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#tom wilkinson
footnoteinhistory · 4 months
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MICHAEL CLAYTON (2007), dir. Tony Gilroy
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olafkardanadam · 2 months
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•["Çocuktum o zaman, şimdiyse büyüdüm, söylenilenleri anlıyorum, gelişti göğsümde yüreğim."]
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cinemoments · 4 months
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Eternal Sunshine of the Spotless Mind, dir. Michel Gondry, 2004.
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emily84 · 4 months
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maturemenoftvandfilms · 4 months
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😭 Tom Wilkinson passed away... He was my favorite daddy actor of all time. He had such an amazing talent and he was so handsome. May he rest in peace.
Damn... Sad to here that.
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RIP
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sharkchunks · 4 months
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Selected roles of Tom Wilkinson (RIP):
The Full Monty
Shakespeare In Love
The Patriot
In The Bedroom
Girl With A Pearl Earring
Eternal Sunshine of the Spotless Mind
Batman Begins
Cassandra's Dream
The Ghost Writer
Selma
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superbeans89 · 4 months
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My yearly death prediction has struck again
RIP Tom Wilkinson. 5/2/48 - 30/12/23
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didanagy · 3 months
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GIRL WITH A PEARL EARRING (2003)
dir. peter webber
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gone2soon-rip · 4 months
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TOM WILKINSON (1948-Died December 30th 2023,at 75).
British actor of film, television, and stage. He received various awards throughout his career, including a BAFTA Award, a Golden Globe, a Primetime Emmy Award and nominations for two Academy Awards.
For his role in the comedy film The Full Monty (1997) he received the BAFTA Award for Best Actor in a Supporting Role. He received two Academy Award nominations, one for Best Actor for In the Bedroom (2001) and the other for Best Supporting Actor for Michael Clayton (2007).
Some of his other notable films include In the Name of the Father (1993), Sense and Sensibility (1995), Shakespeare in Love (1998), The Patriot (2000), Girl with a Pearl Earring (2003), Eternal Sunshine of the Spotless Mind (2004), Batman Begins (2005), Valkyrie (2008), The Best Exotic Marigold Hotel (2011), Selma (2014), The Grand Budapest Hotel (2014), and Denial (2016).
In 2009, he won a Golden Globe Award and a Primetime Emmy Award for Best Supporting Actor in a Miniseries or Film for playing Benjamin Franklin in the HBO limited series John Adams (2008).Tom Wilkinson - Wikipedia
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nade2308 · 11 months
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I have a radar for left-handed people, apparently. It's like a gaydar, but slightly to the left.
@thethistlegirl @malewifebillcage
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mydaddywiki · 4 months
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Tom Wilkinson
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Physique: Average Build Height: 6'1" (1.85 m)
Thomas Geoffrey Wilkinson OBE (5 February 1948 – 30 December 2023) was an English actor. Over his career he received numerous accolades including a BAFTA Award, a Golden Globe Award, and a Primetime Emmy Award as well as nominations for two Academy Awards and a Laurence Olivier Award. In 2005, he was appointed Officer of the Order of the British Empire (OBE). He gained notoriety as a character actor acting in numerous films such as The Full Monty, In the Bedroom, Michael Clayton, Shakespeare in Love, The Patriot, Eternal Sunshine of the Spotless Mind and Batman Begins.
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Tom was an extremely handsome man with a surprisingly nicely-built, masculine body and a pretty nice, round, firm ass. A very quiet spoken, gentle man in interviews. He reminds me of a panda bear. Very soft and gentle looking. Sweet. Almost too innocent and cute looking to make sexual comments about. Almost.
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Wilkinson was married to actress Diana Hardcastle and together they had two daughters. Wilkinson died suddenly at his home on 30 December 2023, at the age of 75.
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RECOMMENDATIONS: Separate Lies (2005) - Shirtless Normal (2003) - Shirtless In the Bedroom (2001) - Shirtless Essex Boys (2000) - Shirtless The Governess (1998) - Shirtless, full frontal The Full Monty (1997) - Shirtless, rear nudity First Among Equals (TV Mini Series 1986) - Shirtless
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lyledebeast · 2 months
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Male Homosociality and War Crimes in The Patriot
Of all the problems The Patriot as a story creates for itself, the most interesting for me has always been this: how do you craft a villain when the hero is also a war criminal? It appears to me the filmmakers had a simple answer to this question staring them right in their faces, so why does a story that leans so heavily on the rumor that Banastre Tarleton habitually ordered the execution of surrendering Continental soldiers do absolutely nothing with the rumor that he habitually raped and allowed his men to rape colonial women? Surely, that would have helped to make Colonel Tavington as despicable as we are clearly meant to find him, particularly since the Patriot soldiers do not engage in rape, at least not literally. Instead, both Benjamin Martin and Tavington are tried by juries of their peers with Martin being nearly universally adored and Tavington being as nearly universally despised. This approach creates two problems. First, it means the Patriots, who something tells me are the people the audience is meant to sympathize with, are okay with some very fucked up actions both past and present. It also makes it hard to justify the Patriots' hatred for the British as whole when the audience sees how little support Tavington has.
