet bigger.
  • Donna: I will not be muscled out by an e… jaculation.
  • Donna: The thing about the toilet… if it doesn’t flush right away, then go and come back and it’ll… nothing works around here except for me.
  • Sophie: Um… I’ve invited my dad to my wedding.
    Ali: You found him?
    Sophie: No no no no no no! Not exactly.
  • Sophie: I want the perfect wedding, and I want my father to give me away
    Ali: Have you a wide isle!
  • Donna: [about the possible dads] I have brought this all on myself because I was a stupid, reckless little slut!
    Tanya: Don’t you sound like your mother!
  • Donna: [to Rosie] Somebody up there has got it in for me. I bet it’s my mother.
  • Harry Bright: [on his sudden appearance for Sophie's wedding] I… I’m here on a spontaneous holiday.
  • Tanya: Down big fella, I’m old enough to be your mother!
    Rosie: Grandmother.
  • Rosie: [talking about Sophie] She’s a chip off the old block!
    Donna: If she were more like *me*, she wouldn’t be getting married at 20.
    Tanya: Or married at all!
  • Tanya: [looks in the basket that one of the passengers are holding] Aaaaaaahhhhhhhh!
    [Tanya catches herself]
    Rosie: [to Tanya] It’s just a fish!
    [some people laugh beside them]
  • Rosie: [to Donna, holding up Tanya's underwear] Does she wear it or floss with it?
    Tanya: Floss you!
    Donna: Is it edible Tanya?
  • Harry Bright: [introducing himself] Bright. Harry Bright.
  • [from trailer]
    Donna: There were three guys around the same time… [giggles]
    Tanya: You shady lady!
  • Sky: It’s my last night of freedom… which is what some might see it, but for me it’s the last night before the greatest adventure of my life.
  • Sophie: [Bill has just realized that he might be her father] You know what happens next?
    Bill: Don’t tell me you have a twin sister.
  • Sophie: [reading Donna's diary] We danced on the beach, kissed on the beach and dot, dot, dot.
  • Donna: [hugging Sophie] Look at my baby her whole life ahead of her.

More…

Facts

  • Set a new mark for the biggest weekend premiere ever for a movie musical with $27.6 mil. Former record holder was Hairspray (2007).
  • ‘Meryl Streep’ first saw the musical in October 2001 with her daughter Louisa and her daughter’s friends in Manhattan.
  • All the cast performed their own singing.
  • Several night scenes, including the I Have a Dream sequences, were actually shot during the day, then treated in post-production.
  • ?Mamma Mia!? was the first film to be shot on the new 007 Stage at Pinewood Studios following a fire after Casino Royale (2006) wrapped. The new 59,000 sq ft stage was used for song and dance numbers that could not be filmed in the sun in Greece.
  • Following her casting in the film Hairspray (2007), ‘Michelle Pfeiffer’ was rumored to be considered for the role of Donna.
  • ‘Dawn French’ was originally cast as Rosie in this film, but after her character being described to her by the creators as ‘the fat, funny one’ and the musical director being openly unimpressed with her singing she declined the offer. Dawn states in her autobiography ‘Dear Fatty’ that, while she is a fan of ABBA, she is not a fan of ‘Mamma Mia!’ and only originally agreed to do the film because ‘Meryl Streep’ was starring.
  • Donna, played by ‘Meryl Streep’ comments that she was a “reckless little slut” whereupon her friends tell her that thinking is “Catholic guilt, like a nun”. In her next film, Doubt (2008/I), that is exactly the role she plays.
  • When the stage show was performed in Edinburgh, during ‘Lay All Your Love On Me’, the male dancers included a ‘Highland Fling’ in their routine. In the film, one dancer can be seen performing the same steps during the song.
  • “Fernando” is one of ‘Abba’’s biggest hits, yet it wouldn’t fit in the movie because it is about war. So to placate the Abba fans, you can hear Donna humming a few bars of the song as she walks into the old goat house while the fathers are hiding upstairs.
  • ‘Meryl Streep’ wrote to the producers of the Broadway version of “Mamma Mia!”, after having seen it with her daughter shortly after the 9/11 terrorist attack. In the letter, she praised them for bringing a little happiness and fun to the lives of people following the attacks.
  • In the scene with ‘Slipping Through My Fingers’ we see a short clip of ‘Meryl Streep’’s and ‘Amanda Seyfried’ laughing, according to ‘Phyllida Lloyd’ the crew blasted out heavy metal music to get the pair to laugh so much.
  • An undercurrent of the film is to structure the story as a Greek comedy (like Aristophanes), including patterns of strophe and anti-strophe, a chorus representing the common people, and costumes matched to moods of the characters, including masks and the phallic props typical of Greek comedy.
  • ‘Phyllida Lloyd’ also directed the original ?Mamma Mia!? Broadway Play.
  • ‘Pierce Brosnan’ had no idea what the project was about when he signed on: the producers told him it was being filmed in Greece and ‘Meryl Streep’ was starring and he agreed. Brosnan declares that he would have signed on for anything involving Meryl. He described her as “that gorgeous blonde I fancied terribly in Drama School.”
