Someone's just told me the the restored print of TRS is expected at the
Astor, Melbourne, for a 2 week season from March 21 2010. Keep your eyes
peeled for announcements

     Steve

http://www.variety.com/article/VR1118011308.html?categoryid=19&cs=1

Optimum, Pinewood team on archive
Distrib gets rights to U.K. film classics
By PATRICK WAISMANN

LONDON -- StudioCanal's U.K. distrib Optimum Releasing and Pinewood
Studios have teamed up to protect British movie classics.

The pair have launched an initiative to preserve the British Library
Archive.

Pinewood has agreed to the construction of two state-of-the-art cold
storage facilities on the Pinewood lot, which are expected to be
completed by early 2010 and will store some of the older more fragile stock.

Pinewood will also provide a large amount of the film and audio
restoration services for the film archive, and will start with
restorations of three classic titles -- Michael Powell's "Peeping Tom,"
Robert Hamer's "Kind Hearts and Coronets" and Lionel Jeffries' "The
Railway Children."

The British Library Archive is home to some 1,400 classic British films,
including Carol Reed's "The Third Man," Alexander Mackendrick's "The
Ladykillers" and Michael Anderson's "The Dam Busters."

The archive has been based at Pinewood for the past 20 years.

Optimum has also taken over management of the archive content, including
responsibility for sales and merchandising of the titles; each of the
classics will be re-released in theaters and be made available in
Blu-ray and DVD.

Thanks, Janet!  Some of the old radio programmes have amazing 'finds,' plays,
etc. with
stars before they became stars.  Wonderful to listen to and conjure and imagine.

Barbara





-----Original Message-----
From: Janet Fuentes <jkovachfuentes@...>
To: PnP@yahoogroups.com
Sent: Fri, Nov 13, 2009 7:40 am
Subject: Re: [PnP] Archive on 4: Radio Hollywood






























I think you'll find that the Internet Archive offers Lux Radio Theatre shows, as
well as many hundreds of others, for free.  Conny Veidt fans will find a couple
of radio versions of "A Woman's Face" there, if interested.



Janet



--- On Fri, 11/13/09, siekba@... <siekba@...> wrote:



From: siekba@... <siekba@...>

Subject: Re: [PnP] Archive on 4: Radio Hollywood

To: PnP@yahoogroups.com

Date: Friday, November 13, 2009, 5:07 AM







Thanks for the source. I always like to add another to my list. Each one has
something that another doesn't.

Re: Lux Radio Theatre, I've found some episodes through my library. Three cheers
for libraries... and

librarians. :-)



Barbara



-----Original Message-----

From: Nicky Smith <nickyjsmith@ gmail.com>

To: PnP@yahoogroups. com

Sent: Fri, Nov 13, 2009 2:03 am

Subject: Re: [PnP] Archive on 4: Radio Hollywood



For anyone whose appetite is whetted, you can buy them here (I've used the

dealer a few times and found her very reliable)



http://www.theradio lady.com/ Merchant2/ merchant. mvc?Screen= CTGY&Category_
Code=DLM



Nicky



On Fri, Nov 13, 2009 at 9:58 AM, <siekba@...> wrote:



>

>

>

> Thanks for the alert, Nick. The Lux Radio Theatre was tremendously

> popular.

>

> Barbara

>

>

> -----Original Message-----

> From: Nick Dando <nick.dando@btopenwo rld.com<nick.dando% 40btopenworld. com>

> >

> To: PnP@yahoogroups. com <PnP%40yahoogroups. com>

> Sent: Fri, Nov 13, 2009 1:54 am

> Subject: [PnP] Archive on 4: Radio Hollywood

>

> This may be of interest this Saturday evening. BBC Radio 4 14/11/09

>

> 20:00 - 21:00, though there is a shortened repeat on Wednesday

>

> afternoon at 15:00.

>

> http://www.bbc. co.uk/programmes /b00nrxkp

>

> Sponsored by a well-known 'toilet soap', the Lux Theater brought the

>

> silver screen to the airwaves, with specially adapted versions of new

>

> Hollywood products including The Philadelphia Story, The African Queen

>

> and The Wizard of Oz. Professor Jeffrey Richards takes us back to the

>

> place where cinema and radio united and produced an unlikely lovechild.

>

> From its first production in 1935, The Legionnaire and The Lady with

>

> Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have

>

> the same stars as the films. Over its 19-year history, it boasted the

>

> biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan

>

> Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.

>

> Sometimes the original players were not available, so the Theater

>

> offered audiences a glimpse of an alternative universe, as listeners

>

> discovered what these films would have been like with different

>

> actors. On a few occasions the radio version boasted a more stellar

>

> cast, for instance when Cary Grant stood in for Montgomery Clift in I

>

> Confess.

>

> At the start of each show Cecil B De Mille offered 'greetings from

>

> Hollywood', gave a short introduction to the film and told listeners a

>

> little about the stars. Twenty-five minutes later, he would turn up in

>

> the interval for some 'movie news', which was a barely-concealed

>

> advertisement for Lux and its frothy lather, and would return at the

>

> end for an informal and, of course, unscripted chat with the actors,

>

> in which they would invariably reveal their preference for a well-

>

> known toilet soap.

>

> These productions were performed live with full orchestra, and the

>

> audience's reaction was often audible, which occasionally put the

>

> actors off their lines. They also had to be half an hour shorter, and

>

> were therefore much pacier than the originals, while retaining key

>

> dialogue - so phrases like 'this is the beginning of a beautiful

>

> friendship' and 'round up the usual suspects' are still present and

>

> correct in Casablanca. But being live presented its own problems, with

>

> stars sometimes falling ill the day before, or, on one occasion,

>

> arriving at the studio 10 minutes after transmission had begun.

