#Tom Siebert | Explore Tumblr Posts and Blogs

strasticsocial-blog · 4 years

Text

The 5 best midcentury modern homes for sale right now

In our House of the Day column, we cover a plethora of gorgeous homes, from elegant Gilded Age mansions to show-stopping new builds. But time and time again, some of our favorite homes for sale are of the midcentury variety.

They range in style and authenticity; some homes built in the 1950s and 1960s have been tastefully updated, while others are time capsules for the midcentury purist. We also write about midcentury modern homes from around the country—not just in ultra-hip epicenters like Palm Springs—and at all price points. Whether you’re on the hunt for a new pad or just like to window shop, here are five swoon-worthy midcentury homes on the market to check out right now.

Guests are welcomed to the Sarasota School home through an interior courtyard with pond. Photo by Glenn Johnson of Coastal Photography

Restored midcentury gem near the beach

Price: $1,695,000

Details: One of the latest Sarasota School houses to catch our eye is this three-bedroom, three-bath home in Sandy Hook, a private beachfront neighborhood on the island of Siesta Key. Siesta Key is packed with gorgeous midcentury architecture by Paul Rudolph, Victor Lundy, and Frank Folsom Smith, but this 2,550-square-foot home was designed by Siebert Architects—Sarasota’s oldest architecture firm.

The 1962 home has all the midcentury details we love, like long horizontal lines, glass walls, clerestory windows, and terrazzo floors. A covered interior courtyard features a pond, skylights, and a large dining table for entertaining, and exposed beams throughout the house contrast with the bright, airy windows. See more, over here.

Designed and built in 1965 by architect Allan Gelbin, the home follows Frank Lloyd Wright’s theories on organic architecture. Photos by Austin Eterno

A Connecticut home by a Frank Lloyd Wright apprentice

Price: $625,000

Details: This five-bedroom, two-and-a-half-bath home in Weston, Connecticut, was designed and built in 1965 by architect Allan Gelbin. Gelbin was an apprentice to Frank Lloyd Wright at Taliesin East in Spring Green, Wisconsin, from 1949 to 1953, before establishing his own practice in 1957 in Connecticut.

The focal point of the design is an expansive living room and dining room that features a stone fireplace. Clerestory windows let in light, while wooden ceiling panels and built-in bookshelves add coziness. Floor-to-ceiling glass windows showcase a wraparound deck and views of the 2.25-acre property, and the master suite also offers panoramic views and access to a terrace. You can see more photos, this way.

The A-frame style living room features walls of glass, a fireplace, exposed beams, and amazing ocean views. Photo by Marc Weisberg

Oceanfront home by Frank Lloyd Wright apprentice

Price: $14,900,000

Details: Designed by Frank Lloyd Wright apprentice Frederick Liebhardt in 1958, this four-bedroom, eight-bath oceanfront home is located above Windansea beach, an iconic surf spot made famous in the 1960s in Tom Wolfe’s nonfiction collection The Pump House Gang.

Liebhardt designed the home as a personal residence for his mother, and the house has seen two subsequent renovations—one remodel by midcentury modern architect Henry Hester and a more recent one by Hill Construction and NYC designer Eddie Lee. The house is now 6,338 square feet with a stunning A-frame living room. Huge walls of glass provide unobstructed ocean views, and the way the home is situated on its one acre lot means that you can’t see your neighbors. Find more photos, over here.

This Swiss Miss home in Pennsylvania was designed in 1958 by noted midcentury architect Jules Gregory. Michael Hirsch for Kurfiss Sotheby’s International Realty

Dazzling A-frame in Pennsylvania

Price: $3,495,000

Details: Midcentury modern homes might be known for their butterfly roofs, but the style also popularized the Swiss Miss A-frame. And while you might expect A-frames in mountain towns or midcentury hotbeds like California, check out this three-bedroom, four-bath home in New Hope, Pennsylvania. Built in 1958 by noted midcentury architect Jules Gregory, the low-lying home is bifurcated by a steep, dramatic A-frame roof that rises straight from the ground.

Inside, the A-frame creates a dramatic double-height living room with floor-to-ceiling windows that look out onto the 1.42-acre property. Recent renovations brought a more contemporary feel to the space; gloss-black hardwood floors contrast with white walls, beams, and counters. Other perks include a 16-foot kitchen island, large closets, and a rear patio with bar, BBQ, fire pit, and pool. See the interiors, over here.

The living room features floor-to-ceiling windows—a Sarasota School trademark—and an Ocala brick wall. Photo by Glenn Johnson, Coastal Photography

Beachfront midcentury time capsule

Price: $1,900,000

Details: This four-bedroom, four-bath rarely seen home was the writer’s studio of Walter Farley—author of the Black Stallion book series—and was designed by Sarasota architecture icons Ralph Twitchell and Jack West. It’s a time capsule in the truest form, with original details like Ocala block construction, clerestory windows, and mahogany louvers that let in the ocean breeze.

Reference - https://www.curbed.com/2020/2/14/21136376/midcentury-modern-best-homes-for-sale

1 note · View note

cinemalerta · 5 years

Photo

91st ACADEMY AWARDS NOMINEES

BEST PICTURE

Black Panther

BlackKklansman

Bohemian Rhapsody

The Favourite

Green Book

Roma

A Star Is Born

Vice

BEST DIRECTOR

Spike Lee – BlackKklansman

Pawel Pawlikowski – Cold War

Yorgos Lanthimos – The Favourite

Alfonso Cuarón – Roma

Adam McKay – Vice

BEST ACTOR

Christian Bale – Vice as Dick Cheney

Bradley Cooper – A Star Is Born as Jackson “Jack” Maine

Willem Dafoe – At Eternity’s Gate as Vincent Van Gogh

Rami Malek – Bohemian Rhapsody as Freddie Mercury

Viggo Mortensen – Green Book as Frank "Tony Lip" Vallelonga

BEST ACTRESS

Yalitza Aparicio – Roma as Cleodegaria "Cleo" Gutiérrez

Glenn Close – The Wife as Joan Castleman

Olivia Colman – The Favourite as Anne, Queen of Great Britain

Lady Gaga – A Star Is Born as Ally Maine

Melissa McCarthy – Can You Ever Forgive Me? as Lee Israel

BEST SUPPORTING ACTOR

Mahershala Ali – Green Book as Don Shirley

Adam Driver – BlacKkKlansman as Philip "Flip" Zimmerman

Sam Elliott – A Star Is Born as Bobby Maine

Richard E. Grant – Can You Ever Forgive Me? as Jack Hock

Sam Rockwell – Vice as George W. Bush

BEST SUPPORTING ACTRESS

Amy Adams – Vice as Lynne Cheney

Marina de Tavira – Roma as Sofía

Regina King – If Beale Street Could Talk as Sharon Rivers

Emma Stone – The Favourite as Abigail Masham

Rachel Weisz – The Favourite as Sarah Churchill

BEST ORIGINAL SCREENPLAY

The Favourite – Written by Deborah Davis and Tony McNamara

First Reformed – Written by Paul Schrader

Green Book – Written by Nick Vallelonga & Brian Currie & Peter Farrelly

Roma – Written by Alfonso Cuarón

Vice – Written by Adam McKay

BEST ADAPTED SCREENPLAY

The Ballad of Buster Scruggs – Screenplay by Joel Coen & Ethan Coen; based on the short stories All Gold Canyon by Jack London, The Gal Who Got Rattled by Stewart Edward White, and short stories by Joel Coen & Ethan Coen

BlacKkKlansman – Screenplay by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee; based on the book by Ron Stallworth

Can You Ever Forgive Me? – Screenplay by Nicole Holofcener and Jeff Whitty; based on the book by Lee Israel

If Beale Street Could Talk – Screenplay by Barry Jenkins; based on the book by James Baldwin

A Star Is Born – Screenplay by Eric Roth, Bradley Cooper & Will Fetters; based on the 1954 screenplay by Moss Hart and the 1976 screenplay by Joan Didion, John Gregory Dunne & Frank Pierson; based on a story by Robert Carson & William A. Wellman

BEST FOREIGN LANGUAGE FILM

Capernaum – Nadine Labaki – Lebanon

Cold War – Paweł Pawlikowski – Poland

Never Look Away –Florian Henckel von Donnersmarck – Germany

Roma – Alfonso Cuarón – Mexico

Shoplifters – Hirokazu Kore-eda - Japan

BEST ANIMATED FEATURE FILM

Incredibles 2 – Brad Bird, John Walker and Nicole Paradis Grindle

Isle of Dogs – Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson

Mirai – Mamoru Hosoda and Yūichirō Saitō

Ralph Breaks the Internet – Rich Moore, Phil Johnston and Clark Spencer

Spider-Man: Into the Spider-Verse – Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller

BEST DOCUMENTARY FEATURE

Free Solo – Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill

Hale County This Morning, This Evening – RaMell Ross, Joslyn Barnes and Su Kim

Minding the Gap – Bing Liu and Diane Quon

Of Fathers and Sons – Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert

RBG – Betsy West and Julie Cohen

BEST CINEMATOGRAPHY

Cold War – Łukasz Żal

The Favourite – Robbie Ryan

Never Look Away – Caleb Deschanel

Roma – Alfonso Cuarón

A Star Is Born – Matthew Libatique

BEST EDITING

Cold War – Łukasz Żal

The Favourite – Robbie Ryan

Never Look Away – Caleb Deschanel

Roma – Alfonso Cuarón

A Star Is Born – Matthew Libatique

BEST PRODUCTION DESIGN

Black Panther – Production Design: Hannah Beachler; Set Decoration: Jay Hart

The Favourite – Production Design: Fiona Crombie; Set Decoration: Alice Felton

First Man – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

Mary Poppins Returns – Production Design: John Myhre; Set Decoration: Gordon Sim

Roma – Production Design: Eugenio Caballero; Set Decoration: Bárbara Enríquez

BEST COSTUME DESIGN

The Ballad of Buster Scruggs – Mary Zophres

Black Panther – Ruth E. Carter

The Favourite – Sandy Powell

Mary Poppins Returns – Sandy Powell

Mary Queen of Scots – Alexandra Byrne

BEST MAKEUP AND HAIRSTYLING

Border – Göran Lundström and Pamela Goldammer

Mary Queen of Scots – Jenny Shircore, Marc Pilcher and Jessica Brooks

Vice – Greg Cannom, Kate Biscoe and Patricia Dehaney

BEST VISUAL EFFECTS

Avengers: Infinity War – Dan DeLeeuw, Kelly Port, Russell Earl and Dan Sudick

Christopher Robin – Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould

First Man – Paul Lambert, Ian Hunter, Tristan Myles and J. D. Schwalm

Ready Player One – Roger Guyett, Grady Cofer, Matthew E. Butler and David Shirk

Solo: A Star Wars Story – Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy

BEST ORIGINAL SCORE

Black Panther – Ludwig Göransson

BlacKkKlansman – Terence Blanchard

If Beale Street Could Talk – Nicholas Britell

Isle of Dogs – Alexandre Desplat

Mary Poppins Returns – Marc Shaiman

BEST ORIGINAL SONG

"All the Stars" from Black Panther – Music by Mark Spears, Kendrick Lamar Duckworth and Anthony Tiffith; Lyrics by Kendrick Lamar Duckworth, Anthony Tiffith and Solána Rowe

"I'll Fight" from RBG – Music and Lyrics by Diane Warren

"The Place Where Lost Things Go" from Mary Poppins Returns – Music by Marc Shaiman; Lyrics by Marc Shaiman and Scott Wittman

"Shallow" from A Star Is Born – Music and Lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt

"When a Cowboy Trades His Spurs for Wings" from The Ballad of Buster Scruggs – Music and Lyrics by David Rawlings and Gillian Welch

BEST SOUND EDITING

Black Panther – Benjamin A. Burtt and Steve Boeddeker

Bohemian Rhapsody – John Warhurst and Nina Hartstone

First Man – Ai-Ling Lee and Mildred Iatrou Morgan

A Quiet Place – Ethan Van der Ryn and Erik Aadahl

Roma – Sergio Díaz and Skip Lievsay

BEST SOUND MIXING

Black Panther – Steve Boeddeker, Brandon Proctor and Peter J. Devlin

Bohemian Rhapsody – Paul Massey, Tim Cavagin and John Casali

First Man – Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis

Roma – Skip Lievsay, Craig Henighan and José Antonio Garcia

A Star Is Born – Tom Ozanich, Dean Zupancic, Jason Ruder and Steve A. Morrow

BEST DOCUMENTARY – SHORT

Black Sheep – Ed Perkins and Jonathan Chinn

End Game – Rob Epstein and Jeffrey Friedman

Lifeboat – Skye Fitzgerald and Bryn Mooser

A Night at the Garden – Marshall Curry

Period. End of Sentence. – Rayka Zehtabchi and Melissa Berton

BEST LIVE ACTION SHORT FILM

Detainment – Vincent Lambe and Darren Mahon

Fauve – Jérémy Comte and Maria Gracia Turgeon

Marguerite – Marianne Farley and Marie-Hélène Panisset

Mother – Rodrigo Sorogoyen and María del Puy Alvarado

Skin – Guy Nattiv and Jaime Ray Newman

BEST ANIMATED SHORT FILM

Animal Behaviour – Alison Snowden and David Fine

Bao – Domee Shi and Becky Neiman-Cobb

Late Afternoon – Louise Bagnall and Nuria González Blanco

One Small Step – Andrew Chesworth and Bobby Pontillas

Weekends – Trevor Jimenez

114 notes · View notes

videostageoperator · 4 years

Text

Digitale Fellmonster

Hannes Siebert

Die Idee ist, dass durch digitale Technologien erstmal alles gezeigt werden kann. Computer sind mittlerweile in der Lage (fast) alle Bild erzeugen zu können und dieses Potential wird in Hollywood auch bis an die Grenze ausgenutzt. Es gibt kaum noch einen Hollywoodfilm mit einem Budget über 50 Millionen Dollar, in dem nicht Unmengen an Szenen digital angereichert werden. Manchmal sind diese Effekte eher subtil und kaum bemerkbar, wie zum Beispiel in David Finchers Filmen, die, auch wenn es auf den ersten Blick nicht so wirkt, CGI in vielen Szenen nutzen (die Zwillinge in The Social Network, das Setting in den 60ern in Zodiac). In anderen Filmen sind die im Computer erzeugten Bilder kaum zu übersehen, wie in allen Filmen, die Disney in den letzten Jahren herausgebracht hat, bei denen dann teilweise die Frage besteht, ob die Schauspieler*innen überhaupt am gleichen Set waren oder sie nicht doch erst nachträglich ins gleiche Bild gesetzt wurden.

Alles ist möglich und alles kann getan werden, das scheint die Devise des aktuellen effektgetragenen Blockbusterkinos zu sein. Häufig führt das dann zu seltsamen digital-menschlichen Mischwesen, wie zum Beispiel die singenden und sprechenden Haushaltsgegenstände in Die Schöne Und Das Biest (2017) oder Will Smith als Dschinni in Aladdin (2019). Oder der Mensch wird komplett außen vor gelassen und es werden scheinbar hyperrealistische sprechende Tiere erzeugt, wie in Das Dschungelbuch (2016) oder Der König Der Löwen (2019). All diese Filme haben mehrere Gemeinsamkeiten. Einerseits handelt es sich bei allen um Remakes von Disney-Klassikern, andererseits wurde bei allen versucht durch eine Mischung aus digitaler Technologie und realen Darsteller*innen so etwas wie einen neuen Realismus zu erzeugen und die Bilder näher an das, was wir in unserer alltäglichen Umgebung sehen könnten zu bringen, als die Zeichentrickvorlagen das getan haben.

Nun könnte sehr schnell die Frage aufkommen, warum diese Remakes überhaupt so entstanden sind oder was sie von ihren Vorlagen unterscheidet. Diese Frage scheint im ersten Moment nicht sonderlich ergiebig zu sein, ich denke, dass sie in diesem Fall jedoch ganz interessant sein könnte. Rein auf der Handlungsebene und auch in ihrer grundsätzlichen Botschaft unterscheiden sich die neuen Versionen kaum von den ursprünglichen Filmen. Vielleicht wurde mal ein Lied hinzugefügt oder eine Szene leicht verändert, diese sind in den meisten Fällen aber eher unnötig und geben dem Ursprungsmaterial relativ wenig. Die Unterschiede bewegen fast vollkommen auf der optischen Ebene. Alle Bilder strotzen vor hochauflösenden Computereffekten und auf allen Tieren und Biestern kann jedes einzelne Haar erkannt werden. Damit werden die Filme scheinbar um eine Form des Realismus erweitert, bei der fragwürdig ist, ob sie überhaupt so nötig wäre. Schließlich sind die größten Probleme der angeführten ursprünglichen Filme nicht, dass die Bilder zu unrealistisch sind. Eher ist ihre Animation einer der reizvollsten Aspekte an ihnen. Jedoch werden diese nun, fast Bild für Bild, hyperrealistisch neu verfilmt und so entstehen fast ausschließlich Tech-Demos, die dem Publikum beweisen sollen, welche Bilder nun erzeugt werden können. Das wird dann als neuwertig und besser verkauft und dabei werden aber die eigentlichen Probleme, die die Filme haben nicht erkannt und reproduziert, zum Beispiel die Naturalisierung eines faschistischen Systems in Der König Der Löwen oder dass es sich bei Aladdin um eine weiße Fantasie des „Orient“ handelt.

Was an dieser Stelle nach großem Technikpessismus klingt ist eher das genaue Gegenteil. Ich denke, dass das Potential computergenerierter Bilder vollkommen verkannt wird, wenn diese größtenteils nur dafür genutzt werden sollen, um Dinge realer erscheinen zu lassen und damit jegliche Abstraktion oder Mehrdeutigkeit glattzubügeln. An dieser Stelle entsteht aus einem potentiellen „alles ist möglich“ eine seltsame Rückwärtsgewandtheit, die doch scheinbar veraltete Ideen einer realistischen Darstellung wieder aufleben lässt. Verdoppelt wird die Absurdität der Situation auch noch dadurch, dass es sich bei allen genannten Beispielen um Remakes handelt, die dann nur dazu benutzt werden um eine neuartige Technologie zu präsentieren. Dieser Punkt bezieht sich aber nicht nur auf die Märchenneuverfilmungen von Disney, sondern auch auf alle Filme des Marvel Cinematic Universe oder die neuen Star Wars Filme, in denen dann sogar bereits verstorbene Schauspieler*innen digital nachgebaut werden, um sie doch nochmal auftauchen zu lassen und die auch alle ihre Ursprünge in Comics oder Filmen aus dem 20. Jahrhundert haben und so auch schon auf eine Fanbasis bauen können.