  • Based on the hit ‘Abba’ single of the same name. “Mamma Mia!” first opened in London on April, 6th, 1999 at the Prince Edward theater. It had its North American debut at Toronto’s Royal Alexandra Theatre on May 23rd, 2000. The original Toronto cast then moved on to Mamma Mia!’s pre-Broadway tour starting in San Francisco, moving on to Los Angeles, then Chicago. It was while the original Toronto cast was performing in Chicago that ‘Louise Pitre’ (Donna) and ‘Tina Maddigan’ (Sophie) were invited to play their same roles in the original Broadway cast, which opened on October 18th, 2001 at the Winter Garden Theater, the former home of Cats. It now has toured in over 140 cities across America. As of April 2007, Mamma Mia! has open run productions in: New York, London, Las Vegas, Madrid, Moscow, Stuttgart, Fukuoka (opened May 19, 2007) Gothenburg (opened May 9, 2007) Essen, also has an US tour and an International tour traveling to cities all over the globe. Mamma Mia! has also played in Melbourne, Australia and Utrecht, The Netherlands, and in Copenhagen and Horsens, Denmark.
  • The boat Bill sails to the island (with Harry and Sam) is flying the Swedish flag. The group ‘Abba’ is from Sweden, as is ‘Stellan Skarsgård’.
  • The original Broadway production of “Mamma Mia!” opened at the Winter Garden Theater in New York on October 18, 2001 and has run for 3100 performances as of April 2009. “Mamma Mia!” was nominated for the 2002 Tony Awards for the Best Musical and Best Score.
  • At the end of ‘Our Last Summer’ Donna (‘Meryl Streep’) is holding a collection of photos, the baby picture is an actual baby picture of ‘Amanda Seyfried’.
  • The beginning of the song “Super Trouper” is sung live a cappella by the actresses.
  • ‘Louise Pitre’ was nominated for the 2002 Tony Award (New York City) for Actress in a Musical for “Mamma Mia!” as Donna Sheridan.
  • ‘Mandy Moore (II)’, ‘Amanda Bynes’, ‘Rachel McAdams’, and ‘Emmy Rossum’ were all considered for the part of Sophie.
  • CAMEO (‘Björn Ulvaeus’): dressed as a Greek god during the closing credits sequence
  • The musical numbers differ in some way from the stage version. The songs ‘Under Attack’, ‘One of Us’ and ‘Knowing Me, Knowing You’ were removed from the movie’s script. The song ‘The Name of the Game’ was filmed, but removed from the final cut; it is included as an extra on the DVD release. ‘Thank You for the Music’ is not part of the film’s narrative as it is in on stage but instead placed over the closing credits. The song ‘When All is Said and Done’ is presented in the movie, but was never part of the stage show. Additionally, all songs presented in the film were more or less re-orchestrated for the film version and thus differ from the stage version as well as the original arrangements.
  • CAMEO (‘Benny Andersson’): playing piano during the ‘Dancing Queen’ sequence
  • ‘Bill Nighy’ was announced to star in this project but was replaced.
  • In the stage musical (and soundtrack of), Bill has the last name Austin instead of Anderson.
  • The stage version of ‘Mamma Mia!’ has exceeded 2940 performances on Broadway (December 2008).
  • The basic plot of three potential fathers trying to discover who was the real father of a grown daughter originated with the ‘Gina Lollobrigida’ film Buona Sera, Mrs. Campbell (1968).
  • ‘Stellan Skarsgård’ [on why he flashed his behind]: “We decided I should be cooking on the boat. I thought I should have an apron on. The director (‘Phyllida Lloyd’) did not know I would be naked under there and have those butt tattoos. So when the camera rolled, I turned around right in front of it. The cameraman jumped and screamed, while Phyllida keeled over laughing.”
  • The picture on Donna’s (‘Meryl Streep’’s) mirror in the bedroom at the start of the Dancing Queen scene is actually ‘Amanda Seyfried’’s professional head shot which can be seen on her IMDb profile.
  • According to ‘Meryl Streep’, ‘Julie Walters’ injured herself whilst filming the “Dancing Queen” musical sequence (by tripping over some rocks on a cobbled street), but “soldiered on”.
  • The character of Mary Ann (played by ‘Christine Baranski’) in the television series “Cybill” (1995) informed the creation of the character Tanya in the stage play. Christine Baranski plays Tanya in the movie.
  • In December 2008, Mamma Mia! became the highest grossing film of all time in the U.K., smashing the previous record held by Titanic (1997).
  • According to Variety the play’s original producer and writer, “were broke when they first tried to put the show together and were even snubbed by the Swedish pop group whose music formed the basis for the show. They are now two of the wealthiest women in England.”
  • Early in preproduction the producers suggested including a newly written original song for the movie to be eligible for the Academy Awards’ Original Song Category. However, former ‘Abba’ members ‘Benny Andersson’ and ‘Björn Ulvaeus’ refused to do so. Though Andersson composed some additional score for the movie, the film will likely be ineligible for any Academy Award in the music categories because all songs were already published.
  • ‘Benny Andersson’, former ‘Abba’ member and co-composer of the songs, calls ‘Meryl Streep’ “a miracle”. Meryl Streep came to Stockholm to do her vocal for the song “The Winner Takes it All”. She finished it in one take.
  • ‘Olivia Newton-John’ was strongly considered for the role of Donna.