>

> [Non-text portions of this message have been removed]

>

> [Non-text portions of this message have been removed]

>

>

>



[Non-text portions of this message have been removed]



------------ --------- --------- ------



Yahoo! Groups Links



[Non-text portions of this message have been removed]



[Non-text portions of this message have been removed]























[Non-text portions of this message have been removed]

:-)


To: PnP@yahoogroups.com
From: steve@...
Date: Fri, 13 Nov 2009 16:39:47 +0000
Subject: Re: [PnP] IKWIG in Brighton (almost)




It's usually stopping you that's hard :)

Steve

Spikey Mikey wrote:
> I'll see if I can string a few sentances together.
>
> Michael
>
> To: PnP@yahoogroups.com
> From: steve@...
> Date: Fri, 13 Nov 2009 16:28:41 +0000
> Subject: Re: [PnP] IKWIG in Brighton (almost)
>
> I'll be interested to hear what you think of this documentary if you do
> get to see it. I haven't seen it myself but I've read a few good reports
> about it
>
> Steve
>
> Spikey Mikey wrote:
>
>> It's part of the Brighton Cine City film fest. More PnP in my backyard - I'm
there...
>>
>> Michael
>>
>>> To: PnP@YahooGroups.com
>>> From: steve@...
>>> Date: Fri, 13 Nov 2009 14:11:24 +0000
>>> Subject: [PnP] IKWIG in Brighton (almost)
>>>
>>> The Sallis Benney theatre at the University of Brighton is showing IKWIG
>>> on 25 November
>>> Except that it's not IKWIG the 1945 film that we know and love, it's "I
>>> Know Where I'm Going" the 2009 documentary by Ben Rivers
>>>
>>> An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
>>> anamorphic, the widescreen cinematography captures striking panoramic
>>> views of the landscape as Ben Rivers encounters beekeepers and forest
>>> clearers and revisits subjects from previous films. His first stop is
>>> with Jan Zalasiewicz, a geologist trying to imagine the Earth in
>>> one-hundred million years. "Powell and Pressburger's heroine in their
>>> magical I KNOW WHERE I'M GOING knows exactly where she's going ... I
>>> decided to follow her lead and make my destination the same as hers, but
>>> with every intention of getting lost, following false leads, and
>>> trusting in the laws of serendipity, while winding my way through an
>>> almost abandoned, devastated Britain, to the Isle of Mull."
>>>
>>> Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
>>> Vauxhall's Great British Road Trip. Ben explains the reason behind the
>>> commission name; "The title of the film is a reference to the 1945 film
>>> of the same name by Powell and Pressburger, they inspired me to become a
>>> film maker and I wanted to recognise them in some way. The title is a
>>> nice twist to the concept of my film, because I really didn't know where
>>> I was going when I set off on my road trip."
>>>
>>> See
>>>
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
>>>
>>> For details of the screening, see
>>>
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
>>> (or http://tinyurl.com/yg77zj8)
>>>
>>> Steve


_________________________________________________________________
Add your Gmail and Yahoo! Mail email accounts into Hotmail - it's easy
http://clk.atdmt.com/UKM/go/186394592/direct/01/

[Non-text portions of this message have been removed]

It's usually stopping you that's hard :)

     Steve


Spikey Mikey wrote:
> I'll see if I can string a few sentances together.
>
>
> Michael
>
>
> To: PnP@yahoogroups.com
> From: steve@...
> Date: Fri, 13 Nov 2009 16:28:41 +0000
> Subject: Re: [PnP] IKWIG in Brighton (almost)
>
>
>
>
> I'll be interested to hear what you think of this documentary if you do
> get to see it. I haven't seen it myself but I've read a few good reports
> about it
>
> Steve
>
> Spikey Mikey wrote:
>
>> It's part of the Brighton Cine City film fest. More PnP in my backyard - I'm
there...
>>
>>
>>
>> Michael
>>
>>
>>
>>> To: PnP@YahooGroups.com
>>> From: steve@...
>>> Date: Fri, 13 Nov 2009 14:11:24 +0000
>>> Subject: [PnP] IKWIG in Brighton (almost)
>>>
>>> The Sallis Benney theatre at the University of Brighton is showing IKWIG
>>> on 25 November
>>> Except that it's not IKWIG the 1945 film that we know and love, it's "I
>>> Know Where I'm Going" the 2009 documentary by Ben Rivers
>>>
>>> An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
>>> anamorphic, the widescreen cinematography captures striking panoramic
>>> views of the landscape as Ben Rivers encounters beekeepers and forest
>>> clearers and revisits subjects from previous films. His first stop is
>>> with Jan Zalasiewicz, a geologist trying to imagine the Earth in
>>> one-hundred million years. "Powell and Pressburger's heroine in their
>>> magical I KNOW WHERE I'M GOING knows exactly where she's going ... I
>>> decided to follow her lead and make my destination the same as hers, but
>>> with every intention of getting lost, following false leads, and
>>> trusting in the laws of serendipity, while winding my way through an
>>> almost abandoned, devastated Britain, to the Isle of Mull."
>>>
>>>
>>> Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
>>> Vauxhall's Great British Road Trip. Ben explains the reason behind the
>>> commission name; "The title of the film is a reference to the 1945 film
>>> of the same name by Powell and Pressburger, they inspired me to become a
>>> film maker and I wanted to recognise them in some way. The title is a
>>> nice twist to the concept of my film, because I really didn't know where
>>> I was going when I set off on my road trip."
>>>
>>> See
>>>
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
>>> (PDF document)
>>>
>>> For details of the screening, see
>>>
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
>>> (or http://tinyurl.com/yg77zj8)
>>>
>>> Steve
>>>
>>>
>>>
>>> ------------------------------------
>>>
>>> Yahoo! Groups Links
>>>
>>>
>>>
>>>
>>>



[Non-text portions of this message have been removed]

I'll see if I can string a few sentances together.


Michael


To: PnP@yahoogroups.com
From: steve@...
Date: Fri, 13 Nov 2009 16:28:41 +0000
Subject: Re: [PnP] IKWIG in Brighton (almost)




I'll be interested to hear what you think of this documentary if you do
get to see it. I haven't seen it myself but I've read a few good reports
about it

Steve

Spikey Mikey wrote:
> It's part of the Brighton Cine City film fest. More PnP in my backyard - I'm
there...
>
>
>
> Michael
>
>
>> To: PnP@YahooGroups.com
>> From: steve@...
>> Date: Fri, 13 Nov 2009 14:11:24 +0000
>> Subject: [PnP] IKWIG in Brighton (almost)
>>
>> The Sallis Benney theatre at the University of Brighton is showing IKWIG
>> on 25 November
>> Except that it's not IKWIG the 1945 film that we know and love, it's "I
>> Know Where I'm Going" the 2009 documentary by Ben Rivers
>>
>> An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
>> anamorphic, the widescreen cinematography captures striking panoramic
>> views of the landscape as Ben Rivers encounters beekeepers and forest
>> clearers and revisits subjects from previous films. His first stop is
>> with Jan Zalasiewicz, a geologist trying to imagine the Earth in
>> one-hundred million years. "Powell and Pressburger's heroine in their
>> magical I KNOW WHERE I'M GOING knows exactly where she's going ... I
>> decided to follow her lead and make my destination the same as hers, but
>> with every intention of getting lost, following false leads, and
>> trusting in the laws of serendipity, while winding my way through an
>> almost abandoned, devastated Britain, to the Isle of Mull."
>>
>>
>> Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
>> Vauxhall's Great British Road Trip. Ben explains the reason behind the
>> commission name; "The title of the film is a reference to the 1945 film
>> of the same name by Powell and Pressburger, they inspired me to become a
>> film maker and I wanted to recognise them in some way. The title is a
>> nice twist to the concept of my film, because I really didn't know where
>> I was going when I set off on my road trip."
>>
>> See
>>
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
>> (PDF document)
>>
>> For details of the screening, see
>>
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
>> (or http://tinyurl.com/yg77zj8)
>>
>> Steve
>>
>>
>>
>> ------------------------------------
>>
>> Yahoo! Groups Links
>>
>>
>>
>>