Eine der seltsamsten Ausgeburten der digitalen Überarbeitungen bekannter Stoffe kam ironischerweise in den letzten Wochen des Jahres 2019 raus und markiert somit das Ende eines Jahrzehnts, in dem das Blockbusterkino vor allem durch computergenerierte Bilder geprägt ist. Dieser Film kommt überraschenderweise nicht von Disney, sondern von Universal und ist Cats, eine „Realverfilmung“ von Andrew Lloyd Webbers Musical. Der Film hat viele Probleme, von der seltsamen Musik, über die schlechte Figurenzeichnung bis hin zu einer vollkommen versagenden Dramaturgie. Diese sind es alle wert besprochen zu werden, wurden sie jedoch an anderer Stelle bereits ausgiebig und ich möchte hier vor allem auf die Gestaltung der Figuren eingehen.

In dieser Adaption spielen berühmte Schauspieler*innen, wie Judy Dench oder Idris Elba Katzen, die auf einem Ball Lieder über sich selbst singen, um herauszufinden, welche Katze am Ende des Films in „den sphärischen Raum“ aufsteigen darf. (Vielleicht ist das gleichbedeutend mit dem Himmel und alle Katzen wollen sterben. Das wird im Film nicht so richtig geklärt.) Das besondere an dem Film ist, dass die Darsteller*innen, im Gegensatz zu den Bühnenversionen, nicht in hautenge Catsuits gesteckt und geschminkt werden, um wie Katzen auszusehen. In dieser Verfilmung wurde über die Darsteller*innen ein digitales Fell gelegt und einige ihrer Körperteile angepasst, damit diese Katzenhafter aussehen, zum Beispiel haben alle einen Schwanz und kleine Katzenöhrchen, die aber auf einem menschlichen Kopf sitzen. Dabei behalten sie jedoch ihre menschliche Anatomie (menschliche Hände und Füße, aufrechter Gang usw.) und ihre Gesichter, die nur durch Schnurrhaare erweitert wurden und in die das Fell des Kopfes langsam hereinwächst, ohne diese jedoch zu bedecken. Die meisten der Katzen sind dabei einen Großteil des Films über nackt, haben aber keine Genitalien. Die weiblichen Katzen haben jedoch menschliche Busen, aber keine Brustwarzen. Die Technologie, die verwendet wurde, um die Katzen so aussehen zu lassen wurde von Regisseur Tom Hooper und anderen Beteiligten in Interviews häufig als die neue, bahnbrechende „Digital Fur Technology“ bezeichnet. Diese Technologie sorgt nur leider dafür, dass alle Figuren ohne Umwege im sogenannten Uncanny Valley landen, also einem Bereich, in dem Figuren sehr ähnlich zu Dingen sind, die wir kennen, aber ihnen aufgrund minimaler Abweichungen nicht zu 100 Prozent entsprechen und die deswegen als unheimlich wahrgenommen werden.

Diese Wahrnehmung ist absurd, da die Katzen in sämtlichen Bühnenadaptionen von Cats nie so gruselig wirkten, wie die im Film. Auf der Bühne war immer klar, dass es sich im Menschen in Katzenkostümen handelt, der Film erzeugt jedoch seltsame Mischwesen, die eher so wirken als würden sie einem gescheiterten Experiment zur Kreuzung von Katze und Mensch entspringen. In diesem Moment verkehrt sich die Technik, die versucht den Film realistischer wirken zu lassen in ein seltsames Monster und präsentiert missglückte Mutanten, die einen wünschen lassen, dass die „Digital Fur Technology“ nie erfunden worden wäre.

Aber auch auf einer anderen Ebene arbeitet das Digitale in Cats vollkommen gegen den Film. Immer wieder gibt es lange Tanzsequenzen, eine der ersten Szenen ist eine knapp zweiminütige Kontaktimprovisation zwischen zwei Katzen und auch wurde häufig damit geworben, wie begabt die beteiligten Tänzer*innen sind und dass ja alle irgendwie mal im Royal Ballett getanzt haben. So versucht Cats immer wieder ein Tanzfilm zu sein und die Choreographien wären unter normalen Umständen bestimmt auch interessant anzuschauen. Jedoch sorgt unter anderem das digitale Fell und die ständige Vermutung, dass ja sowieso alles animiert sei eher dafür, dass man* beim schauen nie sicher ist, ob das getanzte wirklich so passiert ist. An einigen Stellen ist das offensichtlich, wenn die Katzen zum Beispiel Sprünge machen, die kein Mensch schaffen könnte. Diese stellen ziehen jedoch alle Tanzsequenzen in Mitleidenschaft, da gerade durch die Offensichtlichkeit der Effekte nie klar ist, was gerade virtuoser Tanz ist und welche Bewegung doch digital erzeugt wurde. Gerade in diesen Momenten wirkt sich die Tatsache, dass durch digitale Effekte in Filmen erstmal alles möglich sein könnte, gegen den Film aus, weil dadurch ein Abgleich mit eigenen Bewegungen oder dem Tanz anderer nicht mehr möglich ist, weil ja in der Welt der digitalen Fellmonster sowieso alles computergeneriert sein könnte.

Cats ist also so etwas wie die haarige Version von Frankensteins Monster. Ein seltsam zusammengesetztes Wesen aus Leichenteilen eines Musicals, von dem man eigentlich dachte, dass es tot sei und das nun wiederbelebt werden soll. Dabei ist der Film jedoch eigentlich nur in der Auswüchsen seiner Schlechtigkeit einzigartig, steht jedoch eher symptomatisch für das Blockbusterkino der letzten zehn Jahre. Cats zeigt so eindrucksvoll, wie kein anderer Film bis jetzt, wie schlecht große Studios die Potentiale digitaler Technologien begriffen haben und dass eine digitale Überarbeitung eines an sich schon schlechten Ausgangsmaterials dieses noch nicht besser macht.

#cats #cgi #digitalisierung #hollywood #disney

1 note · View note

bongaboi · 5 years

Text

2019 Academy Awards - The List.

Best Picture

Green Book – Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly and Nick Vallelonga

Black Panther – Kevin Feige

BlacKkKlansman – Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele and Spike Lee

Bohemian Rhapsody – Graham King

The Favourite – Ceci Dempsey, Ed Guiney, Lee Magiday and Yorgos Lanthimos

Roma – Gabriela Rodríguez and Alfonso Cuarón

A Star Is Born – Bill Gerber, Bradley Cooper and Lynette Howell Taylor

Vice – Dede Gardner, Jeremy Kleiner, Adam McKay and Kevin J. Messick

Best Director

Spike Lee – a

Spik

Paweł Pawlikowski – Cold War

Yorgos Lanthimos – The Favourite

Adam McKay – Vice

Best Actor

Rami Malek – Bohemian Rhapsody as Freddie Mercury

Christian Bale – Vice as Dick Cheney

Bradley Cooper – A Star Is Born as Jackson "Jack" Maine

Willem Dafoe – At Eternity's Gate as Vincent van Gogh

Viggo Mortensen – Green Book as Frank "Tony Lip" Vallelonga

Best Actress

Olivia Colman – The Favourite as Anne, Queen of Great Britain

Yalitza Aparicio – Roma as Cleodegaria "Cleo" Gutiérrez

Glenn Close – The Wife as Joan Castleman

Lady Gaga – A Star Is Born as Ally Maine

Melissa McCarthy – Can You Ever Forgive Me? as Lee Israel

Best Supporting Actor

Mahershala Ali – Green Book as Don Shirley

Adam Driver – BlacKkKlansman as Philip "Flip" Zimmerman

Sam Elliott – A Star Is Born as Bobby Maine

Richard E. Grant – Can You Ever Forgive Me? as Jack Hock

Sam Rockwell – Vice as George W. Bush

Best Supporting Actress

Regina King – If Beale Street Could Talk as Sharon Rivers

Amy Adams – Vice as Lynne Cheney

Marina de Tavira – Roma as Sofía

Emma Stone – The Favourite as Abigail Masham

Rachel Weisz – The Favourite as Sarah Churchill

Best Original Screenplay

Green Book – Written by Nick Vallelonga, Brian Currie & Peter Farrelly

The Favourite – Written by Deborah Davis and Tony McNamara

First Reformed – Written by Paul Schrader

Roma – Written by Alfonso Cuarón

Vice – Written by Adam McKay

Best Adapted Screenplay

BlacKkKlansman – Screenplay by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee; based on the book by Ron Stallworth

Can You Ever Forgive Me? – Screenplay by Nicole Holofcener and Jeff Whitty; based on the book by Lee Israel