More…

Goofs

  • When Donna is kissing Sam after she says “I do” she only has a ring on her pinky, and after she puts the wedding ring on her opposite hand she kisses Sam again and there is still the ring on her pinky but there is also one on the finger next to her pinky as well.
  • Just after Tanya and Rosie arrive, Donna takes the laundry down and says “You think they would figure out a machine that would make the beds,” but her mouth isn’t moving for some of the sentence.
  • When Sophie is at her bachelorette party she is lowered on to her back and her hair falls off her shoulders. The scene cuts and when it goes back she is still being lowered and her hair falls off her shoulders yet again.
  • In the scene where the guys take Skye away to his bachelor party, they dance on the dock before diving into the water. In the different shots, the boat anchored off the dock appears and disappears.
  • During the dancing scene on the beach, there is what appears to be a decanter and an ice bucket on the bar. These objects change position when the camera angle has changed.
  • When Donna, Rosie and Tanya are sat on the sofa, Tanya forced Donna back down after she tries to get up. We can hear a high pitched laugh from Meryl Streep but her mouth doesn’t move to match the sound.
  • During one song an extra is up a ladder and has the ladder pulled out from underneath him leaving him hanging from the window ledge. When the angle changes to a close up of him the safety wire can be seen going out of his clothes and up into the window.
  • During the scene above the ‘old goat’s house’ in which Donna is singing Mamma Mia, the amount of dust/dirt on the knees of her dungarees changes between shots.
  • During the “Lay All Your Love on Me” sequence, the close-ups of Sophie and Sky’s embrace reveal that Amanda Seyfried’s lower body is fully clothed, a black waistline being visible.
  • During the Chiquitita number, the amount of liquid in the glass that Tanya brings to the scene changes between shots.
  • SPOILER: In the scene when Sam is proposing to Donna, before she sings “I Do”, you can clearly see the prompt screen reflected in Rosie?s glasses.
  • When Donna runs out to her friends who are getting of the boat in the behind shot her arms are in the air, but in the front shot her arms are down.
  • When Tanya gets out of the paddle boat she is barefoot, when she grabs her towel she is still barefoot, half way through her song “Does Your Mother Know” she is wearing silver flats. The same silver flats she was wearing on the dock when Donna pushed her into the water.
  • During the “Does your Mother Know” dance scene at the beach bar, a dancer in the background is suddenly wearing sunglasses in one shot, they are gone on the next shot of her, and then she’s wearing them again.
  • When Donna sings “The Winner Takes It All”, in the beginning of the sequence, she holds her hands together, in the very next shot her arms are along her body.
  • According to the song “Our Last Summer” Donna was involved with Bill, Sam and Harry during the flower power period, which would indicate that Sophie was conceived in the 1960s. However this film seems to be set in recent years, (e.g. with the Internet), indicating that Sophie, who is 20, was conceived in the 1980s.
  • On the way up to the goat house, the upper left sleeve of Harry’s shirt has some sort of stain (looks like an oil or sweat stain) on it. In the following shots, the stain is gone.
  • When the orchestra begins after the initial verse during Colin Firth’s “our Last Summer”, the chords he plays on the guitar don’t match the music.
  • When Tanya, Rosie and Donna are singing Dancing Queen in the bedroom, Tanya comes up with a silver hair dryer. In the next shot, when she is standing up, the hair dryer has changed colors to blue.
  • During the scene on the boat when ‘Our Last Summer’ is being sung, Sophie is seen sat next to Bill holding a picture of him in her hands. However it is Bill’s hand holding the photo in the close-up shot of the picture.
  • When Donna is repairing the dolphin mosaic with the caulking gun, the tip breaks off of the tube. In subsequent shots, the tip is unbroken.
  • In the very first scene, Sophie is boating to post her invitations in the mailbox. However, her wooden skiff has neither a sail nor a motor, though she actively uses the rudder to steer. Where is the power moving the skiff?
  • In the does your mother know scene, Tanya isn’t wearing shoes as they are in her bag. You see them in the bag when she puts her bag on the bar. In the next dance scene she’s wearing her shoes.
  • In the scene where Sophie and her brides maids are trying on their dresses she uses safety pins to shorten the chain straps. When Skye comes in the pins are no longer visible, only the chains.
  • In the scene when Sam, Bill, and Harry first arrive at the Villa all three men seem to have known about Donna having a daughter. While Donna later reveals before the “Dancing Queen” number that she never told any of the men about Sophie, we can however assume that in the invitation the men received, Sophie’s name was enclosed.
  • When entering the chapel with her daughter, Donna’s shawl is off her shoulder, however when camera views from the rear, it is over her shoulder as it is in the subsequent shots.
  • During the “Lay All Your Love On Me” song, when the camera is on Sky’s back as he draws near Sophie. You can see his mouth move when there are no words being sung (twice).
  • In the scene where Donna is repairing the shutter with a cordless drill, there is not a bit in chuck, so there’s no way it could “repair” the shutter. The empty chuck is visible in subsequent scenes with the same drill.
  • When Sky is hugging Tanya for the first time you can hear Donna say ‘And all true!’ yet her mouth doesn’t match the speech.
  • During the “Chiquitita” number, when Donna’s friends are cheering her up, they force a beverage to Donna’s lips. Though Meryl Streep acts to be choking on the drink, the liquid actually never gets beyond the bottom half of the glass.
  • As the song “Lay your Love on Me” transforms into Sophie’s bachelorette party, cast members are holding Sophie up and she drinks from a bottle and throws it. After she throws it, they lay her on her back and her hair falls off her shoulders, but in the following close-up shot, her hair falls off her shoulders again.

More…

Soundtrack

  • “I Have A Dream” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Amanda Seyfried’ Courtesy of Universal Music
  • “Honey, Honey” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Amanda Seyfried’, ‘Ashley Lilley’ & ‘Rachel McDowall’ Courtesy of Universal Music
  • “Money, Money, Money” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Meryl Streep’, ‘Julie Walters’ & ‘Christine Baranski’ Courtesy of Universal Music
  • “Mamma Mia” Written by ‘Benny Andersson’, ‘Björn Ulvaeus’ & ‘Stig Anderson’ Performed by ‘Meryl Streep’ Courtesy of Universal Music
  • “Chiquitita” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Julie Walters’, ‘Christine Baranski’ & ‘Meryl Streep’ Courtesy of UNICEF
  • “Super Trouper” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Meryl Streep’, ‘Julie Walters’ & ‘Christine Baranski’ Courtesy of Universal Music
  • “Dancing Queen” Written by ‘Benny Andersson’, ‘Björn Ulvaeus’ & ‘Stig Anderson’ Performed by ‘Meryl Streep’, ‘Julie Walters’ & ‘Christine Baranski’ Courtesy of Universal Music
  • “Our Last Summer” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Colin Firth’, ‘Pierce Brosnan’, ‘Stellan Skarsgård’, ‘Amanda Seyfried’ & ‘Meryl Streep’ Courtesy of Universal Music
  • “Lay All Your Love On Me” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Dominic Cooper’ & ‘Amanda Seyfried’ Courtesy of Universal Music
  • “Gimme! Gimme! Gimme! (A Man After Midnight)” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by Full Cast Courtesy of Universal Music
  • “Voulez-Vous” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by Full Cast Courtesy of Universal Music
  • “SOS” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Pierce Brosnan’ & ‘Meryl Streep’ Courtesy of Universal Music
  • “Does Your Mother Know” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Christine Baranski’ & ‘Philip Michael’ Courtesy of Universal Music
  • “Slipping Through My Fingers” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Meryl Streep’ & ‘Amanda Seyfried’ Courtesy of Universal Music
  • “The Winner Takes It All” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Meryl Streep’
  • “I Do, I Do, I Do, I Do, I Do” Written by ‘Benny Andersson’, ‘Björn Ulvaeus’ & ‘Stig Anderson’ Performed by ‘Pierce Brosnan’ & ‘Meryl Streep’ Courtesy of Universal Music
  • “When All Is Said And Done” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Pierce Brosnan’ & ‘Meryl Streep’ Courtesy of Universal Music
  • “Take A Chance On Me” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Julie Walters’ ,’Stellan Skarsgård’ & ‘Colin Firth’ Courtesy of Universal Music
  • “Waterloo” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Meryl Streep’, ‘Julie Walters’, ‘Christine Baranski’, ‘Pierce Brosnan’, ‘Colin Firth’, ‘Stellan Skarsgård’, ‘Amanda Seyfried’ &’Dominic Cooper’ Courtesy of Universal Music
  • “Thank You For The Music” Written by ‘Benny Andersson’ & ‘Björn Ulvaeus’ Performed by ‘Amanda Seyfried’ Courtesy of Universal Music
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The Crucible (1996)

by Jenoa Haymor on Apr.28, 2010, under Drama, History

Director: Nicholas Hytner
Country: USA
Length: 124 min
Language: English
Gross: $7,340,103 (USA) (17 February 1997)
IMDb: 6.80 (9209 votes)