[Non-text portions of this message have been removed]





_________________________________________________________________
Use Hotmail to send and receive mail from your different email accounts
http://clk.atdmt.com/UKM/go/186394592/direct/01/

[Non-text portions of this message have been removed]

I'll be interested to hear what you think of this documentary if you do
get to see it. I haven't seen it myself but I've read a few good reports
about it

     Steve


Spikey Mikey wrote:
> It's part of the Brighton Cine City film fest. More PnP in my backyard - I'm
there...
>
>
>
> Michael
>
>
>> To: PnP@YahooGroups.com
>> From: steve@...
>> Date: Fri, 13 Nov 2009 14:11:24 +0000
>> Subject: [PnP] IKWIG in Brighton (almost)
>>
>> The Sallis Benney theatre at the University of Brighton is showing IKWIG
>> on 25 November
>> Except that it's not IKWIG the 1945 film that we know and love, it's "I
>> Know Where I'm Going" the 2009 documentary by Ben Rivers
>>
>> An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
>> anamorphic, the widescreen cinematography captures striking panoramic
>> views of the landscape as Ben Rivers encounters beekeepers and forest
>> clearers and revisits subjects from previous films. His first stop is
>> with Jan Zalasiewicz, a geologist trying to imagine the Earth in
>> one-hundred million years. "Powell and Pressburger's heroine in their
>> magical I KNOW WHERE I'M GOING knows exactly where she's going ... I
>> decided to follow her lead and make my destination the same as hers, but
>> with every intention of getting lost, following false leads, and
>> trusting in the laws of serendipity, while winding my way through an
>> almost abandoned, devastated Britain, to the Isle of Mull."
>>
>>
>> Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
>> Vauxhall's Great British Road Trip. Ben explains the reason behind the
>> commission name; "The title of the film is a reference to the 1945 film
>> of the same name by Powell and Pressburger, they inspired me to become a
>> film maker and I wanted to recognise them in some way. The title is a
>> nice twist to the concept of my film, because I really didn't know where
>> I was going when I set off on my road trip."
>>
>> See
>>
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
>> (PDF document)
>>
>> For details of the screening, see
>>
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
>> (or http://tinyurl.com/yg77zj8)
>>
>> Steve
>>
>>
>>
>> ------------------------------------
>>
>> Yahoo! Groups Links
>>
>>
>>
>>



[Non-text portions of this message have been removed]

It's part of the Brighton Cine City film fest. More PnP in my backyard - I'm
there...



Michael

> To: PnP@YahooGroups.com
> From: steve@...
> Date: Fri, 13 Nov 2009 14:11:24 +0000
> Subject: [PnP] IKWIG in Brighton (almost)
>
> The Sallis Benney theatre at the University of Brighton is showing IKWIG
> on 25 November
> Except that it's not IKWIG the 1945 film that we know and love, it's "I
> Know Where I'm Going" the 2009 documentary by Ben Rivers
>
> An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
> anamorphic, the widescreen cinematography captures striking panoramic
> views of the landscape as Ben Rivers encounters beekeepers and forest
> clearers and revisits subjects from previous films. His first stop is
> with Jan Zalasiewicz, a geologist trying to imagine the Earth in
> one-hundred million years. "Powell and Pressburger's heroine in their
> magical I KNOW WHERE I'M GOING knows exactly where she’s going ... I
> decided to follow her lead and make my destination the same as hers, but
> with every intention of getting lost, following false leads, and
> trusting in the laws of serendipity, while winding my way through an
> almost abandoned, devastated Britain, to the Isle of Mull."
>
>
> Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
> Vauxhall's Great British Road Trip. Ben explains the reason behind the
> commission name; "The title of the film is a reference to the 1945 film
> of the same name by Powell and Pressburger, they inspired me to become a
> film maker and I wanted to recognise them in some way. The title is a
> nice twist to the concept of my film, because I really didn't know where
> I was going when I set off on my road trip."
>
> See
>
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
> (PDF document)
>
> For details of the screening, see
>
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
> (or http://tinyurl.com/yg77zj8)
>
> Steve
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

_________________________________________________________________
Have more than one Hotmail account? Link them together to easily access both
  http://clk.atdmt.com/UKM/go/186394591/direct/01/

[Non-text portions of this message have been removed]

I think you'll find that the Internet Archive offers Lux Radio Theatre shows, as
well as many hundreds of others, for free.  Conny Veidt fans will find a couple
of radio versions of "A Woman's Face" there, if interested.
 
Janet

--- On Fri, 11/13/09, siekba@... <siekba@...> wrote:


From: siekba@... <siekba@...>
Subject: Re: [PnP] Archive on 4: Radio Hollywood
To: PnP@yahoogroups.com
Date: Friday, November 13, 2009, 5:07 AM


 




Thanks for the source. I always like to add another to my list. Each one has
something that another doesn't.
Re: Lux Radio Theatre, I've found some episodes through my library. Three cheers
for libraries... and
librarians. :-)

Barbara

-----Original Message-----
From: Nicky Smith <nickyjsmith@ gmail.com>
To: PnP@yahoogroups. com
Sent: Fri, Nov 13, 2009 2:03 am
Subject: Re: [PnP] Archive on 4: Radio Hollywood

For anyone whose appetite is whetted, you can buy them here (I've used the
dealer a few times and found her very reliable)

http://www.theradio lady.com/ Merchant2/ merchant. mvc?Screen= CTGY&Category_
Code=DLM

Nicky

On Fri, Nov 13, 2009 at 9:58 AM, <siekba@...> wrote:

>
>
>
> Thanks for the alert, Nick. The Lux Radio Theatre was tremendously
> popular.
>
> Barbara
>
>
> -----Original Message-----
> From: Nick Dando <nick.dando@btopenwo rld.com<nick.dando% 40btopenworld. com>
> >
> To: PnP@yahoogroups. com <PnP%40yahoogroups. com>
> Sent: Fri, Nov 13, 2009 1:54 am
> Subject: [PnP] Archive on 4: Radio Hollywood
>
> This may be of interest this Saturday evening. BBC Radio 4 14/11/09
>
> 20:00 - 21:00, though there is a shortened repeat on Wednesday
>
> afternoon at 15:00.
>
> http://www.bbc. co.uk/programmes /b00nrxkp
>
> Sponsored by a well-known 'toilet soap', the Lux Theater brought the
>
> silver screen to the airwaves, with specially adapted versions of new
>
> Hollywood products including The Philadelphia Story, The African Queen
>
> and The Wizard of Oz. Professor Jeffrey Richards takes us back to the
>
> place where cinema and radio united and produced an unlikely lovechild.
>
> From its first production in 1935, The Legionnaire and The Lady with
>
> Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have
>
> the same stars as the films. Over its 19-year history, it boasted the
>
> biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan
>
> Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.
>
> Sometimes the original players were not available, so the Theater
>
> offered audiences a glimpse of an alternative universe, as listeners
>
> discovered what these films would have been like with different
>
> actors. On a few occasions the radio version boasted a more stellar
>
> cast, for instance when Cary Grant stood in for Montgomery Clift in I
>
> Confess.
>
> At the start of each show Cecil B De Mille offered 'greetings from
>
> Hollywood', gave a short introduction to the film and told listeners a
>
> little about the stars. Twenty-five minutes later, he would turn up in
>
> the interval for some 'movie news', which was a barely-concealed
>
> advertisement for Lux and its frothy lather, and would return at the
>
> end for an informal and, of course, unscripted chat with the actors,
>
> in which they would invariably reveal their preference for a well-
>
> known toilet soap.
>
> These productions were performed live with full orchestra, and the
>
> audience's reaction was often audible, which occasionally put the
>
> actors off their lines. They also had to be half an hour shorter, and
>
> were therefore much pacier than the originals, while retaining key
>
> dialogue - so phrases like 'this is the beginning of a beautiful
>
> friendship' and 'round up the usual suspects' are still present and
>
> correct in Casablanca. But being live presented its own problems, with
>
> stars sometimes falling ill the day before, or, on one occasion,
>
> arriving at the studio 10 minutes after transmission had begun.
>
> [Non-text portions of this message have been removed]
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

------------ --------- --------- ------

Yahoo! Groups Links

[Non-text portions of this message have been removed]








[Non-text portions of this message have been removed]

The Sallis Benney theatre at the University of Brighton is showing IKWIG
on 25 November
Except that it's not IKWIG the 1945 film that we know and love, it's "I
Know Where I'm Going" the 2009 documentary by Ben Rivers

An off the beaten track road movie to the Isle Of Mull. Shot in 16mm
anamorphic, the widescreen cinematography captures striking panoramic
views of the landscape as Ben Rivers encounters beekeepers and forest
clearers and revisits subjects from previous films. His first stop is
with Jan Zalasiewicz, a geologist trying to imagine the Earth in
one-hundred million years. "Powell and Pressburger's heroine in their
magical I KNOW WHERE I'M GOING knows exactly where she’s going ... I
decided to follow her lead and make my destination the same as hers, but
with every intention of getting lost, following false leads, and
trusting in the laws of serendipity, while winding my way through an
almost abandoned, devastated Britain, to the Isle of Mull."


Ben Rivers made a film called I Know Where I'm Going (2009) as a part of
Vauxhall's Great British Road Trip. Ben explains the reason behind the
commission name; "The title of the film is a reference to the 1945 film
of the same name by Powell and Pressburger, they inspired me to become a
film maker and I wanted to recognise them in some way. The title is a
nice twist to the concept of my film, because I really didn't know where
I was going when I set off on my road trip."

See
http://www.ideageneration.co.uk/items/news/pdf/I%20know%20where%20Im%20going.pdf
(PDF document)

For details of the screening, see
http://arts.brighton.ac.uk/whats-on/gallery-theatre/calendar-page-text?SQ_CALEND\
AR_VIEW=day&SQ_CALENDAR_DATE=2009-11-25
(or http://tinyurl.com/yg77zj8)

Steve

Thanks for the source.  I always like to add another to my list.  Each one has
something that another doesn't.
Re: Lux Radio Theatre, I've found some episodes through my library.  Three
cheers for libraries...and
librarians. :-)

Barbara





-----Original Message-----
From: Nicky Smith <nickyjsmith@...>
To: PnP@yahoogroups.com
Sent: Fri, Nov 13, 2009 2:03 am
Subject: Re: [PnP] Archive on 4: Radio Hollywood










For anyone whose appetite is whetted, you can buy them here (I've used the
dealer a few times and found her very reliable)

http://www.theradiolady.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=DLM

Nicky

On Fri, Nov 13, 2009 at 9:58 AM, <siekba@...> wrote:

>
>
>
> Thanks for the alert, Nick. The Lux Radio Theatre was tremendously
> popular.
>
> Barbara
>
>
> -----Original Message-----
> From: Nick Dando <nick.dando@...<nick.dando%40btopenworld.com>
> >
> To: PnP@yahoogroups.com <PnP%40yahoogroups.com>
> Sent: Fri, Nov 13, 2009 1:54 am
> Subject: [PnP] Archive on 4: Radio Hollywood
>
> This may be of interest this Saturday evening. BBC Radio 4 14/11/09
>
> 20:00 - 21:00, though there is a shortened repeat on Wednesday
>
> afternoon at 15:00.
>
> http://www.bbc.co.uk/programmes/b00nrxkp
>
> Sponsored by a well-known 'toilet soap', the Lux Theater brought the
>
> silver screen to the airwaves, with specially adapted versions of new
>
> Hollywood products including The Philadelphia Story, The African Queen
>
> and The Wizard of Oz. Professor Jeffrey Richards takes us back to the
>
> place where cinema and radio united and produced an unlikely lovechild.
>
> From its first production in 1935, The Legionnaire and The Lady with
>
> Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have
>
> the same stars as the films. Over its 19-year history, it boasted the
>
> biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan
>
> Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.
>
> Sometimes the original players were not available, so the Theater
>
> offered audiences a glimpse of an alternative universe, as listeners
>
> discovered what these films would have been like with different
>
> actors. On a few occasions the radio version boasted a more stellar
>
> cast, for instance when Cary Grant stood in for Montgomery Clift in I
>
> Confess.
>
> At the start of each show Cecil B De Mille offered 'greetings from
>
> Hollywood', gave a short introduction to the film and told listeners a
>
> little about the stars. Twenty-five minutes later, he would turn up in
>
> the interval for some 'movie news', which was a barely-concealed
>
> advertisement for Lux and its frothy lather, and would return at the
>
> end for an informal and, of course, unscripted chat with the actors,
>
> in which they would invariably reveal their preference for a well-
>
> known toilet soap.
>
> These productions were performed live with full orchestra, and the
>
> audience's reaction was often audible, which occasionally put the
>
> actors off their lines. They also had to be half an hour shorter, and
>
> were therefore much pacier than the originals, while retaining key
>
> dialogue - so phrases like 'this is the beginning of a beautiful
>
> friendship' and 'round up the usual suspects' are still present and
>
> correct in Casablanca. But being live presented its own problems, with
>
> stars sometimes falling ill the day before, or, on one occasion,
>
> arriving at the studio 10 minutes after transmission had begun.
>
> [Non-text portions of this message have been removed]
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]