If Beale Street Could Talk – Screenplay by Barry Jenkins; based on the book by James Baldwin

Best Animated Feature Film

Spider-Man: Into the Spider-Verse – Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller

Incredibles 2 – Brad Bird, John Walker and Nicole Paradis Grindle

Isle of Dogs – Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson

Mirai – Mamoru Hosoda and Yūichirō Saitō

Ralph Breaks the Internet – Rich Moore, Phil Johnston and Clark Spencer

Best Foreign Language Film

Roma (Mexico) in Spanish and Mixtec – Directed by Alfonso Cuarón

Capernaum (Lebanon) in Arabic – Directed by Nadine Labaki

Cold War (Poland) in Polish and French – Directed by Paweł Pawlikowski

Never Look Away (Germany) in German – Directed by Florian Henckel von Donnersmarck

Shoplifters (Japan) in Japanese – Directed by Hirokazu Kore-eda

Best Documentary – Feature

Free Solo – Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill

Hale County This Morning, This Evening – RaMell Ross, Joslyn Barnes and Su Kim

Minding the Gap – Bing Liu and Diane Quon

Of Fathers and Sons – Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert

RBG – Betsy West and Julie Cohen

Best Documentary – Short Subject

Period. End of Sentence. – Rayka Zehtabchi and Melissa Berton

Black Sheep – Ed Perkins and Jonathan Chinn

End Game – Rob Epstein and Jeffrey Friedman

Lifeboat – Skye Fitzgerald and Bryn Mooser

A Night at the Garden – Marshall Curry

Best Live Action Short Film

Skin – Guy Nattiv and Jaime Ray Newman

Detainment – Vincent Lambe and Darren Mahon

Fauve – Jérémy Comte and Maria Gracia Turgeon

Marguerite – Marianne Farley and Marie-Hélène Panisset

Mother – Rodrigo Sorogoyen and María del Puy Alvarado

Best Animated Short Film

Bao – Domee Shi and Becky Neiman-Cobb

Animal Behaviour – Alison Snowden and David Fine

Late Afternoon – Louise Bagnall and Nuria González Blanco

One Small Step – Andrew Chesworth and Bobby Pontillas

Weekends – Trevor Jimenez

Best Original Score

Black Panther – Ludwig Göransson

BlacKkKlansman – Terence Blanchard

If Beale Street Could Talk – Nicholas Britell

Isle of Dogs – Alexandre Desplat

Mary Poppins Returns – Marc Shaiman

Best Original Song

"Shallow" from A Star Is Born – Music and Lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt

"All the Stars" from Black Panther – Music by Mark Spears, Kendrick Lamar Duckworth and Anthony Tiffith; Lyrics by Kendrick Lamar Duckworth, Anthony Tiffith and Solána Rowe

"I'll Fight" from RBG – Music and Lyrics by Diane Warren

"The Place Where Lost Things Go" from Mary Poppins Returns – Music by Marc Shaiman; Lyrics by Marc Shaiman and Scott Wittman

"When a Cowboy Trades His Spurs for Wings" from The Ballad of Buster Scruggs – Music and Lyrics by David Rawlings and Gillian Welch

Best Sound Editing

Bohemian Rhapsody – John Warhurst and Nina Hartstone

Black Panther – Benjamin A. Burtt and Steve Boeddeker

First Man – Ai-Ling Lee and Mildred Iatrou Morgan

A Quiet Place – Ethan Van der Ryn and Erik Aadahl

Roma – Sergio Díaz and Skip Lievsay

Best Sound Mixing

Bohemian Rhapsody – Paul Massey, Tim Cavagin and John Casali

Black Panther – Steve Boeddeker, Brandon Proctor and Peter J. Devlin

First Man – Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis

Roma – Skip Lievsay, Craig Henighan and José Antonio Garcia

A Star Is Born – Tom Ozanich, Dean Zupancic, Jason Ruder and Steve A. Morrow

Best Production Design

Black Panther – Hannah Beachler (production design); Jay Hart (set decoration)

The Favourite – Fiona Crombie (production design); Alice Felton (set decoration)

First Man – Nathan Crowley (production design); Kathy Lucas (set decoration)

Mary Poppins Returns – John Myhre (production design); Gordon Sim (set decoration)

Roma – Eugenio Caballero (production design); Bárbara Enríquez (set decoration)

Best Cinematography

Roma – Alfonso Cuarón

Cold War – Łukasz Żal

The Favourite – Robbie Ryan

Never Look Away – Caleb Deschanel

A Star Is Born – Matthew Libatique

Best Makeup and Hairstyling

Vice – Greg Cannom, Kate Biscoe and Patricia Dehaney

Border – Göran Lundström and Pamela Goldammer

Mary Queen of Scots – Jenny Shircore, Marc Pilcher and Jessica Brooks

Best Costume Design

Black Panther – Ruth E. Carter

The Ballad of Buster Scruggs – Mary Zophres

The Favourite – Sandy Powell

Mary Poppins Returns – Sandy Powell

Mary Queen of Scots – Alexandra Byrne

Best Film Editing

Bohemian Rhapsody – John Ottman

BlacKkKlansman – Barry Alexander Brown

The Favourite – Yorgos Mavropsaridis

Green Book – Patrick J. Don Vito

Vice – Hank Corwin

Best Visual Effects

First Man – Paul Lambert, Ian Hunter, Tristan Myles and J. D. Schwalm

Avengers: Infinity War – Dan DeLeeuw, Kelly Port, Russell Earl and Dan Sudick

Christopher Robin – Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould

Ready Player One – Roger Guyett, Grady Cofer, Matthew E. Butler and David Shirk

Solo: A Star Wars Story – Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy

#2019 #oscars #academy awards

9 notes · View notes

pdproblems · 5 years

Link

Performance by an actress in a supporting role

Regina King in "If Beale Street Could Talk" (WINNER)

Amy Adams in "Vice"

Marina de Tavira in "Roma"

Emma Stone in "The Favourite"

Rachel Weisz in "The Favourite"

Best documentary feature

"Free Solo" Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill (WINNER)

"Hale County This Morning, This Evening" RaMell Ross, Joslyn Barnes and Su Kim

"Minding the Gap" Bing Liu and Diane Quon

"Of Fathers and Sons" Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert

"RBG" Betsy West and Julie Cohen

Achievement in makeup and hairstyling

"Vice" Greg Cannom, Kate Biscoe and Patricia DeHaney (WINNER)

"Border" Goran Lundstrom and Pamela Goldammer

"Mary Queen of Scots" Jenny Shircore, Marc Pilcher and Jessica Brooks

Achievement in costume design

"Black Panther" Ruth Carter (WINNER)

"The Ballad of Buster Scruggs" Mary Zophres

"The Favourite" Sandy Powell

"Mary Poppins Returns" Sandy Powell

"Mary Queen of Scots" Alexandra Byrne

Achievement in production design

"Black Panther" production design: Hannah Beachler; set decoration: Jay Hart (WINNER)

"The Favourite" production design: Fiona Crombie; set decoration: Alice Felton

"First Man" production design: Nathan Crowley; set decoration: Kathy Lucas

"Mary Poppins Returns" production design: John Myhre; set decoration: Gordon Sim

"Roma" production design: Eugenio Caballero; set decoration: Barbara Enriquez

Achievement in cinematography

"Roma" Alfonso Cuaron (WINNER)

"Cold War" Lukasz Zal

"The Favourite" Robbie Ryan

"Never Look Away" Caleb Deschanel

"A Star Is Born" Matthew Libatique

Achievement in sound editing

"Bohemian Rhapsody" John Warhurst and Nina Hartstone (WINNER)

"Black Panther" Benjamin A. Burtt and Steve Boeddeker

"First Man" Ai-Ling Lee and Mildred Iatrou Morgan

"A Quiet Place" Ethan Van der Ryn and Erik Aadahl

"Roma" Sergio Díaz and Skip Lievsay

Achievement in sound mixing

"Bohemian Rhapsody" Paul Massey, Tim Cavagin and John Casali (WINNER)

"Black Panther" Steve Boeddeker, Brandon Proctor and Peter Devlin

"First Man" Jon Taylor, Frank A. Montano, Ai-Ling Lee and Mary H. Ellis

"Roma" Skip Lievsay, Craig Henighan and Jose Antonio Garcia

"A Star Is Born" Tom Ozanich, Dean Zupancic, Jason Ruder and Steve Morrow

Best foreign language film of the year

"Roma" Mexico (WINNER)

"Capernaum" Lebanon

"Cold War" Poland

"Never Look Away" Germany

"Shoplifters" Japan

Achievement in film editing

"Bohemian Rhapsody" John Ottman (WINNER)

"BlacKkKlansman" Barry Alexander Brown

"The Favourite" Yorgos Mavropsaridis

"Green Book" Patrick J. Don Vito

"Vice" Hank Corwin

Performance by an actor in a supporting role

Mahershala Ali in "Green Book" (WINNER)

Adam Driver in "BlacKkKlansman"

Sam Elliott in "A Star Is Born"

Richard E. Grant in "Can You Ever Forgive Me?"