Somewhat ironically given the myths about Tarleton, the only characters to directly mention rape in the film are Patriots, a father and son. As the Martin family anticipates survivors of the battle being in near proximity to them, Nathan attempts to titillates his siblings with this dire prediction: "They'll probably kill us men and do lord knows what to you women." In addition to shock among some in the audience, this elicits the question that always arises when a child says something incredibly fucked up: where did you hear that? Judging from her disgusted reaction, I do not think it was his caregiver Abigale. We get an answer some months later when Benjamin describes the events leading up to the Fort Wilderness massacre. "[The French and Cherokess] had killed all the settlers. The men . . . with the women and some of the children they had . . . we buried them." In the moment, Martin's hesitancy to name the particular violence these settlers suffered seems to speak to respect for them, but if so, he failed to convey that to either the son who makes the prediction earlier on or the even younger boy who giggles at it. This is the first time violence is referenced as a means of male bonding; it is certainly not the last.
The conversation between Martin and his oldest son referenced above is bizarre for a couple of reasons. Not only does the narrative twist Martin's confession to war crimes against the French and Cherokees in reprisal into evidence of his morality (he feels so bad about it!), but Gabriel is thoroughly nonplussed by this confession. He shifts the topic to his murdered brother and his desire to avenge him, but not at the expense of "the cause." Why is Gabriel so eager to take his father's supposed contrition at face value when he has personally seen him both hack a man's back to shreds with a tomahawk and participate in the murder of surrendering British soldiers a hell of a lot more recently than the French and Indian War? By the end of his life, Gabriel does more than tolerate his father's violent past. He approaches Tavington's prone form, believing him to be mortally wounded, to repeat it.
Bonding with his son through discussion of war crimes is not an anomaly among Martin's relationships. When he and Major Villeneuve recruit in the tavern, two of the men who sign up are acquaintances of Martin's from the previous war. One of them inquires about bounties and Martin give the intriguing response of "No scalp bounty this time, Rollins, but I'll pay for the gear of any redcoat you kill." How Rollins is going to prove the gear belonged to redcoats he killed who were not wounded or surrendering after Martin issues his orders against such conduct is a mystery the movie never clears up . When the other acquaintance, Billings, asks Martin if he is one of "that sort--" the sort Gabriel believes should not serve in the militia because, well, they're war criminals--Martin jokingly tells him, "You're the sort that gives that sort a bad name." Just boys being boys!
My favorite use of war crimes to further male bonding is the bizarre relationship between Martin and his second in command, Major Villeneuve. Initially the two grate on each other: Martin tortured French soldiers to death, while Villeneuve is French. The two offenses are presented as carrying basically equal weight. Ultimately, though, Villeneuve's objection to Martin is less that he committed war crimes but that he forbids Villeneuve from doing the same. But over time, they come to see each other in a different light. When Martin greets Villeneuve after the militia's ill-fated furlough, Villeneuve responds with a tongue in cheek, "Where else can I kill a few redcoats? Perhaps a few wounded ones when you're not looking." That Martin laughs nervously at this joke should be surprising, but it really isn't. While we haven't seen any wounded or surrendering men killed since Martin's order, nor have we seen any in militia custody. Has Villeneuve had a change of heart, or is Martin simply skilled in looking the other way? Later, Martin asks Villeneuve what color his slain daughters' eyes were as they march into the final battle, psyching him up to go and do their favorite activity together: vengeance! This shared priority, the only thing they have in common, outweighs their shortcomings in each other's eyes. Liberté, fraternité, and all that jazz.
Most of Martin's screentime, and he is in almost every scene, is spent developing his homosocial bonds, but even British men seem to regard Tavington with varying degrees of contempt, disgust, and fear. This lack of fellowship even characterizes his scenes with his own Green Dragoons. There are only two opportunities for dragoon comradery depicted in the movie: one where Tavington interrupts his men at dinner and one where he is grooming himself in the creek while they eat around their campfires. Tavington being left out of eating and drinking in particular becomes a recurring theme. His first meeting with Cornwallis, in the extended cut, happens after the Battle of Camden when the British officers are celebrating their victory. Tavington arrives late, apparently hungry from the way he immediately reaches for the food on the table, withdrawing his hand when Cornwallis draws closer to scold him. As he's dressing down Tavington, Cornwallis takes food from the same table and feeds it to his Great Danes. The exchange ends with Cornwallis proposing a toast, turning his back on Tavington and his second, who do not have glasses. The scene establishes that his role in winning a battle in no way makes Tavington's treatment of the enemy or civilians less odious, and his fellow officers are so united in this that no one so much as blinks when their general is incredibly rude to him. Over the course of the movie, they all maintain this conviction, except for one.