Actors

Daniel Day-Lewis (John Proctor), Winona Ryder (Abigail Williams), Paul Scofield (Judge Thomas Danforth), Joan Allen (Elizabeth Proctor), Bruce Davison (Reverend Parris), Rob Campbell (Reverend Hale), Jeffrey Jones (Thomas Putnam), Peter Vaughan (Giles Corey), Karron Graves (Mary Warren), Charlayne Woodard (Tituba), Frances Conroy (Ann Putnam), Elizabeth Lawrence (Rebecca Nurse), George Gaynes (Judge Samuel Sewall), Mary Pat Gleason (Martha Corey), Robert Breuler (Judge Hathorne)

Storyline

A small group of teen girls in 1692 Salem, Massachusetts caught in an innocent conjuring of love potions to catch young men are forced to tell lies that Satan had invaded them and forced them to participate in the rites and are then forced to name those involved. Thrown into the mix are greedy preachers and other major landowners trying to steal others’ land and one young woman (Ryder) infatuated with a married man (Day-Lewis) and determined to get rid of his innocent wife (Allen). Arthur Miller wrote the events and the subsequent trials where those who demanded thier innocence were executed, those who would not name names were incarcerated and tortured, and those who admitted their guilt were immediately freed as a parable of the Congressional Communist witch hunts led by Senator Joe McCarthy in 1950’s America.

Quotes

  • Giles Corey: A fart on Thomas Putnam!
  • John Proctor: Abby, I may think of you softly from time to time, but I will cut off my hand before I reach for you again. We never touched.
    Abigail Williams: Ay, but we did.
  • Abigail Williams: A women comes to my bed every night now and tears out my eyes.
    Judge Danforth: Can you make out who she may be?
    Abigail Williams: I believe she be Reverend John Hale’s wife sir.
    Judge Danforth: You must be mistaken my child. The wife of a minister be unlikely…
    Abigail Williams: Satan may reach anyone sir.
    Judge Sewall: Absolutely no one in the world is safe? Is that your meaning?
    Judge Danforth: You are mistaken child. Understand me?
  • John Proctor: Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!
  • John Proctor: These are heavy books.
    Rev. John Hale: Well, they should be. They’re weighted with authority.
  • Mary Warren: Witchin’s a hangin’ error in Salem, like they done in Boston two year ago!
  • Judge Danforth: To your knowledge, has John Proctor committed the crime of lechary? Answer my question! Is your husband an lecher!
    Elizabeth: No sir.
    Judge Danforth: Remove her, Marshal.
    John Proctor: Elizabeth, I have confessed it!
    Elizabeth: Oh, God!
  • Judge Danforth: Mr. Parris, you are a brainless man!
  • Reverend Parris: Why did Goody Proctor discharge you from her service?
    Abigail Williams: Because I refused to be her slave.
    Reverend Parris: I have heard said that John Proctor and you…
    Abigail Williams: My name is good in the village! Elizabeth Proctor is an envious, gossipy liar!
  • Ezekiel Cheever: Purge your contempt and give us the name of the man who accused Putnam. You will say it, Corey.
    Reverend Parris: Speak man, we cannot releant. What say you, Corey?
    Giles Corey: More… Weight.
    Reverend Parris: Lay on. You are commanded by the court. Lay On!
    Giles Corey: AAH! [he dies]
  • Abigail: I am but God’s finger, John. If he would condemn Elizabeth, she will be condemned.
  • John Proctor: WHORE! How do you call heaven?
  • Judge Danforth: Who weeps for these weeps for corruption.
  • John Proctor: I say- I say- God is dead!
  • Elizabeth: It needs a cold wife to prompt lechery.
  • Elizabeth: Question Abigail Williams about the gospel, not myself!
  • John Proctor: You bring down heaven and raise up a whore!
  • Judge Danforth: The pure in heart need no lawyers.
  • Betty Parris: I want my mama.
    Abigail Williams: Your mama’s dead and buried.
    Betty Parris: I’ll find her! Let me fly! Mama! No!
    Abigail Williams: Why are you doing this? I told you, he knows now.
    Betty Parris: You drank blood Abby. Did you tell him that?
    [Abby slaps Betty]
    Abigail Williams: Don’t you ever say that again!
    Betty Parris: You drank a charm to kill John Proctor’s wife! You drank a charm to kill Goody Proctor!
    [Abby throws Betty on the bed and starts hitting her]
    Abigail Williams: Shut up! All of you. We danced. That is all, and mark this, if anyone breathe a word or the edge of a word about the other things, I will come to you in the black of some terrible night, and I will bring with me a pointy reckoning that will shudder you! And you know I can do it. I saw Indians smash my dear parents’ heads on the pillow next to mine. And I have seen some reddish work done at night. And I can make you wish you had never seen the sun go down!
  • Judge Danforth: John Proctor, I’ve seen your power. You are combined with ANTI-CHRIST!
  • Rev. John Hale: Do you know your commandments, Mr. Proctor?
    John Proctor: Aye.
    Rev. John Hale: Would you recite them please?
    John Proctor: The commandments?
    Rev. John Hale: Aye.
    John Proctor: Thou shalt not kill.
    Rev. John Hale: Aye.
    John Proctor: Thou shalt not steal, thou shalt not covet thy neighbors goods, nor covet thy neighbors wives, thou shalt have no other Gods before me, thou shalt not use the Lord’s name in vain, thou shalt keep holy the sabbath day, thou shalt honor thy mother and father, thou shalt not bare to false witness… thou shalt not covet thy neighbors wives.
    Rev. John Hale: You said that one twice, Sir.
    John Proctor: Aye.
    Elizabeth: Adultry, John.
    John Proctor: Aye. You see, Sir, between the two of us, we do know them all.
  • John Proctor: Go to bed, Mary.
    Mary Warren: I’ll not be ordered to bed anymore, Mr. Proctor. I am 18 now and a woman… however single.
    John Proctor: If you wish to sit up, then sit up.
    Mary Warren: I wish to go to bed.
    John Proctor: Good night, then.
    Mary Warren: Good night.
  • John Proctor: Hell and Heaven grapple on our backs, and all our old pretenses ripped away. God’s icy wind will blow.
  • Martha Corey: I, sir, am innocent to a witch. I know not what a witch is.
    Judge Hathorne: If you know not what a witch is, how do you know you are not one?
  • John Proctor: It is not on a boat we’ll meet again Abigail, but in hell.
  • Judge Danforth: If you do not give me his name, I will have you arrested for contempt of court.
    Giles Corey: This is a hearing. You cannot arrest me for contempt of a hearing.
  • John Proctor: Elizabeth, your justice would freeze beer.
  • Abigail: Let *you* beware, Mr. Danforth. Do you think yourself so mighty the Devil may not turn *your* wits?
  • John Proctor: She is a whore!
    Judge Danforth: This will not pass. Can you prove this?
    John Proctor: I have known her sir! I have known her.
    Judge Danforth: In what time? What place?
    John Proctor: In the proper place where my beasts are bedded.