Sam Rockwell in "Vice"

Best animated feature film of the year

"Spider-Man: Into the Spider-Verse" Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller (WINNER)

"Incredibles 2" Brad Bird, John Walker and Nicole Paradis Grindle

"Isle of Dogs" Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson

"Mirai" Mamoru Hosoda and Yuichiro Saito

"Ralph Breaks the Internet" Rich Moore, Phil Johnston and Clark Spencer

Best animated short film

"Bao" Domee Shi and Becky Neiman-Cobb (WINNER)

"Animal Behaviour" Alison Snowden and David Fine

"Late Afternoon" Louise Bagnall and Nuria Gonzalez Blanco

"One Small Step" Andrew Chesworth and Bobby Pontillas

"Weekends" Trevor Jimenez

Best documentary short subject

"Period. End of Sentence." Rayka Zehtabchi and Melissa Berton (WINNER)

"Black Sheep" Ed Perkins and Jonathan Chinn

"End Game" Rob Epstein and Jeffrey Friedman

"Lifeboat" Skye Fitzgerald and Bryn Mooser

"A Night at The Garden" Marshall Curry

Achievement in visual effects

"First Man" Paul Lambert, Ian Hunter, Tristan Myles and J.D. Schwalm (WINNER)

"Avengers: Infinity War" Dan DeLeeuw, Kelly Port, Russell Earl and Dan Sudick

"Christopher Robin" Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould

"Ready Player One" Roger Guyett, Grady Cofer, Matthew E. Butler and David Shirk

"Solo: A Star Wars Story" Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy

Best live action short film

"Skin" Guy Nattiv and Jaime Ray Newman (WINNER)

"Detainment" Vincent Lambe and Darren Mahon

"Fauve" Jeremy Comte and Maria Gracia Turgeon

"Marguerite" Marianne Farley and Marie-Helene Panisset

"Mother" Rodrigo Sorogoyen and Maria del Puy Alvarado

Original screenplay

"Green Book" written by Nick Vallelonga, Brian Currie, Peter Farrelly (WINNER)

"The Favourite" written by Deborah Davis and Tony McNamara

"First Reformed" written by Paul Schrader

"Roma" written by Alfonso Cuaron

"Vice" written by Adam McKay

Adapted screenplay

"BlacKkKlansman" written by Charlie Wachtel and David Rabinowitz and Kevin Willmott and Spike Lee (WINNER)

"The Ballad of Buster Scruggs" written by Joel Coen and Ethan Coen

"Can You Ever Forgive Me?" screenplay by Nicole Holofcener and Jeff Whitty

"If Beale Street Could Talk" written for the screen by Barry Jenkins

"A Star Is Born" screenplay by Eric Roth and Bradley Cooper and Will Fetters

Achievement in music written for motion pictures (Original score)

"Black Panther" Ludwig Goransson (WINNER)

"BlacKkKlansman" Terence Blanchard

"If Beale Street Could Talk" Nicholas Britell

"Isle of Dogs" Alexandre Desplat

"Mary Poppins Returns" Marc Shaiman

Achievement in music written for motion pictures (Original song)

"Shallow" from "A Star Is Born" music and lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt (WINNER)

"All The Stars" from "Black Panther" music by Mark Spears, Kendrick Lamar Duckworth and Anthony Tiffith; lyric by Kendrick Lamar Duckworth, Anthony Tiffith and Solana Rowe

"I'll Fight" from "RBG" music and lyrics by Diane Warren

"The Place Where Lost Things Go" from "Mary Poppins Returns" music by Marc Shaiman; lyrics by Scott Wittman and Marc Shaiman

"When A Cowboy Trades His Spurs For Wings" from "The Ballad of Buster Scruggs" music and lyrics by David Rawlings and Gillian Welch

Performance by an actor in a leading role

Rami Malek in "Bohemian Rhapsody" (WINNER)

Christian Bale in "Vice"

Bradley Cooper in "A Star Is Born"

Willem Dafoe in "At Eternity's Gate"

Viggo Mortensen in "Green Book"

Performance by an actress in a leading role

Olivia Colman in "The Favourite" (WINNER)

Yalitza Aparicio in "Roma"

Glenn Close in "The Wife"

Lady Gaga in "A Star Is Born"

Melissa McCarthy in "Can You Ever Forgive Me?"

Achievement in directing

"Roma" Alfonso Cuaron (WINNER)

"BlacKkKlansman" Spike Lee

"Cold War" Pawel Pawlikowski

"The Favourite" Yorgos Lanthimos

"Vice" Adam McKay

Best motion picture of the year

"Green Book" Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly and Nick Vallelonga, producers (WINNER)

"Black Panther" Kevin Feige, producer

"BlacKkKlansman" Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele and Spike Lee, producers

"Bohemian Rhapsody" Graham King, producer

"The Favourite" Ceci Dempsey, Ed Guiney, Lee Magiday and Yorgos Lanthimos, producers

"Roma" Gabriela Rodriguez and Alfonso Cuaron, producers

"A Star Is Born" Bill Gerber, Bradley Cooper and Lynette Howell Taylor, producers

"Vice" Dede Gardner, Jeremy Kleiner, Adam McKay and Kevin Messick, producers

I am terrible at keeping up with news /awards and I can’t get to them all, but I thought a list might be nice.

#movies and entertainment #oscars #oscars 2019 #movies #awards #films #list #nominations #selected #academy awards

3 notes · View notes

tomsiebert · 2 years

Text

New biography about Yoko Ono reveals her genius, gravitas, and greatness in the worlds of art and music

By Tom Siebert When Yoko Ono was reluctantly thrust onto the global stage in the late 1960s, she was called “ugly,” a “screamer,” and the “dragon lady” who broke up The Beatles. More than five decades later, winsome writer Madeline Bocaro sets the record forever straight in the epic, vividly detailed book, In Your Mind: The Infinite Universe of Yoko Ono, revealing John Lennon’s otherworldly…

View On WordPress

#Art #Book Review #Music #Tom Siebert #Yoko Ono

1 note · View note

pauloveracker · 5 years

Text

THE 91ST ACADEMY AWARDS

The 91st Academy Awards are this Sunday, February 24, 2019. Taking place in the Dolby Theatre at the Hollywood & Highland Center. Honoring movies released in 2018. The following is the list of all the 2019 nominees. How well do you think you know your Nominees? Maybe this will help you. You wouldn’t believe how small this industry is unless you work in it. I love each category and think of each craft as an artform. I want to wish each and every person nominated the best of luck and hope you’ll hear your name after the phrase “… and the Oscar goes to…”

ACTOR IN A LEADING ROLE - NOMINEES

(pic above Paul Overacker and Willem Defoe)

(pic above Paul Overacker, Rami Malek and Marjorie DeHey)

CHRISTIAN BALE Vice

BRADLEY COOPER A Star Is Born

VIGGO MORTENSEN Green Book

WILLEM DAFOE At Eternity's Gate

RAMI MALEK Bohemian Rhapsody - WINNER

ACTOR IN A SUPPORTING ROLE - NOMINEES

(pic above Paul Overacker, Marjorie DeHey and Adam Driver)

MAHERSHALA ALI Green Book - WINNER

ADAM DRIVER BlacKkKlansman

SAM ELLIOTT A Star Is Born

RICHARD E. GRANT Can You Ever Forgive Me?

SAM ROCKWELL Vice

ACTRESS IN A LEADING ROLE - NOMINEES

(pic above Paul Overacker and Olivia Coleman)

(pic above Melissa McCarthy, Marjorie DeHey and Paul Overacker)

YALITZA APARICIO Roma

GLENN CLOSE The Wife

OLIVIA COLMAN The Favourite - WINNER

LADY GAGA A Star Is Born

MELISSA MCCARTHY Can You Ever Forgive Me?

ACTRESS IN A SUPPORTING ROLE - NOMINEES

AMY ADAMS Vice

MARINA DE TAVIRA Roma

REGINA KING If Beale Street Could Talk - WINNER

EMMA STONE The Favourite

RACHEL WEISZ The Favourite.

ANIMATED FEATURE FILM - NOMINEES

INCREDIBLES 2 Brad Bird, John Walker and Nicole Paradis Grindle

ISLE OF DOGS Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson. MIRAI Mamoru Hosoda and Yuichiro Saito

RALPH BREAKS THE INTERNET Rich Moore, Phil Johnston and Clark Spencer.

SPIDER-MAN: INTO THE SPIDER-VERSE Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller - WINNER

CINEMATOGRAPHY - NOMINEES

COLD WAR Łukasz Żal.

THE FAVOURITE Robbie Ryan

NEVER LOOK AWAY Caleb Deschanel

ROMA Alfonso Cuarón - WINNER

A STAR IS BORN Matthew Libatique.