------------------------------------

Yahoo! Groups Links










[Non-text portions of this message have been removed]

For anyone whose appetite is whetted, you can buy them here (I've used the
dealer a few times and found her very reliable)

http://www.theradiolady.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=DLM

Nicky

On Fri, Nov 13, 2009 at 9:58 AM, <siekba@...> wrote:

>
>
>
> Thanks for the alert, Nick. The Lux Radio Theatre was tremendously
> popular.
>
> Barbara
>
>
> -----Original Message-----
> From: Nick Dando <nick.dando@...<nick.dando%40btopenworld.com>
> >
> To: PnP@yahoogroups.com <PnP%40yahoogroups.com>
> Sent: Fri, Nov 13, 2009 1:54 am
> Subject: [PnP] Archive on 4: Radio Hollywood
>
> This may be of interest this Saturday evening. BBC Radio 4 14/11/09
>
> 20:00 - 21:00, though there is a shortened repeat on Wednesday
>
> afternoon at 15:00.
>
> http://www.bbc.co.uk/programmes/b00nrxkp
>
> Sponsored by a well-known 'toilet soap', the Lux Theater brought the
>
> silver screen to the airwaves, with specially adapted versions of new
>
> Hollywood products including The Philadelphia Story, The African Queen
>
> and The Wizard of Oz. Professor Jeffrey Richards takes us back to the
>
> place where cinema and radio united and produced an unlikely lovechild.
>
> From its first production in 1935, The Legionnaire and The Lady with
>
> Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have
>
> the same stars as the films. Over its 19-year history, it boasted the
>
> biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan
>
> Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.
>
> Sometimes the original players were not available, so the Theater
>
> offered audiences a glimpse of an alternative universe, as listeners
>
> discovered what these films would have been like with different
>
> actors. On a few occasions the radio version boasted a more stellar
>
> cast, for instance when Cary Grant stood in for Montgomery Clift in I
>
> Confess.
>
> At the start of each show Cecil B De Mille offered 'greetings from
>
> Hollywood', gave a short introduction to the film and told listeners a
>
> little about the stars. Twenty-five minutes later, he would turn up in
>
> the interval for some 'movie news', which was a barely-concealed
>
> advertisement for Lux and its frothy lather, and would return at the
>
> end for an informal and, of course, unscripted chat with the actors,
>
> in which they would invariably reveal their preference for a well-
>
> known toilet soap.
>
> These productions were performed live with full orchestra, and the
>
> audience's reaction was often audible, which occasionally put the
>
> actors off their lines. They also had to be half an hour shorter, and
>
> were therefore much pacier than the originals, while retaining key
>
> dialogue - so phrases like 'this is the beginning of a beautiful
>
> friendship' and 'round up the usual suspects' are still present and
>
> correct in Casablanca. But being live presented its own problems, with
>
> stars sometimes falling ill the day before, or, on one occasion,
>
> arriving at the studio 10 minutes after transmission had begun.
>
> [Non-text portions of this message have been removed]
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]

Thanks for the alert, Nick.  The Lux Radio Theatre was tremendously
popular.

Barbara





-----Original Message-----
From: Nick Dando <nick.dando@...>
To: PnP@yahoogroups.com
Sent: Fri, Nov 13, 2009 1:54 am
Subject: [PnP] Archive on 4: Radio Hollywood






























This may be of interest this Saturday evening. BBC Radio 4 14/11/09

20:00 - 21:00, though there is a shortened repeat on Wednesday

afternoon at 15:00.



http://www.bbc.co.uk/programmes/b00nrxkp



Sponsored by a well-known 'toilet soap', the Lux Theater brought the

silver screen to the airwaves, with specially adapted versions of new

Hollywood products including The Philadelphia Story, The African Queen

and The Wizard of Oz. Professor Jeffrey Richards takes us back to the

place where cinema and radio united and produced an unlikely lovechild.

  From its first production in 1935, The Legionnaire and The Lady with

Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have

the same stars as the films. Over its 19-year history, it boasted the

biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan

Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.

Sometimes the original players were not available, so the Theater

offered audiences a glimpse of an alternative universe, as listeners

discovered what these films would have been like with different

actors. On a few occasions the radio version boasted a more stellar

cast, for instance when Cary Grant stood in for Montgomery Clift in I

Confess.

At the start of each show Cecil B De Mille offered 'greetings from

Hollywood', gave a short introduction to the film and told listeners a

little about the stars. Twenty-five minutes later, he would turn up in

the interval for some 'movie news', which was a barely-concealed

advertisement for Lux and its frothy lather, and would return at the

end for an informal and, of course, unscripted chat with the actors,

in which they would invariably reveal their preference for a well-

known toilet soap.

These productions were performed live with full orchestra, and the

audience's reaction was often audible, which occasionally put the

actors off their lines. They also had to be half an hour shorter, and

were therefore much pacier than the originals, while retaining key

dialogue - so phrases like 'this is the beginning of a beautiful

friendship' and 'round up the usual suspects' are still present and

correct in Casablanca. But being live presented its own problems, with

stars sometimes falling ill the day before, or, on one occasion,

arriving at the studio 10 minutes after transmission had begun.



[Non-text portions of this message have been removed]























[Non-text portions of this message have been removed]

Yes, I spotted that one as well.

I don't know if they'll mention it, but AMOLAD was performed on the Lux
Theater - twice
See http://www.powell-pressburger.org/Reviews/46_AMOLAD/LuxTheater.html