More…

Facts

  • ‘Kirsten Dunst’ auditioned for the role of Abigail Williams. She impressed everyone and was asked back to several callbacks and even did a screen test, but the producers and director ultimately decided that she was too young.
  • ‘Kenneth Branagh’ was originally slated to direct.
  • ‘Emma Thompson’ was originally slated to play the part later taken by ‘Joan Allen’.
  • ‘Daniel Day-Lewis’ built the house he lived in as John Proctor, because of his habit of maintaining his character through the entire duration of the filming.
  • The open casting call for this movie was held at the abandoned Danvers State Hospital in Danvers Massachusetts, where the movie Session 9 was filmed, the auditions were held in the auditorium of the abandoned hospital which is prominently featured in Session 9.
  • ‘Paul Scofield’’s last film.
  • ‘Drew Barrymore’ auditioned for the part of “Abigail Williams”.
  • Playwright ‘Arthur Miller’ got his inspiration for ?The Crucible? during the Hollywood black-listings. It reminded him of the paranoia, the finger-pointing and the all around outrageousness that the Salem Witch Hunt had possessed. Miller himself was called before The House of Representatives’ Committee on Un-American Activities in 1956 to testify against his friends and, like his character John Proctor, refused to implicate them.
  • ‘Daniel Day-Lewis’ met his wife ‘Rebecca Miller’, daughter of ‘Arthur Miller’, while filming The Crucible.
  • The original Broadway production of “The Crucible” by ‘Arthur Miller’ opened at the Martin Beck Theater on January 22, 1953, ran for 197 performances and won the 1953 Tony Award for the Best Play.
  • ‘Sarah Michelle Gellar’ auditioned for the part of “Mary Warren”.
  • ‘Melanie Lynskey’ auditioned for the role of Abigail Williams.

More…

Goofs

  • In the scene where John Proctor goes out into the pond, when the camera cuts back to the crowd onshore, an airplane condensation trail can clearly be seen in the sky.
  • When Elizabeth Proctor is being brought to the court, the left rear wheel of the cart is not spinning.
  • As John Proctor holds his confession note, the condition of the paper changes between shots from being almost completely crumpled within his hand to mostly exposed and barely wrinkled to mostly exposed but extremely wrinkled.
  • After John Proctor runs into the pond outside the church, his hair goes from being totally soaked in one shot to completely dry in the next.
  • When John Proctor and Elizabeth are having their private conversation towards the end of the movie, his teeth look normal. However once they return to judge and Rev. Hale, his teeth look rotted and decayed. When he his hanged (the same day) his teeth are normal again.
  • John Proctor uses the scythe incorrectly. A scythe is drawn right to left in an arc parallel to the ground. The stroke requires neither great physical strength or blade speed. However, Proctor, with much effort, uses a golf-like motion which rips what grass the blade makes contact with and arcs way over his head. The scythe is never lifted in either the draw or the return.

More…

Soundtrack

  • “The Yanvalou Chant” Provided by Shakmah Winddrum
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Forbidden Planet (1956)

by Jenoa Haymor on Feb.08, 2010, under Drama, Romance, Sci-Fi, Thriller

Director: Fred M. Wilcox
Country: USA
Length: 98 min
Language: English
Budget: $1,900,000
Gross: $3,000,000 (USA)
IMDb: 7.80 (12427 votes)

Actors

Walter Pidgeon (Dr. Edward Morbius), Anne Francis (Altaira ‘Alta’ Morbius), Leslie Nielsen (Commander J. J. Adams), Warren Stevens (Lt. ‘Doc’ Ostrow M.D.), Jack Kelly (Lt. Jerry Farman), Richard Anderson (Chief Quinn), Earl Holliman (Cook), Robby the Robot (Himself), George Wallace (Bosun), Robert Dix (Crewman Grey), Jimmy Thompson (Crewman Youngerford), James Drury (Crewman Strong), Harry Harvey Jr. (Crewman Randall), Roger McGee (Crewman Lindstrom), Peter Miller (Crewman Moran)

Storyline

An expedition is sent from Earth to Altair in the constellation of Aquilae (some 17 light years from Earth) to discover what happened to a colony of settlers on its fourth planet, Altair-4. What they discover is how and why an alien race of geniuses destroyed itself overnight while leaving their technology intact at some point in the distant, distant past.

