Sentences with phrase «filmed stage plays»

When people first started making movies, they essentially just filmed stage plays because that's what they knew how to do.

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

Basically a pre-code film stage play.

Considering Neil LaBute has a theatrical background as a former playwright, it's no surprise that Some Velvet Morning feels like a filmed stage play.

We'll leave it to others to debate whether this is a filmed stage play in need of «opening up» or great cinema as is.

Not exact matches

The film, however, is only half the story the stage musical on which it's based has been playing continually in the West End for 28 years, making it London's longest running show.

Toronto International Film Festival (TIFF) 8 September: Oscar - winning director, Danis Tanovic, took to the stage to resounding applause following the screening of Tigers, his new 90 - minute fact - based drama, and revealed that the character played by Emraan Hashmi, called Ayan in the film, was actually in the theatre.

McDiarmid, who played the evil emperor in the a number of films in the space series, will take to the stage as Powell later this month in a new production called What Shadows.

Stage Door is a 1937 RKO film, adapted from the play by the same name, that tells the story of several would - be actresses who live together in a boarding

An imposing and highly memorable presence on the Broadway stage, actor Frank Langella has won only a fraction of the acclaim he's received in the theater for his film career; still, his brooding good looks and his ability to play both villains and comic foils with a touch of menace has made him a welcome (and increasingly familiar) fare to film buffs.

For National Public Radio and LA Theater Works Alma performed in the radio versions of Zoot Suit and Nilo Cruz's Pultizer Prize winning play Anna in the Tropics opposite Jimmy Smits.As a 25 year member of El Teatro Campesino (ETC) founded by Luis Valdez, she has appeared in landmark ETC productions of; Zoot Suit, both the film and play (1979 Los Angeles Drama Critics Circle Award - Best Play); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdezplay Anna in the Tropics opposite Jimmy Smits.As a 25 year member of El Teatro Campesino (ETC) founded by Luis Valdez, she has appeared in landmark ETC productions of; Zoot Suit, both the film and play (1979 Los Angeles Drama Critics Circle Award - Best Play); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdezplay (1979 Los Angeles Drama Critics Circle Award - Best Play); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by ValdezPlay); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdezplay; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdez.Ms.

Dismissing the characters as crazy rednecks, most critics have skipped the work of character analysis that should be part of any review, especially of a film that originated as a stage play.

It made me think of the 80s, when my parents watched filmed versions of British stage plays starring people like Ian Holm on PBS.

As the»90s rolled in, so did the film roles, and after a memorable turn as an embittered ex-convict in the stage play The Boys, Wenham landed parts in such features as Greenkeeping (1992) and the Hollywood sci - fi action film No Escape.

Sigourney Weaver and Ben Kingsley star in the film adaptation of the stage play: a torturer becomes the victim of his previous captive.

Goeth, played fascinatingly by the English stage actor Ralph Fiennes, is the film's most sobering creation.

There's a difference between the character Cave plays on stage and in his songwriting and the one we see here in the film who is candid, confessional and though immensely talented, at times rather ordinary.

While playing the lead in a stage production of Romeo and Juliet, he was selected by writer / director Dalton Trumbo to play the blind, deaf, armless, and legless protagonist in the 1971 film version of Trumbo's Johnny Got His Gun.

After several seasons» worth of stage experience, Schiavelli made his first film appearance in Milos Forman's Taking Off (1971) playing a pot - smoking support group leader by the name of... Schiavelli.

A native of Trinidad (with East Indian ancestry), Bednob originally attended the University of Toronto as a sociology major — a field far removed from acting, though Bednob had naturally played the role of class clown in school for years, which seemed to predestine him for stage and film.

After a three - year hiatus from acting, Robbins returned to the screen in 1997 with the comedy Nothing to Lose; he soon announced plans to mount a film adaptation of Cradle Will Rock, the Marc Blitzstein play first staged by Orson Welles six decades earlier.

He also hired an actor to play Francis in staged scenes filmed in the style of a black - and - white silent movie from the 1920s.

Rope, Alfred Hitchcock's first color film, was adapted from Patrick Hamilton's stage play Rope's End by no less than Hume Cronyn.

Modine was nominated for an Emmy for his performance as aloof AIDS researcher Don Francis in the 1993 TV movie And the Band Played On, and continued to accept occasional stage roles in between his film and TV projects.

In addition to a continued but sporadic film career that included the 1997 Canadian release Wounded, in which he played a recently rehabilitated alcoholic detective who helps solve the murder of a slain forest ranger, Greene appeared on - stage — most frequently in Toronto — and did television work that included hosting documentaries.