     Steve


Nick Dando wrote:
> This may be of interest this Saturday evening. BBC Radio 4 14/11/09
> 20:00 - 21:00, though there is a shortened repeat on Wednesday
> afternoon at 15:00.
>
> http://www.bbc.co.uk/programmes/b00nrxkp
>
> Sponsored by a well-known 'toilet soap', the Lux Theater brought the
> silver screen to the airwaves, with specially adapted versions of new
> Hollywood products including The Philadelphia Story, The African Queen
> and The Wizard of Oz. Professor Jeffrey Richards takes us back to the
> place where cinema and radio united and produced an unlikely lovechild.
>  From its first production in 1935, The Legionnaire and The Lady with
> Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have
> the same stars as the films. Over its 19-year history, it boasted the
> biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan
> Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.
> Sometimes the original players were not available, so the Theater
> offered audiences a glimpse of an alternative universe, as listeners
> discovered what these films would have been like with different
> actors. On a few occasions the radio version boasted a more stellar
> cast, for instance when Cary Grant stood in for Montgomery Clift in I
> Confess.
> At the start of each show Cecil B De Mille offered 'greetings from
> Hollywood', gave a short introduction to the film and told listeners a
> little about the stars. Twenty-five minutes later, he would turn up in
> the interval for some 'movie news', which was a barely-concealed
> advertisement for Lux and its frothy lather, and would return at the
> end for an informal and, of course, unscripted chat with the actors,
> in which they would invariably reveal their preference for a well-
> known toilet soap.
> These productions were performed live with full orchestra, and the
> audience's reaction was often audible, which occasionally put the
> actors off their lines. They also had to be half an hour shorter, and
> were therefore much pacier than the originals, while retaining key
> dialogue - so phrases like 'this is the beginning of a beautiful
> friendship' and 'round up the usual suspects' are still present and
> correct in Casablanca. But being live presented its own problems, with
> stars sometimes falling ill the day before, or, on one occasion,
> arriving at the studio 10 minutes after transmission had begun.
>
>

Perhaps Pressburger was influenced by Compton Mackenzie's 1943
bestseller Keep the Home Guard Turning, the central character of which
is an Englishman who lives on a remote Scottish island for the
shooting. (Bits of this novel turn up in the film of the sequel,
Whisky Galore which, of course, shares a couple of cast members with
IKWIG)

Nicky

On Fri, Nov 13, 2009 at 9:52 AM, Steve Crook <steve@...> wrote:
>
>
>
> Capt. Knight (Esmond Knight's uncle) is playing it for laughs, and
> remember that he wasn't a professional actor, much less a comic.
>
> I've done some falconry and can tell you that no real falconer would try
> to swing a lure while they're standing close to a bush - you can even
> see him edge towards it slightly until the lure becomes entangled. Also,
> a real falconer would never loose a bird in a wind so high that the bird
> hardly moves as he leaves the gloved fist. And a real falconer wouldn't
> go to his birds with a rabbit hanging out of his bag so that a bird can
> jump on it. All of these things, and more, is done for the deliberate
> comic effect.
>
> Steve
>
>

This may be of interest this Saturday evening. BBC Radio 4 14/11/09
20:00 - 21:00, though there is a shortened repeat on Wednesday
afternoon at 15:00.

http://www.bbc.co.uk/programmes/b00nrxkp

Sponsored by a well-known 'toilet soap', the Lux Theater brought the
silver screen to the airwaves, with specially adapted versions of new
Hollywood products including The Philadelphia Story, The African Queen
and The Wizard of Oz. Professor Jeffrey Richards takes us back to the
place where cinema and radio united and produced an unlikely lovechild.
  From its first production in 1935, The Legionnaire and The Lady with
Clark Gable and Marlene Dietrich, The Lux Radio Theater strove to have
the same stars as the films. Over its 19-year history, it boasted the
biggest names in Hollywood - Humphrey Bogart, Ingrid Bergman, Joan
Crawford, Bette Davis, Frank Sinatra, Spencer Tracy and many more.
Sometimes the original players were not available, so the Theater
offered audiences a glimpse of an alternative universe, as listeners
discovered what these films would have been like with different
actors. On a few occasions the radio version boasted a more stellar
cast, for instance when Cary Grant stood in for Montgomery Clift in I
Confess.
At the start of each show Cecil B De Mille offered 'greetings from
Hollywood', gave a short introduction to the film and told listeners a
little about the stars. Twenty-five minutes later, he would turn up in
the interval for some 'movie news', which was a barely-concealed
advertisement for Lux and its frothy lather, and would return at the
end for an informal and, of course, unscripted chat with the actors,
in which they would invariably reveal their preference for a well-
known toilet soap.
These productions were performed live with full orchestra, and the
audience's reaction was often audible, which occasionally put the
actors off their lines. They also had to be half an hour shorter, and
were therefore much pacier than the originals, while retaining key
dialogue - so phrases like 'this is the beginning of a beautiful
friendship' and 'round up the usual suspects' are still present and
correct in Casablanca. But being live presented its own problems, with
stars sometimes falling ill the day before, or, on one occasion,
arriving at the studio 10 minutes after transmission had begun.

[Non-text portions of this message have been removed]

Capt. Knight (Esmond Knight's uncle) is playing it for laughs, and
remember that he wasn't a professional actor, much less a comic.

I've done some falconry and can tell you that no real falconer would try
to swing a lure while they're standing close to a bush - you can even
see him edge towards it slightly until the lure becomes entangled. Also,
a real falconer would never loose a bird in a wind so high that the bird
hardly moves as he leaves the gloved fist. And a real falconer wouldn't
go to his birds with a rabbit hanging out of his bag so that a bird can
jump on it. All of these things, and more, is done for the deliberate
comic effect.

     Steve


Simon Turner wrote:
> Hi all,
> I've just watched IKWIG! again and found the 2nd half more impressive than
ever; the look Torquil flashes at Joan as he has her trapped on the ladder
giving a clue why the other Torquil is named after him, is as show-stopping as
Vicky's when the red shoes refuse to move as she bids them. But I don't like
much else relating to Colonel Barnstaple the falconer's inclusion as a
character. Great dialogue when talking of the mystified lack of understanding of
woman, but that was the writing of Pressburger and the playing of Livesey,
rather than the overplaying of Captain Knight. He seems to be totally
unnecessary comic support throughout, or perhaps a misguided poke at how
ridiculous the English can get. I know that there are members of this group who
have IKWIG as their PnP favourite, as TRS and ACT are mine, so could anyone tell
me why they like the character as they like the rest of the film, such as the
mock-docu beginning, the dark magic, magical photography, lovely writing, every
other character, whirlpool, and curse resolution? ! I'd like an angle to come in
at him that I'm obviously missing if there is more to appreciate about the
character than I can see.
> After watching Edge of the World and enjoying it just as much (it seems to me
to be far more even), I'm reading Powell's wonderful book that accompanied the
film, which I actually like even better than either!
> The Amsterdam Film Museum had their big PnP retrospective last year. Now I'm
living in Stockholm and will start lobbying here!! Is anyone else on the list
living in Sweden?
> All the best,Simon
>
>
>

I love IKWIG, but I share your feelings about the Colonel's role.
Sally




________________________________
From: Simon Turner <westerbergsimon@...>
To: pnp@yahoogroups.com
Sent: Thu, November 12, 2009 5:37:41 PM
Subject: [PnP] PnP and Scotland