Quotes

  • Commander John J. Adams: Whatever you know in here, your other self knows out there.
    Dr. Edward Morbius: [angrily] I’m not a monster, you…
    Commander John J. Adams: [grappling with Morbius] We’re all part monsters in our subconscious, so we have laws and religion!
  • [Lt. Farman offers the brilliant but innocent Altaira some sugar for her coffee]
    Altaira: But you keep helping me. After all, you’re not Robby.
    Lt. Farman: [chuckles] I wouldn’t mind being Robby in certain ways. Uh, that’s only in *certain* ways, of course.
    Altaira: I can see that was probably very clever, but I don’t seem to understand it.
    Lt. Farman: There’s no rush.
  • Robby the Robot: If you do not speak English, I am at your disposal with 187 other languages along with their various dialects and sub-tongues.
  • Dr. Edward Morbius: In times long past, this planet was the home of a mighty, noble race of beings who called themselves the Krell. Ethically and technologically they were a million years ahead of humankind, for in unlocking the meaning of nature they had conquered even their baser selves, and when in the course of eons they had abolished sickness and insanity, crime and all injustice, they turned, still in high benevolence, upwards towards space. Then, having reached the heights, this all-but-divine race disappeared in a single night, and nothing was preserved above ground.
  • Dr. Edward Morbius: Altaira, I specifically asked you not to join us for lunch.
    Altaira: Lunch is over. You didn’t say anything about not coming in for coffee. Well, you didn’t, did you?
  • Altaira Morbius: Where have you been? I’ve beamed and beamed.
    Robby: Sorry, miss. I was giving myself an oil-job.
    Altaira Morbius: Robby, I must have a new dress, right away.
    Robby: Again?
    Altaira Morbius: Oh, but this one must be different! Absolutely nothing must show – below, above or through.
    Robby: Radiation-proof?
    Altaira Morbius: No, just eye-proof will do.
    Robby: Thick and heavy?
    Altaira Morbius: Oh, no, Robby. It must be the loveliest, softest thing you’ve ever made for me, and fit in all the right places, with lots and lots of star sapphires.
    Robby: Star sapphires take a week to crystallize properly. Would diamonds or emeralds do?
    Altaira Morbius: Well, if they’re large enough.
    Robby: Five, ten, and fifteen carats, and on hand. I will run the dress up for you in time for breakfast. Sleep well, miss.
    Altaira Morbius: Thank you, Robby. I don’t care now whether I do or not!
  • [Robby the Robot has been asked to duplicate whiskey]
    Robby: Would 60 gallons be sufficient?
  • Doc Ostrow: The total potential here must be nothing less than astronomical.
    Dr. Edward Morbius: Nothing less. The number 10 raised almost literally to the power of infinity.
  • Altaira: [swiming in a pool] Come on in.
    Commander John J. Adams: I didn’t bring my bathing suit.
    Altaira: What’s a bathing suit?
    Commander John J. Adams: [quickly turning his back] Oh, murder!
  • Dr. Edward Morbius: Do you understand the mechanism, Robby?
    Robby: Yes, Morbius. A simple blaster.
  • [to Altaira]
    Commander John J. Adams: I’m in command of 18 competitively selected super-perfect physical specimens with an average age of 24.6 who have been locked up in hyperspace for 378 days. It would have served you right if I hadn’t… and he… oh go on, get out of here before I have you run out of the area under guard – and then I’ll put more guards on the guards!
  • Cookie: Another one of them new worlds. No beer, no women, no pool parlors, nothin’. Nothin’ to do but throw rocks at tin cans, and we gotta bring our own tin cans.
  • [while showing the captain a plaster cast of a monster foot print]
    Doc: Anywhere in the galaxy this is a nightmare.
  • Altaira Morbius: Robbie, I must have a new dress, right away.
    Robbie the Robot: Again?
  • Robby: Morbius. Morbius!
    Dr. Edward Morbius: What?
    Robby: Something is approaching from the southwest. It is now quite close.
    [they run to the windows and look out, but see nothing]
    Commander John J. Adams: Could Robby be wrong?
    Dr. Edward Morbius: No. Never.
    [an invisible force rips down the trees; Morbius closes the steel shutters over the windows]
    Dr. Edward Morbius: I feel sorry for you, young man.
    Commander John J. Adams: Feel sorry for your daughter, Morbius.
    Altaira: It’s listening.
    [the monster pounds on the steel shielding, denting it]
    Dr. Edward Morbius: Alta, go into my study.
    Commander John J. Adams: You still refuse to face the truth.
    Dr. Edward Morbius: What truth?
    Commander John J. Adams: Morbius, that thing out there – it’s you.
    Dr. Edward Morbius: You’re insane. How else would you have led it here, where Alta must see you torn to pieces?
    Commander John J. Adams: You still think she’s immune? She’s joined herself to me, body and soul!
    Altaira: Yes, and whatever comes, forever.
    Dr. Edward Morbius: Say it’s a lie. Shout, let it hear you out there! Tell it you don’t love this man!
    Altaira: Not even if I could.
    [the steel shielding begins to break]
    Dr. Edward Morbius: Stop it, Robby! Don’t let it in! Kill it, Robby!
    [Robby shorts out]
    Commander John J. Adams: It’s no use. He knows it’s your other self.
    [steel shielding breaks; they run]
  • Dr. Edward Morbius: One cannot behold the face of the gorgon and live!
  • Chief Engineer Quinn: I’ll bet any quantum mechanic in the service would give the rest of his life to fool around with this gadget.
  • Doc Ostrow: You ought to see my new mind… it’s up there in lights…
  • Commander John J. Adams: What is the Id?
    Dr. Edward Morbius: [frustrated] Id, Id, Id, Id, Id! [calming down] It’s a… It’s an obsolete term. I’m afraid once used to describe the elementary basis of the subconscious mind.
    Commander John J. Adams: [to himself] Monsters from the Id…
    Dr. Edward Morbius: Huh?
    Commander John J. Adams: Monsters from the subconscious. Of course. That’s what Doc meant. Morbius. The big machine, 8,000 miles of klystron relays, enough power for a whole population of creative geniuses, operated by remote control. Morbius, operated by the electromagnetic impulses of individual Krell brains.
    Dr. Edward Morbius: To what purpose?
    Commander John J. Adams: In return, that ultimate machine would instantaneously project solid matter to any point on the planet, In any shape or color they might imagine. For *any* purpose, Morbius! Creation by mere thought.
    Dr. Edward Morbius: Why haven’t I seen this all along?
    Commander John J. Adams: But like you, the Krell forgot one deadly danger – their own subconscious hate and lust for destruction.
    Dr. Edward Morbius: The beast. The mindless primitive! Even the Krell must have evolved from that beginning.
    Commander John J. Adams: And so those mindless beasts of the subconscious had access to a machine that could never be shut down. The secret devil of every soul on the planet all set free at once to loot and maim. And take revenge, Morbius, and kill!
    Dr. Edward Morbius: My poor Krell. After a million years of shining sanity, they could hardly have understood what power was destroying them. [pause] Yes, young man, all very convincing, but for one obvious fallacy. The last Krell died 2,000 centuries ago. But today, as we all know, there is still at large on this planet a living monster.
    Commander John J. Adams: Your mind refuses to face the conclusion.
    Dr. Edward Morbius: What do you mean?
  • Dr. Edward Morbius: Yes, a single machine, a cube 20 miles on each side.
  • [to Altaira]
    Commander John J. Adams: Alta, about a million years from now the human race will have crawled up to where the Krell stood in their great moment of triumph and tragedy. And your father’s name will shine again like a beacon in the galaxy. It’s true, it will remind us that we are, after all, not God.
  • Robbie the Robot: [approaches from vehicle, stops and bows] Welcome to Altair IV, Gentlemen.
    Robbie the Robot: I am to transport you to the Residence.
    Robbie the Robot: If you do not speak English I am at your disposal with 187 other languages along with their various dialects and sub-tongues.
    Commander John J. Adams: Colloquial English will do fine, thank you.
  • Robby: Quiet please. I am analyzing.
  • Commander John J. Adams: Nice climate you have here. High oxygen content.
    Robby the Robot: I seldom use it myself, sir. It promotes rust.
  • Dr. Edward Morbius: The fool, the meddling idiot! As though his ape’s brain could contain the secrets of the Krell!
    Altaira: [shocked] Father, he’s *dead*!
    Dr. Edward Morbius: He was warned, and now he’s paid! Let him be buried with the other victims of human greed and folly!
    Altaira: [coldly] Morbius. You wanted me to make a choice. Now you’ve chosen for me.
    Dr. Edward Morbius: Alta?
    Altaira: [to Commander Adams] I’m ready to go with you, darling.
    [She runs up the stairs]
    Dr. Edward Morbius: Altaira! No!
  • Doc Ostrow: Morbius was too close to the problem. The Krell had completed their project. Big machine. No instrumentalities. True creation.
    Commander John J. Adams: Come on, Doc, let’s have it.
    Doc Ostrow: But the Krell forgot one thing.
    Commander John J. Adams: Yes, what?
    Doc Ostrow: Monsters, John. Monsters from the Id.
    Commander John J. Adams: The Id? What’s that? Talk, Doc! [Doc slumps and dies] Doc?
    Commander John J. Adams: [sadly] Oh, Doc. Doc.
  • Dr. Edward Morbius: Guilty! Guilty! My evil self is at that door, and I have no power to stop it!