COSTUME DESIGN - NOMINEES

THE BALLAD OF BUSTER SCRUGGS Mary Zophres

BLACK PANTHER Ruth Carter - WINNER

THE FAVOURITE Sandy Powell

MARY POPPINS RETURNS Sandy Powell

MARY QUEEN OF SCOTS Alexandra Byrne

DIRECTING - NOMINEES

(pic above Spike Lee and Paul Overacker)

BLACKKKLANSMAN Spike Lee

COLD WAR Paweł Pawlikowski

THE FAVOURITE Yorgos Lanthimos

ROMA Alfonso Cuarón - WINNER

VICE Adam McKay

DOCUMENTARY (FEATURE) - NOMINEES

FREE SOLO Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill - WINNER

HALE COUNTY THIS MORNING, THIS EVENING RaMell Ross, Joslyn Barnes and Su Kim

MINDING THE GAP Bing Liu and Diane Quon

OF FATHERS AND SONS Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert

RBG Betsy West and Julie Cohen

DOCUMENTARY (SHORT SUBJECT) - NOMINEES

BLACK SHEEP Ed Perkins and Jonathan Chinn

END GAME Rob Epstein and Jeffrey Friedman

LIFEBOAT Skye Fitzgerald and Bryn Mooser

A NIGHT AT THE GARDEN Marshall Curry

PERIOD. END OF SENTENCE. Rayka Zehtabchi and Melissa Berton - Winner

FILM EDITING - NOMINEES

(pic above Paul Overacker, Hank Corwin and Barry Alexander Brown)

(pic above Paul Overacker, Stephen E. Rivkin, Sidney Wolinsky, Yorgos Mavropsaridis)

(pic above Patrick J. Don Vito and Paul Overacker

BLACKKKLANSMAN Barry Alexander Brown

BOHEMIAN RHAPSODY John Ottman - WINNER

THE FAVOURITE Yorgos Mavropsaridis

GREEN BOOK Patrick J. Don Vito

VICE Hank Corwin.

FOREIGN LANGUAGE FILM - NOMINEES

CAPERNAUM Lebanon

COLD WAR Poland

NEVER LOOK AWAY Germany

ROMA Mexico - WINNER

SHOPLIFTERS Japan.

MAKEUP AND HAIRSTYLING - NOMINEES

(pic above Paul Overacker and Jenny Shircore)

(pic above Marc Pilcher and Paul Overacker)

BORDER Göran Lundström and Pamela Goldammer

MARY QUEEN OF SCOTS Jenny Shircore, Marc Pilcher and Jessica Brooks

VICE Greg Cannom, Kate Biscoe and Patricia Dehaney - WINNER

MUSIC (ORIGINAL SCORE) - NOMINEES

BLACK PANTHER Ludwig Goransson - WINNER

BLACKKKLANSMAN Terence Blanchard

IF BEALE STREET COULD TALK Nicholas Britell

ISLE OF DOGS Alexandre Desplat

MARY POPPINS RETURNS Marc Shaiman.

MUSIC (ORIGINAL SONG) - NOMINEES

ALL THE STARS from Black Panther; Music by Kendrick Lamar, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith; Lyric by Kendrick Lamar, SZA and Anthony “Top Dawg” Tiffith

I'LL FIGHT from RBG; Music and Lyric by Diane Warren

THE PLACE WHERE LOST THINGS GO from Mary Poppins Returns; Music by Marc Shaiman; Lyric by Scott Wittman and Marc Shaiman

SHALLOW from A Star Is Born; Music and Lyric by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt - WINNER

WHEN A COWBOY TRADES HIS SPURS FOR WINGS from The Ballad of Buster Scruggs; Music and Lyric by Gillian Welch and David Rawlings

BEST PICTURE - NOMINEES

(pic above Paul Overacker, Marjorie DeHey and Jordan Peele)

(pic above Paul Overacker, Marjorie DeHey and Peter Farrelly)

BLACK PANTHER Kevin Feige, Producer

BLACKKKLANSMAN Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele and Spike Lee, Producers

BOHEMIAN RHAPSODY Graham King, Producer

THE FAVOURITE Ceci Dempsey, Ed Guiney, Lee Magiday and Yorgos Lanthimos, Producers

GREEN BOOK Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly and Nick Vallelonga, Producers - WINNER

ROMA Gabriela Rodríguez and Alfonso Cuarón, Producers

A STAR IS BORN Bill Gerber, Bradley Cooper and Lynette Howell Taylor, Producers

VICE Dede Gardner, Jeremy Kleiner, Adam McKay and Kevin Messick, Producers

PRODUCTION DESIGN - NOMINEES

BLACK PANTHER Production Design: Hannah Beachler; Set Decoration: Jay Hart - WINNER

THE FAVOURITE Production Design: Fiona Crombie; Set Decoration: Alice Felton

FIRST MAN Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

MARY POPPINS RETURNS Production Design: John Myhre; Set Decoration: Gordon Sim

ROMA Production Design: Eugenio Caballero; Set Decoration: Bárbara Enríquez.

SHORT FILM (ANIMATED) - NOMINEES

ANIMAL BEHAVIOUR Alison Snowden and David Fine

BAO Domee Shi and Becky Neiman-Cobb - WINNER

LATE AFTERNOON Louise Bagnall and Nuria González Blanco

ONE SMALL STEP Andrew Chesworth and Bobby Pontillas

WEEKENDS Trevor Jimenez.

SHORT FILM (LIVE ACTION) - NOMINEES

DETAINMENT Vincent Lambe and Darren Mahon

FAUVE Jeremy Comte and Maria Gracia Turgeon

MARGUERITE Marianne Farley and Marie-Hélène Panisset

MOTHER Rodrigo Sorogoyen and María del Puy Alvarado

SKIN Guy Nattiv and Jaime Ray Newman - WINNER

SOUND EDITING - NOMINEES

(pic above Paul Overacker, Ryker Overacker, Craig Barron and Ben Burtt)

BLACK PANTHER Benjamin A. Burtt and Steve Boeddeker

BOHEMIAN RHAPSODY John Warhurst and Nina Hartstone - WINNER

FIRST MAN Ai-Ling Lee and Mildred Iatrou Morgan

A QUIET PLACE Ethan Van der Ryn and Erik Aadahl

ROMA Sergio Díaz and Skip Lievsay.

SOUND MIXING - NOMINEES

(pic above Nicholai Baxter, Ai-Ling Lee, Steven Gizicki, Marjorie DeHey, Damien Chazelle, Paul Overacker and Steven Morrow)

A STAR IS BORN Tom Ozanich, Dean Zupancic, Jason Ruder & Steve Morrow

BLACK PANTHER Steve Boeddeker, Brandon Proctor and Peter Devlin

BOHEMIAN RHAPSODY Paul Massey, Tim Cavagin and John Casali - WINNER

FIRST MAN Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis

ROMA Skip Lievsay, Craig Henighan and José Antonio García.

VISUAL EFFECTS - NOMINEES

AVENGERS: INFINITY WAR Dan DeLeeuw, Kelly Port, Russell Earl and Dan Sudick.

CHRISTOPHER ROBIN Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould

FIRST MAN Paul Lambert, Ian Hunter, Tristan Myles & J.D. Schwalm - WINNER

READY PLAYER ONE Roger Guyett, Grady Cofer, Matthew E. Butler & David Shirk

SOLO: A STAR WARS STORY Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy

WRITING (ADAPTED SCREENPLAY) - NOMINEES

(pic above Paul Overacker, Marjorie DeHey, Becky Willmott and Kevin Willmott)

(pic above Paul Overacker and Eric Roth)

(pic above Paul Overacker and Berry Jenkins)

THE BALLAD OF BUSTER SCRUGGS Written by Joel Coen & Ethan Coen

BLACKKKLANSMAN Written by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee - WINNER

CAN YOU EVER FORGIVE ME? Screenplay by Nicole Holofcener and Jeff Whitty

IF BEALE STREET COULD TALK Written for the screen by Barry Jenkins

A STAR IS BORN Screenplay by Eric Roth and Bradley Cooper & Will Fetters

WRITING (ORIGINAL SCREENPLAY) - NOMINEES

(pic above Peter Farrelly, Marjorie DeHey and Paul Overacker)

(pic above Paul Overacker and Adam McKay)

(pic above Paul Schrader and Paul Overacker)

THE FAVOURITE Written by Deborah Davis and Tony McNamara

FIRST REFORMED Written by Paul Schrader

GREEN BOOK Written by Nick Vallelonga, Brian Currie, Peter Farrelly - WINNER

ROMA Written by Alfonso Cuarón

VICE Written by Adam McKay.

#oscars #academy awards #nominees #show business

1 note · View note

westsidestoryismylife-blog · 6 years

Photo

West Side Story is set in the mid 1950's, when many Puerto Ricans moved to NYC. The Jets are from Manhattan. They have ruled their "turf" for years, after defeating the Emeralds. The Sharks are from Puerto Rico. They have just recently come to NY, and want a "turf" of their own.

Who wrote West Side Story:

West Side Story is based on a conception by Jerome Robbins. Book by Arthur Laurents Lyrics by Stephen Sondheim Music by Leonard Bernstein Entire Original Production Directed and Choreographed by Jerome Robbins Orchestrations by Leonard Bernstein with Sid Ramin and Irwin Kostal Film Version: Directed by: Robert Wise & Jerome Robbins Screenplay: Ernest Lehman Choreography: Jerome Robbins

When was West Side Story written:

Jerome Robbins' proposed the idea for writing a musical based on Romeo and Juliet to Leonard Bernstein in January of 1949 (working title: East Side Story, set in the slums at the coincidence of Easter-Passover celebrations). In August of 1955, a meeting with Arthur Laurents produced another idea -- two teen-age gangs as the warring factions, one of them newly-arrived Puerto Ricans, the other self-styled "Americans." In November, 1955 Stephen Sondheim joined the project as lyricist. A year and a half later, rehearsals began for the Broadway premiere of West Side Story.