Producer Dean Devlin's describes Tavington as "seduc[ing]" Cornwallis into allowing him his brutal tactics, and this seems especially apt given the way their relationship develops on screen. As they grow closer tactically, they also grow closer physically. In their scene after Cornwallis ices Tavington out of his tent, Cornwallis remains seated at his desk while demanding that Tavington, who is standing on the opposite side, cease his brutal methods. In the scene following Cornwallis's humiliation at Martin's hands during the prisoner exchange, he is again seated at a table, eating dinner, while Tavington stands on the other side. From this point forward, though, there is a marked shift in the two men's positions. Cornwallis motions Tavington forward, and Tavingon approaches, putting as much space between himself and Cornwallis as we see between the general and the servant waiting on him as Cornwallis says, "I want you to capture [Martin]." If he intends to remind Tavington of his own servile position, the message does not register. Tavington takes a little stroll, peeks at Cornwallis's map, and helps himself to a glass of his claret, a stand-in for the glass he was denied at their first meeting. He assures Cornwallis, "I alone will assume the full mantle of responsibility, rendering you blameless" for his future crimes in pursuit of Martin. In light of Devlin's description of this scene, it does sound a bit like, Don't worry, babe, no one is going to know about this but you and me.
It is a ridiculous claim. When the Green Dragoons go on a veritable murder and arson spree after months of abstinence, it does not take a genius to realize that maybe the general of the whole fucking British army might have something to do with that. Nonetheless, by the end of this scene Cornwallis and Tavington are standing side by side for the first time in the movie. Their last scene is even more elicit. Cornwallis walks in on Tavington having his wound dressed to warn him against an early charge, the very same thing he scolds him for in their first scene, but this time Tavington is only in his shirt and his hair is loose and . . . it's a little on the nose, to be honest. And they're all alone. As powerful as Cornwallis is, he is also the only person Tavington ever convinces to condone his actions, and he can only do so by offering assurances he could not possibly grant. What does not change is the conviction of everyone in the British Army, Tavington included, that they will live and be remembered in infamy until the end of time if they do Bad Things to the Patriots. Meanwhile, the Patriots are bonding with each other almost exclusively through planning and doing Bad Things to them.
There are double-standards, and then there's this bullshit. Martin commits a dizzying amount of fuckery ranging from sending the Cherokees pieces of their fighters in bags to terrorize them into compliance to ordering his young sons to kill soldiers to apparently talking about rape in front of those sons in a way that left them thinking it is something to laugh about, and he is seen as a hero and a loving father by everyone around him. Tavington walks into a tent full of his fellow officers after a battle he helped win, and they all look at him like "Who invited Murder Molly?" Martin's men are devoted to him not in spite of his past war crimes but because of them, and the movie's insistence that he has changed his ways is, in the most generous terms, feeble. The thinly veiled homoeroticism of Tavingtion and Cornwallis's relationship only serves to underscore how marginal their position that war crimes can be justified under the right circumstances is among the British. Among the Patriots, that position appears to be standard.
Representing Tarleton's dragoons as the rapists some people of the time believed they were would obviously not have been great from a historical perspective, but it would be a drop in the ocean of inaccuracies the movie is adrift in. And it would have at least made the redcoats as bad as the characters the audience is meant to support! Both sides ultimately do terrible things, but they are framed by the narrative very differently in ways that inadvertently present the British in a favorable light. While the Patriots treat the vilest of war's excesses with understanding and sometimes even levity, the British have a horror of the idea that war exceeds the limits of the battlefield that is hard to fathom in professional soldiers. In the homosocial world of The Patriot, the ultimate measure of virtue lies not in actions but in the approval of other men.
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whatjaswatched · 4 months
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I liked this film.
Another one I was too young to have seen at the time, but has survived the test of time if I can still appreciate it now.
I really liked this one.
Scarlett Johansson can do no wrong, Colin Firth is beyond words and Cillian Murphy can act 🤌🏽✨
It’s a rainy day, slow day, or quiet night film.
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maturemenoftvandfilms · 2 months
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Michael Clayton (2007) - Tom Wilkinson
Tom was at his hottest career whys and looks in this. Although, I thought I remember getting a better look at Tom's foot in this.
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On A Side Note: DADDY BONUSES for Ken Howard, Sydney Pollack and Bill Raymond.
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giveintogarrett · 4 months
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😞
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