More…

Facts

  • ‘Robby the Robot’ currently resides in the private collection of director ‘William Malone’
  • Bellerophon is a hero from Greek mythology. His greatest feat was the destruction of the Chimera, a monster who breathed fire.
  • When the film was first released theatre goers were given special paper glasses with red lenses. The glasses were to be used during certain scenes involving the invisible monster (“Monster from the ID”). You were alerted that it was time to put on your special glasses by flashes on the screen. When you put on the special glasses the invisible monster was revealed.
  • SPOILER: It could be inferred that the physical shape of the ID monster vaguely resembles the never shown Krell aspect – it does seem to fit within the strangely shaped doors these species used. It would be more appropriate, though, to consider this shape as what Morbius thought they’d look like, given that it was produced by his higher-than-average subconscious mind.
  • ‘Robert Kinoshita’, who is credited as building ‘Robby the Robot’, was also Art Director for the TV series “Lost in Space” (1965). Many of the Lost in Space Robot’s features are similar to Robby’s: glass “head” with animated elements; rotating antenna “ears” (although LiS Robot’s ears rarely moved after the pilot episode); flashing light “mouth”; chest panel with more animated elements. For that matter, much of the layout of Forbidden Planet’s spaceship is mirrored by LiS’s Jupiter 2: saucer shape; integral landing gear/entry stairs; lower external dome with animated lights; central, plexi-domed navigation station; vertical hibernacula arranged along perimeter. In addition, Robby and the LiS Robot had a couple of “family reunions” in two LiS episodes: “Lost in Space” (1965) {War of the Robots (#1.20)}_ and _”Lost in Space” (1965) {Condemned of Space (#3.1)}_.
  • _”Star Trek” (1966) creator ‘Gene Roddenberry’ has been quoted as saying that this film was a major inspiration for the series. Perhaps not coincidentally, ‘Warren Stevens’, who plays “Doc” here, would later be a guest star in the 1968 episode “By Any Other Name”, where the true shape of the alien Kelvans, like the Krell in this movie, was implied to be extremely non-humanoid but never shown.
  • To increase the sense of depth, the opening image of the spaceship approaching the camera is actually composed of two shots: the first of a small model, the second of a larger model travelling on the same track. The ship passes into and out of a shadow to conceal the cut.
  • The model of the “flying saucer” style Earth space cruiser was retained by the MGM prop department and subsequently used in a number of productions on the MGM lot, including the “To Serve Man” of the “The Twilight Zone” (1959). ‘Robby the Robot’, his ground transporter, and crew uniforms would be used on that show as well.
  • The scene in which the image of Altaira appears in the Krell’s “plastic educator” device was achieved with several special effects, including superimposed film footage of the charge from an electrical generator, hand-drawn animation, and a traveling matte cut from film footage of ‘Anne Francis’.
  • MGM had had a full animation department at one time but by 1956 it was largely dismantled. Critical animation effects (landing beam, weapons, Robby overloading, the Id Monster) were provided by ‘Joshua Meador’ on loan to MGM from Disney. Meador’s recognizable style can be readily discerned from that of the other three effects animators working on Alice in Wonderland (1951) and in other Disney releases.
  • The Spaceship C57D, models and full-size prop was actually used in seven episodes of “The Twilight Zone” (1959). The list is as follows by season, “Third from the Sun”, “The Monsters Are Due on Maple Street”, “The Invaders”, “To Serve Man”, “Hocus-Pocus and Frisby”, “Death Ship” and “On Thursday We Leave for Home”. Robby’s vehicle does appear in one episode. In “The Rip Van Winkle Caper”, at the end when the final surviving gold thief is dying, a futuristic car stops and he begs for water. This is Robby’s vehicle. The crew’s outfits were used in a number of episodes, not to mention also in The Time Machine (1960) along with some props. The flickering force-field fence-posts appeared in Atlantis, the Lost Continent (1961) and were last seen being placed at the bottom of the ocean in Around the World Under the Sea (1966/I).
  • ‘David Rose’, composer of light orchestral music such as “Holiday For Strings”, was originally hired to write the score. He was relieved of his contract by producer ‘Dore Schary’ in December 1955 when Schary discovered avant-garde electronic music creators Louis and Bebe Barron in a nightclub in Greenwich Village, New York, and hired them on the spot. The only confirmed piece of music which still remains from Rose’s discarded original score is his Main Title Theme, which he released as a single on MGM Records in 1956.
  • The “electronic tonalities” created by ‘Louis Barron’ and ‘Bebe Barron’ were reused several years later in another science fiction film From the Earth to the Moon (1958) that was produced by RKO.
  • The time aboard the C57D is stated as being 17:01 hours when the ship enters orbit around Altair IV. ‘Gene Roddenberry’, a fan of this movie, would later use 1701 as the naval construction contract number of the Starship Enterprise.
  • Apart from the electronic tonalities composed by ‘Louis Barron’ and ‘Bebe Barron’, the music score known to many as “Forbidden Planet Fanfare – Parts 1 & 2″ on the original 1956 theatrical trailer was composed by ‘André Previn’, and pieced together seamlessly by an MGM music editor. The music was originally written by Previn for the MGM films Scene of the Crime (1949) and Bad Day at Black Rock (1955).
  • This is the first science film to succeed without having a “name” character in the cast such as Flash Gordon.
  • The film was originally conceived and approved by MGM’s ‘Dore Schary’, himself no fan of science fiction, as a B-picture. The studio’s art department, still headed by veteran ‘Cedric Gibbons’ pulled out all stops. The budget ballooned to $1.9 million and barely managed to break even amid a dismal year for the studio. The relative failure of the film was cited as a reason for Schary’s ouster soon after.
  • The planet on which Edward and Altaira Morbius live is Altair IV, which according to “Star Trek: Deep Space Nine” (1993) is also a Federation planet. Director ‘Fred M. Wilcox’ consulted with scientists before making the decision that the planet’s sky would be green.
  • First mainstream film to have the music performed entirely by electronic instruments.
  • The special effects artists used split-screen traveling mattes to make images appear and disappear, such as the piece of fruit Morbius lobs at the “household disintegrator beam” and the tiger that Commander Adams vaporizes. See the “Goofs” section for problems caused by this process.
  • The reaction from the preview audience to this film was so positive that it was released as it was, with no further changes to the movie. The result is that there are several rapid takes toward the story’s end.
  • This movie was filmed on the same sound-stage on which the movie The Wizard of Oz (1939) had been filmed seventeen years earlier; the set of Altaira’s garden is a reuse of the Munchkin Village set from The Wizard of Oz.
  • Studio chief ‘Dore Schary’ and producer ‘Nicholas Nayfack’ were unsure about releasing the film with a solely electronic score by ‘Louis Barron’ and ‘Bebe Barron’. A rough cut of the film was previewed with the electronic score. The audience reaction to the film overall was so favorable that Dore Schary ordered the rough cut to be released with the electronic score and no further editing.
  • The movie’s poster was as #5 of “The 25 Best Movie Posters Ever” by Premiere.
  • ‘Louis Barron’ and ‘Bebe Barron’ worked on the electronic soundtrack music “tonalities” for only three months, the length of time given them by ‘Dore Schary’, head of MGM. He authorized the studio to send them a complete workprint at Christmas 1955. They received the complete 35mm Eastmancolor workprint at New Year’s 1956, a week later, still with many visual effects sequences missing and timed in with blank leader by editor ‘Ferris Webster’. From January 1, 1956 to April 1, 1956, they worked on the soundtrack score in their Greenwich Village studio in New York City while the film was in post-production in Culver City. The score was completed and delivered to MGM on April 1, 1956, and the film was released for a studio sneak preview soon afterward. The musician’s union, however, objected to the soundtrack, and blocked the Barrons from being credited as “composers”, hence the term “electronic tonalities”.
  • The trailer for this film was narrated by ‘Marvin Miller’, who also provided the voice for ‘Robby The Robot’.
  • MGM insisted on changes to ‘Cyril Hume’’s script by adding comic relief scenes with the ship’s cook (played in the final film by ‘Earl Holliman’). Among these scenes was one in which ‘Robby the Robot’ responds to the cook’s complaint about the lack of female companionship by bringing him a female chimp. The scene was reportedly not filmed.
  • Film debut of ‘Robby the Robot’.
  • In preparing this film for production, MGM borrowed a print of This Island Earth (1955) from Universal-International.
  • Loosely based on “The Tempest” by ‘William Shakespeare’.