Late in the film, there is a staged reading from A State Affair, a play about Andrea Dunbar lifted entirely from the words of Bradford residents who knew her.

Whether gracefully gliding across the stage in dance, pounding the boards in a play, or lighting up the screen in such popular films as Pirates of the Caribbean: The Curse of the Black Pearl, the multi-faceted Saldana seems capable of achieving anything she puts her mind to.

Academy Awards were bestowed upon Henry Fonda, Hepburn, and screenwriter Ernest Thompson (who adapted the film from his stage play).

At times, this film is more like a pretentious stage play.

Though based on a stage play by Laurence Gross and Edward Childs Carpenter (previously filmed as an Ernest Truex vehicle in 1933), MGM's Whistling in the Dark was clearly inspired by the success of Paramount's Bob Hope comedy - mystery The Ghost Breakers.

Attempting to recreate the experience of watching a stage play, but with the camera roaming amongst its players, Hitchcock shot the movie in a series of ten - minute takes, a time period limited only by the length of a reel of film.

Singer, writer, and actor of stage and screen, Renoly Santiago made his film debut playing Raul in the Michelle Pfeiffer vehicle Dangerous Minds (1995).

Susan Anspach, a screen and stage actress best known for playing non-conformists in «Five Easy Pieces,» «Blume in Love» and other films, has died at age 75.

His snarl, soft, and almost crooner voice set the stage for the film early on, and played the antagonist to pure perfection.

A film adaptation of Morgan's own stage play that was itself very much about the powers of television, the relationship between text, medium and audience has shifted in ways I'm not sure the film's makers have fully accounted for.

The problem with this Richard LaGravenese adaptation of Jason Robert Brown's 2002 stage show is that the asynchrony that exists between its characters extends to the actors playing them, making the film feel uneven for the wrong reasons.

Director Canuel, who shot this in Canada where he, Plummer, and the play all originated, injects some cinematic flourishes unachievable on stage, having the film assume the look of an old black & white movie and editing together self - conversations.

This young century alone has seen Finding Neverland dramatizing the play's creation, no fewer than nine stage adaptations, NBC's live television special, Dave Barry and Ridley Pearson's Starcatchers series of bestselling prequel novels, the major 2003 filming, and the Syfy miniseries Neverland.

But the play was a deeply religious work, metaphorical, the imagery of man merged with horse essential to its message, so while Richard Burton and Peter Firth gave excellent, Oscar nominated performances in the film, the picture never quite captured the power of the stage play.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

There is no effort to open up the material as many film versions of stage plays do, rather there seems to have been a conscious effort to convey a theatrical feel to the presentation a decision that works to the absurdist material's favour.

While Fences is still obviously a filmed play — because it maintains the stage structure along with Wilson's densely written and richly emotional language — that is not a problem in this case.

Ms McFarlane's film feels like a bad stage play from the 1950s: it's stiff, overblown, hollow.

I suppose you could forgive the irregular rhythms of Killer Joe as merely the reality of turning a play into a film, but there have been plenty of smoother stage to screen adaptations in the past.

This zesty, defiantly awkward shambles of a film might be called a domestic drama, as it plucks its penniless main character from her beer - soaked California stage and sends her to the Midwest to deal with her wealthy ex-husband (Kevin Kline, playing off Streep as tenderly as in Sophie's Choice) and their suicidal adult daughter (Mamie Gummer, Streep's real - life progeny), a victim of Ricki's long - ago abandonment.

Only the third film that the acclaimed actor has made as a director (after 2002's Antwone Fisher and his last, 2007's The Great Debaters), Washington certainly had familiarity with August Wilson's beloved Pulitzer Prize - winning material when he decided to bring it to the big screen; the actor won a Tony Award of his own for starring in the 2010 revival of the production, to go along with the play's Tony for Best Revival (and the many that it won during its first run on stage in 1987).

Pacino plays Simon Axler, a fading 65 - year - old stage and film actor (who looks and acts more like Pacino's real age of 74).

Finley, who is principally a playwright, originally wrote the film as a stage play.

Before I even start to talk about John Wells «new film «August: Osage County,» I have to say I've never seen the stage play or read it by writer Tracy Letts.

Presented as a «sort of sequel» to Apatow's 2007 sophomore feature, Knocked Up, This Is 40 gives center stage to the earlier film's supporting characters: Los Angeles record label executive Pete (Paul Rudd) and his wife Debbie (played by Apatow's real - life wife, Leslie Mann).