DIRECTED BY

Jerome Robbins

Robert Wise

WRITING CREDITS

Lehman ...(screenplay)

Arthur Laurents ...(book)

Jerome Robbins ...(play)

William Shakespeare ...(play) (uncredited)

CAST (IN CREDITS ORDER)

Natalie Wood ... Maria

Richard Beymer ... Tony

Russ Tamblyn ... Riff

Rita Moreno ... Anita

George Chakiris ... Bernardo

Simon Oakland ... Schrank

Ned Glass ... Doc

William Bramley ... Krupke

Tucker Smith ... Ice

Tony Mordente ... Action

David Winters ... A-rab

Eliot Feld ... Baby John

Bert Michaels ... Snowboy

David Bean ... Tiger

Robert Banas ... Joyboy

Anthony 'Scooter' Teague ... Big Deal (as Scooter Teague)

Harvey Evans ... Mouthpiece (as Harvey Hohnecker)

Tommy Abbott ... Gee-Tar

Susan Oakes ... Anybodys

Gina Trikonis ... Graziella

Carole D'Andrea ... Velma

Jose De Vega ... Chino

Jay Norman ... Pepe

Gus Trikonis ... Indio

Eddie Verso ... Juano

Jaime Rogers ... Loco

Larry Roquemore ... Rocco

Robert E. Thompson ... Luis (as Robert Thompson)

Nick Navarro ... Toro (as Nick Covacevich)

Rudy Del Campo ... Del Campo

Andre Tayir ... Chile

Yvonne Wilder ... Consuelo (as Yvonne Othon)

Suzie Kaye ... Rosalia

Joanne Miya ... Francisca

REST OF CAST LISTED ALPHABETICALLY:

John Astin ... Glad Hand (uncredited)

Francesca Bellini ... Debby, Snowboy's Girlfriend (uncredited)

Elaine Joyce ... Hotsie, Tiger's Girlfriend (uncredited)

Priscilla Lopez ... Child Extra (uncredited)

Marni Nixon ... Playback vocalist for Natalie Wood (uncredited)

Olivia Perez ... Margarita, Rocco's Girlfriend (uncredited)

Lou Ruggiero ... Police Officer #3 (uncredited)

Penny Santon ... Madam Lucia (uncredited)

Luci Stone ... Estella, Loco's Girlfriend (uncredited)

Pat Tribble ... Minnie, Baby John's Girlfriend (uncredited)

Gary Troy ... Dancer (uncredited)

Produced by Saul Chaplin ...associate producer

Walter Mirisch ...executive producer (uncredited)

Robert Wise ...producer (uncredited)

MUSIC BY

Leonard Bernstein

Irwin Kostal ...(uncredited)

CINEMATOGRAPHY BY

Daniel L. Fapp ...director of photography

FILM EDITING BY

Thomas Stanford ...film editor

PRODUCTION DESIGN BY

Boris Leven ...(production designed by)

SET DECORATION BY

Victor A. Gangelin ...(as Victor Gangelin)

COSTUME DESIGN BY

Irene Sharaff ...(costume designed by)

MAKEUP DEPARTMENT

Emile LaVigne ...makeup (as Emile La Vigne)

Alice Monte ...hairdresser

PRODUCTION MANAGEMENT

Allen K. Wood ...production manager

Hubert Fröhlich ...production manager (uncredited)

SECOND UNIT DIRECTOR OR ASSISTANT DIRECTOR

Robert E. Relyea ...assistant director

Jerome M. Siegel ...second assistant director

Ridgeway Callow ...assistant director (uncredited)

ART DEPARTMENT

Sam Gordon ...property

Maurice Zuberano ...production artist (as M. Zuberano)

Leon Harris ...production illustrator (uncredited)

William Maldonado ...construction coordinator (uncredited)

SOUND DEPARTMENT

Fred Lau ...sound

Gilbert D. Marchant ...sound editor

Murray Spivack ...sound

Vinton Vernon ...sound

Richard Gramaglia ...sound mixer (uncredited)

Fred Hynes ...sound recording supervisor (uncredited)

Gordon Sawyer ...sound supervisor (uncredited)

VISUAL EFFECTS BY

Saul Bass ...visual consultant

Linwood G. Dunn ...photographic effects (as Linwood Dunn)

STUNTS

Eli Bo Jack Blackfeather ...stunts (uncredited)

CAMERA AND ELECTRICAL DEPARTMENT

Linwood G. Dunn ...title photographer (uncredited)

John Finger ...camera operator: title sequence (uncredited)

Ernst Haas ...still photographer (uncredited)

Jerome H. Klein ...electrician (uncredited)

Louis Kulsey ...dolly grip: title sequence (uncredited)

Tom May ...grip (uncredited)

Phil Stern ...still photographer (uncredited)

COSTUME AND WARDROBE DEPARTMENT

Bert Henrikson ...wardrobe

Editorial Department

Marshall M. Borden ...assistant editor

MUSIC DEPARTMENT

Leonard Bernstein ...music by

Richard Carruth ...music editor

Saul Chaplin ...musical supervisor

Johnny Green ...music conductor / musical supervisor

Irwin Kostal ...musical supervisor / orchestrator

Sid Ramin ...musical supervisor / orchestrator

Stephen Sondheim ...lyrics by

Robert Tucker ... vocal coach (as Bobby Tucker)

Betty Walberg ...musical assistant

Pete Candoli ...musician (uncredited)

Jack Dumont ...musician: saxophone (uncredited)

Walter A. Gest ...production music playback operator (uncredited)

Shelly Manne ...musician (uncredited)

Red Mitchell ...musician (uncredited)

Uan Rasey ...musician: trumpet soloist (uncredited)

Albert T. Viola ...musician (uncredited)

OTHER CREW

Tommy Abbott ...dance assistant

Margaret Banks ...dance assistant

Saul Bass ...titles

Robert E. Griffith ...based upon the play produced on the stage by

Howard Jeffrey ...dance assistant

Tony Mordente ...dance assistant

Harold Prince ...based upon the play produced on the stage by (as Harold S. Prince)

Jerome Robbins ...choreography by / stage play: director / stage play: orchestrator

Stanley Scheuer ...script supervisor (as Stanley K. Scheuer)

Roger L. Stevens ...by arrangement with

Hal Bell ...assistant choreographer (uncredited)

Jimmy Bryant ...singing voice: Tony (uncredited)

Kit Culkin ...dancer (uncredited)

John Flynn ...script supervisor (uncredited)

Gerald Freedman ...assistant: Mr. Robbins (uncredited)

Peter Gennaro ...co-choreographer (uncredited)

Maria Henley ...Shark dancer Teresita (uncredited)

Eliot Hyman ...production executive (uncredited)

Howard Jeffrey ...assistant choreographer: Mr. Robbins (uncredited)

Elaine Joyce ...dancer (uncredited)

George Lake ...assistant stage manager: stage production (uncredited)

Harold Mirisch ...production executive (uncredited)

Marvin Mirisch ...production executive (uncredited)

Howard Newman ...press representative (uncredited)

Arthur Rubin ...assistant stage manager: stage production (uncredited)

Wallace Siebert ...assistant: Mr. Gennaro (uncredited)

Ray Stark ...production executive (uncredited)

Lee Theodore ...assistant choreographer (uncredited) / dancer (uncredited)

Roxanne Tunis ...dancer (uncredited)

Betty Wand ...singing voice: Anita - "A Boy Like That/I Have a Love" (uncredited)

The Academy Award for Best Picture of 1961 went to the movie version of WSS. It earned a total of ten Oscars. Although Bernstein did not suffer the indignity of the mayhem perpetrated on his score in the movie of On The Town, the movie of WSS did make some minor alterations. I Feel Pretty was transferred to an earlier scene, the bridal shop. The location of Gee, Officer Krupke was interchanged with Cool. Sondheim also wrote new lyrics for America, performed by all the Sharks and their girls (in the stage version it is presented by four girls only).

These changes were judged to be necessary to sustain an on-rushing sense of doom. After all, the movie was not interrupted by an intermission during which an audience could recover form the devastation wrought by the danced Rumble. On stage, the bubbly I Feel Pretty, at the beginning of Act II, was a kind of extension of intermission babble. Good theater, but not good movie.

Despite this film being an update of Shakespeare's "Romeo & Juliet", one of, if not the most famous element from that story is different here, in that both of the leads do not die at the end. Tony dies, but Maria survives.

Timeline: The process of the movie

6 JANUARY 1949

New York, NY

Jerome Robbins sets the West Side Story concept in motion.

25 AUGUST 1955

Beverly Hills, CA

A meeting with Arthur Laurents produces another idea: two teen-age gangs as the warring factions, one of them newly-arrived Puerto Ricans, the other self-styled "Americans."

14 NOVEMBER 1955 "A young lyricist named Stephen Sondheim came and sang us some of his songs today. What a talent! I think he's ideal for this project, as do we all. The collaboration grows."