Hi all,
I've just watched IKWIG! again and found the 2nd half more impressive than ever;
the look Torquil flashes at Joan as he has her trapped on the ladder giving a
clue why the other Torquil is named after him, is as show-stopping as Vicky's
when the red shoes refuse to move as she bids them. But I don't like much else
relating to Colonel Barnstaple the falconer's inclusion as a character. Great
dialogue when talking of the mystified lack of understanding of woman, but that
was the writing of Pressburger and the playing of Livesey, rather than the
overplaying of Captain Knight. He seems to be totally unnecessary comic support
throughout, or perhaps a misguided poke at how ridiculous the English can get. I
know that there are members of this group who have IKWIG as their PnP favourite,
as TRS and ACT are mine, so could anyone tell me why they like the character as
they like the rest of the film, such as the mock-docu beginning, the dark magic,
magical
  photography, lovely writing, every other character, whirlpool, and curse
resolution? ! I'd like an angle to come in at him that I'm obviously missing if
there is more to appreciate about the character than I can see.
After watching Edge of the World and enjoying it just as much (it seems to me to
be far more even), I'm reading Powell's wonderful book that accompanied the
film, which I actually like even better than either!
The Amsterdam Film Museum had their big PnP retrospective last year. Now I'm
living in Stockholm and will start lobbying here!! Is anyone else on the list
living in Sweden?
All the best,Simon


____________ _________ _________ _________ _________ _________ _
Wil jij ook onbeperkte opslagruimte? Gebruik Hotmail
http://mail. live.com

[Non-text portions of this message have been removed]







[Non-text portions of this message have been removed]

Hi all,
I've just watched IKWIG! again and found the 2nd half more impressive than ever;
the look Torquil flashes at Joan as he has her trapped on the ladder giving a
clue why the other Torquil is named after him, is as show-stopping as Vicky's
when the red shoes refuse to move as she bids them. But I don't like much else
relating to Colonel Barnstaple the falconer's inclusion as a character. Great
dialogue when talking of the mystified lack of understanding of woman, but that
was the writing of Pressburger and the playing of Livesey, rather than the
overplaying of Captain Knight. He seems to be totally unnecessary comic support
throughout, or perhaps a misguided poke at how ridiculous the English can get. I
know that there are members of this group who have IKWIG as their PnP favourite,
as TRS and ACT are mine, so could anyone tell me why they like the character as
they like the rest of the film, such as the mock-docu beginning, the dark magic,
magical photography, lovely writing, every other character, whirlpool, and curse
resolution? ! I'd like an angle to come in at him that I'm obviously missing if
there is more to appreciate about the character than I can see.
After watching Edge of the World and enjoying it just as much (it seems to me to
be far more even), I'm reading Powell's wonderful book that accompanied the
film, which I actually like even better than either!
The Amsterdam Film Museum had their big PnP retrospective last year. Now I'm
living in Stockholm and will start lobbying here!! Is anyone else on the list
living in Sweden?
All the best,Simon







_________________________________________________________________
Wil jij ook onbeperkte opslagruimte? Gebruik Hotmail
http://mail.live.com

[Non-text portions of this message have been removed]

Hi, Steve:

Blimp gets shown fairly frequently on late night ABC TV -- I'm not sure if it's
the most recent upgrading of the print, but I'm pretty sure it's the entire
film. When it was first shown in the eighties on TV, it was still the old
mangled print.

Best wishes
Bruce Gillespie

[Non-text portions of this message have been removed]

There's an article in the Courier Mail at
http://www.news.com.au/couriermail/story/0,23739,26343161-5003422,00.html
It's really about "False Witness" being on TV but they also say...
Technically it should be shown in two parts, that's how it ran on UK-TV,
but Nine's giving it to us all in one hit, basically all of Sunday
night. And since you're up anyway, you'll be able to then flick over to
ABC1 for the 1943 Michael Powell/Emeric Pressburger movie The Life and
Death of Colonel Blimp. Can't ask for more than that.

     Steve

... The Life and Death of Colonel Blimp.

(Today is Veteran's Day in the U.S.)

Lovely still from the movie to illustrate. :)

http://somecamerunning.typepad.com/

   -- Paula (who had lunch with two veterans)

Hi Everyone,



Just picked up the new brochure for the Dukes of Yorks Cinema here in Brighton
and they're showing the new digital re-issue of TRS in December.



Duke Of Yorks

Preston Circus

Brighton BN1 4NA



Friday 18th - Thursday 24th December



Fri 18th - tbc

Sat 19th - 3.00pm

Sun 20th - 6.00pm

Mon 21st - tbc

Tue 22nd - tbc

Wed 23rd - tbc

Thu 24th - tbc



TRS is the featured artwork on the cover of the brochure.



http://www.picturehouses.co.uk/cinema_home_date.aspx?venueId=doyb





I assume as it's part of the Picturehouse chain they'll be showing it at all
their venues.



http://www.picturehouses.co.uk/





Michael







_________________________________________________________________
Use Hotmail to send and receive mail from your different email accounts
http://clk.atdmt.com/UKM/go/186394592/direct/01/

[Non-text portions of this message have been removed]

That's part of The Archers' Manifesto that Emeric laid out in a letter
to Deborah to explain why she should join them for Blimp

One, we owe allegiance to nobody except the financial interests which
provide our money; and, to them, the sole responsibility of ensuring
them a profit, not a loss.

Two, every single foot in our films is our own responsibility and nobody
else's. We refuse to be guided or coerced by any influence but our own
judgement.

Three, when we start work on a new idea we must be a year ahead, not
only of our competitors, but also of the times. A real film, from idea
to universal release, takes a year. Or more.

Four, no artist believes in escapism. And we secretly believe that no
audience does. We have proved, at any rate, that they will pay to see
the truth, for other reasons than her nakedness.

Five, at any time, and particularly at the present, the self respect of
all collaborators, from star to prop-man, is sustained, or diminished,
by the theme and purpose of the film they are working on. They will
fight or intrigue to work on a subject they feel is urgent or
contemporary, and fight equally hard to avoid working on a trivial or
pointless subject. And we agree with them and want the best workmen with
us; and get them. These are the main things we believe in. They have
brought us an unbroken record of success and a unique position. Without
the one, of course, we should not enjoy the other very long. We are
under no illusions. We know we are surrounded by hungry sharks. But you
have no idea what fun it is surf-bathing, if you have only paddled, with
a nurse holding on to the back of your rompers.

We hope you will come on in, the water's fine.