More…

Goofs

  • The star Altair is shown as an orange-red star, eclipsed by one of its (spherical) planets. It is now known that Altair is white and is oblate, with its equatorial diameter 14% greater than its polar diameter, something that was not known when the movie was produced.
  • When Robby uses the blaster on the plant in the garden, an unidentifiable shadow suddenly appears on the green V support directly behind Commander Adams.
  • In the scene where the monster approaches the house from the southwest and Morbius commands Robby to destroy it, with Robby short circuiting due to logic conflict between obeying Morbius and knowing that destroying the monster (id of Morbius) would destroy his master, just before the shot ends after Robby is supposedly immobile, his arms wiggle.
  • During the landing scene, the shadow of the ship (or a supporting structure of the suspended model) is visible briefly moving across one of the smaller mountains at the right side of the screen.
  • As the vehicle driven by the robot first drives up to the residence, there is a tow cable visible in the foreground, partially obscured by the bushes. This cable is most visible behind the vehicle as it leaves the scene.
  • When the ship’s cook is picked up by the magnetic crane, one of the wires that really picks him up is clearly visible.
  • When the id-monster is burning its way through Krell metal to get into the lab, Commander Adams is seen reaching for his blaster (apparently to kill Morbius) while it was already rendered useless by Robby when Adams tried to force his way into the house a few scenes earlier.
  • When Dr. Morbius is showing the commander around the alien installation for the first time he uses combination lock to open the lab door. How did he know the combination if the aliens died so long ago?
  • The sudden appearance of the cook behind the officers after Robby first arrives at the ship and his subsequent position relative to them before they leave with Robby.
  • When the Monster is burning / melting the metal door, as it turns white hot and lumps start to fall, you can see a member of the crew, in a heatproof suit (watch the second and third holes for movement behind the door), as well as the ‘tool’ they use to push the burning metal to the floor.
  • In several wide shots of the crew members outside the ship, there is a faint vertical shadow visible on the painted backdrop behind the ship. It appears to be either a fold in a piece of fabric or the corner of the sound stage wall.
  • When Dr. Morbius is showing Doc and the Commander around the Krell labs, his outfit is originally black. Later, it turns brown and stays that way – although the cut of the outfit is still identical.
  • As the tiger passes Altaira on the patio, first a portion of the tiger’s face, and then a portion of the tiger’s hind leg vanish in the split-screen effect.
  • Robby informs the crew that if they do not speak English, he is at their disposal with “187 languages”; yet, he says it all in English. If the crew did not speak English, how could they know what he was saying?
  • The robot shows up carrying lead shielding, which he says is “isotope 217″, and he implies it is lighter than ordinary lead. The purported isotope lead-217 does not exist, and if it did, it would be 4% heavier than the most common (and heaviest) isotope of lead (number 208), not lighter.
  • As Morbius shows the Commander and Doctor around the Krell underground complex, sometimes they cast shadows on the ground and sometimes they do not. Also at one point their reflections can be seen in puddles of (rain)water lying on the surface on which they are walking.
  • The steps were crushed when the Id entered the spaceship, but in a later scene you can see none of them are damaged.
  • During the kissing lesson, Jerry goes from embracing Altaira to holding her by the arms between shots.
  • Dr. Morbius invites Commander Adams to try his blaster on the Krell metal door. Cmdr. Adams inspects the result, but he’s not pointing to the spot where the beam hit.
  • As Altaira emerges from the swimming pool, the flesh-coloured suit that she is wearing to give the impression of nudity is visible.
  • As Alta talks to the commander after being found kissing Lt Farman, her position changes from being side-on to face-on to the commander.

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