-Leonard Bernstein

8 JULY 1957

New York, NY

Rehearsals begin.

20 AUGUST 1957

Washington D.C.

West Side Story opens in Washington D.C.

26 SEPTEMBER 1957

New York, NY

West Side Story opens on Broadway at the Winter Garden Theatre, runs for 732 performances.

1957

Original Broadway Cast Recording

13 APRIL 1958

Tony Awards

Best Choreographer (Jerome Robbins)

Best Scenic Designer (Oliver Smith)

18 OCTOBER 1961

United Artists motion picture released:

Directed by Robert Wise and Jerome Robbins

Starring Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, and George Chakiris

1961

Film Soundtrack Recording

Reviews and Articles of West Side Story

THE NEW YORK TIMES

27 September 1957

Theatre: "West Side Story," The Jungles of the City

By BROOKS ATKINSON

Although the material is horrifying, the workmanship is admirable.

Gang warfare is the material of "West Side Story," which opened at the Winter Garden last evening, and very little of the hideousness has been left out. But the author, composer and ballet designer are creative artists. Pooling imagination and virtuosity, they have written a profoundly moving show that is as ugly as the city jungles and also pathetic, tender and forgiving.

Arthur Laurents has written the story of two hostile teen-age gangs fighting for supremacy amid the tenement houses, corner stores and bridges of the West Side. The story is a powerful one, partly, no doubt, because Mr. Laurents has deliberately given it the shape of "Romeo and Juliet." In the design of "West Side Story" he has powerful allies. Leonard Bernstein has composed another one of his nervous, flaring scores that capture the shrill beat of life in the streets. And Jerome Robbins, who has directed the production, is also its choreographer.

Since the characters are kids of the streets, their speech is curt and jeering. Mr. Laurents has provided the raw material of a tragedy that occurs because none of the young people involved understands what is happening to them. And his contribution is the essential one. But it is Mr. Bernstein and Mr. Robbins who orchestrate it. Using music and movement they have given Mr. Laurents' story passion and depth and some glimpses of unattainable glory. They have pitched into it with personal conviction as well as the skill of accomplished craftsmen.

In its early scenes of gang skirmishes, "West Side Story" is facile and a little forbidding -- the shrill music and the taut dancing movement being harsh and sinister. But once Tony of the Jets gang sees Maria of the Sharks gang, the magic of an immortal story takes hold. As Tony, Larry Kert is perfectly cast, plain in speech and manner; and as Maria, Carol Lawrence, maidenly soft and glowing, is perfectly cast also. Their balcony scene on the firescape of a dreary tenement is tender and affecting. From that moment on, "West Side Story" is an incandescent piece of work that finds odd bits of beauty amid the rubbish of the streets.

Everything in "West Side Story," is of a piece. Everything contributes to the total impression of wildness, ecstasy and anguish. The astringent score has moments of tranquility and rapture, and occasionally a touch of sardonic humor. And the ballets convey the things that Mr. Laurents is inhibited from saying because the characters are so inarticulate. The hostility and suspicion between the gangs, the glory of the nuptials, the terror of the rumble, the devastating climax -- Mr. Robbins has found the patterns of movement that express these parts of the story.

Most of the characters, in fact, are dancers with some images of personality lifted out of the whirlwind -- characters sketched on the wing. Like everything also in "West Side Story," they are admirable. Chita Rivera in a part equivalent to the nurse in the Shakespeare play; Ken Le Roy as leader of The Sharks; Mickey Calin as leader of The Jets; Lee Becker as a hobbledehoy girl in one gang -- give terse and vigorous performances.

Everything in "West Side Story" blends -- the scenery by Oliver Smith, the costumes by Irene Sharaff, the lighting by Jean Rosenthal. For this is one of those occasions when theatre people, engrossed in an original project, are all in top form. The subject is not beautiful. But what "West Side Story" draws out of it is beautiful. For it has a searching point of view.

THE DAILY NEWS

27 September 1957

(Originally published by the Daily News on September 27, 1957. This story was written by John Chapman.)

‘West Side Story’ premieres on Broadway in 1957

BY JOHN CHAPMAN

The American theatre took a venturesome forward step when the firm of Griffith & Prince presented "West Side Story" at the Winter Garden last evening.

This is a bold new kind of musical theatre - a juke-box Manhattan opera. It is, to me, extraordinarily exciting. In it, the various fine skills of show business are put to new tests, and as a result a different kind of musical has emerged.

The story is, roughly, Shakespeare's recounting of the love and deaths of Romeo and Juliet. But the setting is today's Manhattan, and the manner of telling the story is a provocative and artful blend of music, dance and plot - and the music and the dancing are superb.

Superb Score

In this present-day version of the theatre's greatest romance, the Montagus and Capulets become young New York gangs, one white, the other Puerto Rican. The Romeo is a white boy, the Juliet a Puerto Rican girl. In the big fight switch-blade knives are used instead of swords. The apothecary who gave Romeo his fateful potion now is a mild druggist who mans his soda fountain and wonders what the younger generation is coming to. And the younger generation, even if it does indulge in one rumble which results in murder, is not nearly as blackhearted as current news stories might make us believe.

The music of "West Side Story" is by Leonard Bernstein, and it is superb - and splendidly played by an orchestra directed by Max Goberman. In it there is the drive, the bounce, the restlessness and the sweetness of our town. It takes up the American musical idiom where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it marks the progression of admirable composer.

The story, about the fundamentally innocent hoodlums of our town, is by Arthur Laurents, and it is a lovely and moving one. But Laurents is not alone in telling this story, for his collaborator is Jerome Robbins, the choreographer. Robbins and his superb young dancers carry the plot as much as the spoken words and lyrics do.

The lyrics, by Stephen Sondheim, have simple grace, and there is a lovely tribute by the sidewalk Romeo to his dusky girl, Maria. There is a really beautiful scene in which the boy and the girl go through a make believe wedding in a shop for bridal clothing. And there is an uproariously funny one in which a so-called juvenile delinquent gets a going-over by all the authorities whose problem he is - the cop, the judge, the social worker and the psychiatrist. This young hoodlum manages to make his elders look pretty silly.

Wonderful Cast

The cast of "West Side Story" is, next to the music, the best part of the production. It is composed of young people of whom few have been heard. Carol Lawrence and Larry Kert carry the love story with effortless simplicity, and they sing beautifully. There are other engaging performances by Chita Rivera, Mickey Calin, Ken Le Roy and Art Smith (the druggist). But the company itself is the star of the show. These boys and girls sing, dance and act with such skill and sincerity that they bring the audience out of its seats and up on the stage with them - and the stage is not a stage but this fascinating and fearful town of Manhattan.

And the settings by Oliver Smith and the costumes by Irene Sharaff are a perfect part of a perfect production.

NEW YORK HERALD TRIBUNE

27 September 1957

New York Herald Tribune, 9/27/57

Theater critic Walter Kerr wrote the following review of West Side Story for the New York Herald Tribune on September 27, 1957: The radioactive fallout from "West Side Story" must still be descending on Broadway this morning. Director, choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons. The curtain rises on a silence, and a pause. It is the last silence and the last pause. Against an empty-eyed background of warehouse windows five or six blue-jacketed young delinquents, with the tribal-mark "Jets" scrawled across their taut shoulders, are lounging, waiting for the first faint whisper of violence. Their impatience comes to life in their fingers. A snapping rhythm begins to tap out a warning of mayhem to come. Knees begin to itch, and move, under the lazy, overcast mid-summer sky in Puerto-Rican New York. The Sharks--equally young, equally sick with very old hatreds--appear from the alleyways in twos and threes. There is a sneer, a hiss, a tempting and tantalizing thrust of an arm, and then--with a powerhouse downbeat from the orchestra pit--the sorry and meaningless frenzy is on. From this moment the show rides with a catastrophic roar over the spider-web fire-escapes, the shadowed trestles, and the plain dirt battlegrounds of a big city feud. Mr. Robbins never runs out of his original explosive life-force. Though the essential images are always the same--two spitting groups of people advancing with bared teeth and clawed fists upon one another--there is fresh excitement in the next debacle, and the next. When a gang leader advises his cohorts to play it "Cool," the intolerable tension between and effort at control and the instinctive drives of these potential killers is stingingly graphic. When the knives come out, and bodies begin to fly wildly through space under buttermilk clouds, the sheer visual excitement is breathtaking. .[Robbins] has almost sacrificially assisted in this macabre and murderous onslaught of movement by composer Leonard Bernstein. Mr. Bernstein has permitted himself a few moments of graceful, lingering melody: in a yearning "Maria," in the hushed falling line of "Tonight," in the wistful declaration of "I Have a Love." But for the most part he has served the needs of the onstage threshing machine, setting the fierce beat that fuses a gymnasium dance, putting a mocking insistence behind taunts at a policeman, dramatizing the footwork rather than lifting emotions into song. When hero Larry Kert is stomping out the visionary insistence of "Something's Coming" both music and tumultuous story are given their due. Otherwise it's the danced narrative that takes urgent precedence.

A Clip of a full description of the film and the actors thought on the film:

youtube

14 notes · View notes