     Steve


ranbir sidhu wrote:
> Yes, I also found it surprising for Dowd, who I generally find funny but
> often flippant. It's heady to think of all the people who'll now be talking
> about P & P in this city. What I really liked was her quote from Emeric.
> Dowd writes:
>
> In a letter to Kerr in the early ¹40s, Pressburger laid out their manifesto,
> including: ³No artist believes in escapism. And we secretly believe that no
> audience does. We have proved, at any rate, that they will pay to see the
> truth, for no other reason than her nakedness.²
>
> I'm glad she focused in on that aspect, which is so central, and it's rare
> to see a major columnist come out so strongly for seriousness in art
> (especially when there's so much surface beauty to admire in the movie, all
> of which could make easy copy).
>
> -Ranbir
>
>

Yes, I also found it surprising for Dowd, who I generally find funny but
often flippant. It's heady to think of all the people who'll now be talking
about P & P in this city. What I really liked was her quote from Emeric.
Dowd writes:

In a letter to Kerr in the early ¹40s, Pressburger laid out their manifesto,
including: ³No artist believes in escapism. And we secretly believe that no
audience does. We have proved, at any rate, that they will pay to see the
truth, for no other reason than her nakedness.²

I'm glad she focused in on that aspect, which is so central, and it's rare
to see a major columnist come out so strongly for seriousness in art
(especially when there's so much surface beauty to admire in the movie, all
of which could make easy copy).

-Ranbir

> Maureen Dowd appears on the editorial page of The New York Times each week.
> Usually, she writes political pieces that can be humorous but also sarcastic.
> Her column on TRS was a pleasant surprise.  I saved the column.
>
> Phyllis
>
>

Maureen Dowd appears on the editorial page of The New York Times each week. 
Usually, she writes political pieces that can be humorous but also sarcastic. 
Her column on TRS was a pleasant surprise.  I saved the column.

Phyllis



________________________________
From: Steve Crook <steve@...>
To: PnP@yahoogroups.com
Sent: Sun, November 8, 2009 2:44:19 PM
Subject: Re: [PnP] Maureen Dowd on TRS


An official "What ho" and welcome to you Ranbir.

There have been so many reports in the American press, especially since
the DGA event where Woody Allen was so full of praise for the restored
print, that I haven't reported them all. I've actually just heard from
Thelma Schoonmaker and she refers us to the Maureen Dowd piece as well.
I saw it earlier today but didn't know who the lady was.

Thelma says that both Woody and Alec Baldwin are huge converts to P&P
and are both raving about the film.

As for Maureen Dowd's mention of Moira Shearer, yes, she's right. Moira
did describe herself as a writer rather than as a dancer later in her
life. It's a fairly complicated and a not very happy story.

Moira never really wanted to do The Red Shoes, she was somewhat bullied
into it. Partly by P&P themselves but also by Ninette de Valois, the
head of what was soon to become the Royal Ballet. They were gearing up
for their first world tour and Dame (as she was to become) Ninette
realised that a film about ballet starring one of her dancers would be
very good publicity, especially in America.

Moira was always concerned that the film would interfere with her career
in the ballet. She just wanted to be a dancer, not a film star. But
Ninette assured her that she would be taken back into the company after
the film and everything would continue as normal. Was Ninette naive for
saying that or was Moira naive for believing it?

Moira said many times afterwards (primarily in the interviews in the
commentary track on the Criterion DVD) that her experiences of
film-making weren't happy ones. Although Jack Cardiff said that she
seemed happy enough. She would chat to the crew and often bring them
cups of tea.

But Moira complained about many things:
She complained about the unsprung floors that they had to dance on -
although another member of the Royal Ballet that I've spoken to said
that if she had danced in as many village halls as the rest of them then
she would have been more used to it.
Moira complained about the stop-start method of film-making because it
didn't let her get into the flow of the dancing. Although other dancers
like Helpmann & Massine said they liked that because it let them really
focus onto a single movement, and isn't that what dancers do in front of
the mirror in rehearsal rooms? Constantly repeat a single movement.
She swore she'd never do another film, especially for Powell, although
she did go back and make The Tales of Hoffmann, and then Peeping Tom -
and Powell killed her off in every one of them :)

When she did go back to the ballet Moira found that things weren't
exactly as they had been before. When they did the American tour a lot
of people were asking to see her dance and that led to some ill will
from other members of the company who thought she was getting a bit
big-headed.

When she did TRS Moira was a leading dancer in the ballet company, but
she wasn't the number one leading dancer. That position was held by
Margot Fonteyn. Moira quite reasonably expected to inherit the top
position when Margot retired. But then Margot married a central American
politician who was shot in a coup attempt. He lived but was severely
disabled and needed expensive hospital treatment. So Margo carried on
dancing long after she was expected to retire, and Moira never did get
the top job.

So there are lots of factors and it's not clear exactly whose version is
the most accurate. But Moira did a few other films and then retired from
dancing. She wrote a few books about dancing and then she started
writing arts reviews in newspapers. That's why she described herself as
a writer rather than as a dancer later in life.

Steve

ranbir sidhu wrote:
> I haven't seen this sent around yet.
>
> http://www.nytimes. com/2009/ 11/08/opinion/ 08dowd.html? ref=opinion
>
> Non-NYers may not know Maureen Dowd, but she's a prominent and difficult to
> catergorize political columnist at the NYT. She raves about TRS at the Film
> Forum. I'm curious how accurate her stories about Moira Shearer are at the
> end of the column.
>
> cheers, R
>
>
>
> ____________ ____
> ranbir sidhu
> www.ranbirsidhu. com
>
>




[Non-text portions of this message have been removed]

I read Maureen Dowd's column yesterday and I enjoyed her descriptions of M.
Shearer, the film, and Michael.

What does anyone who has read the column think about what she wrote?

Phyllis



________________________________
From: ranbir sidhu <ranbirny@...>
To: PnP@yahoogroups.com
Sent: Sun, November 8, 2009 12:38:29 PM
Subject: [PnP] Maureen Dowd on TRS


I haven't seen this sent around yet.

http://www.nytimes. com/2009/ 11/08/opinion/ 08dowd.html? ref=opinion

Non-NYers may not know Maureen Dowd, but she's a prominent and difficult to
catergorize political columnist at the NYT. She raves about TRS at the Film
Forum. I'm curious how accurate her stories about Moira Shearer are at the
end of the column.

cheers, R

____________ ____
ranbir sidhu
www.ranbirsidhu. com




[Non-text portions of this message have been removed]

Has anyone else  read Telling Tales - a history of literary hoaxes by
Melissa Katsoulis.

 http://www.amazon.co.uk/Telling-Tales-History-Literary-Hoaxes/dp/1849010803/ref\
=tag_tdp_sv_edpp_i
Very readable and containing all the usual suspects - Thomas
Chatterton, Grey Owl, the Hitler Diaries etc plus Nino Culotta and
They're a Weird Mob (though this is about the only hoax where the
author both owned up, almost immediately, and carried on as if nothing
had happened!)

Nicky