#al pacino april

[alpacinonumberone]

Happy Birthday to Al Pacino!

[acciohunks]

A new update from an unexpected source.

[havithreatendub4]

#private screening of #Donnie Brasco with #Al Pacino #April 26, 2023

[anthonysperkins]

gifs of 2024 ✨

post your favorite and most popular post from each month this year (it’s okay to skip months)

tagged by @talesfromthecrypts 💜 thanks brittany!

JANUARY

favorite: Paul Newman bday gifset 🥳 (3k) most popular: Zayn Dom (4k), gaygalore: Andrew Miller (19k)

FEBRUARY

favorite: Brain Damage/Possessor parallels 🔫 (793) most popular: Eusebio Poncela and Miguel Molina as Pablo and Juan in Law of Desire (1987) (9.7k)

MARCH

favorite: Dirty Men in Film 👷‍♂️ (2.7k) most popular: Ken Clark as Stewpot 🍲 in South Pacific (1958) (3.6k), gayarmpits: Archie and Kaleb (8k)

APRIL

favorite: Anthony Perkins as Norman Bates 💙 in Psycho II (1983) (1.2k) most popular: Tryp Bates and Greg Dixxon (11.4k)

MAY

favorite: Bob McCune posing 💪 for "Mr. California" 1949 (3.4k) most popular: Dante Foxx and Rick Hammersmith (6.4k), gaypast: Kyle McKenna and Cole Tucker (8.4k)

JUNE

favorite: violence between gay men in film, or intricate rituals part 1 🤼‍♂️ (1.9k), also: Christopher Abbott as Kevin in On the Count of Three (2021) (327) most popular: Heath Ledger and Jake Gyllenhaal as Ennis Del Mar and Jack Twist 💚 in Brokeback Mountain (2005) (12.1k)

JULY

favorite: Ryan Gosling loves fisting 🤜 as Colt Seavers in The Fall Guy (2024) (605), and Al Pacino loves piss 💦 as Detective Steve Burns in Cruising (1980) (3k) most popular: Zak Spears (3.5k), gayarmpits: SojMani (37.7k)

AUGUST

favorite: Cary Grant as Leopold Dilg 🔥 in The Talk of the Town (1942) (1.2k), and filmgifs: gay men teasing each other in film, or intricate rituals part 2 🤼‍♂️ (3.5k) most popular: Sailor T. Rhodes (6.9k), gaygalore: Tony Stefano and Steve Henson (10.3k)

SEPTEMBER

favorite: Psycho/Longlegs parallels (2.2k), and Mike Dytri and Craig Gilmore as Luke 🔫 and Jon in The Living End (1992) (2.1k) most popular: Austin Butler and Tom Hardy as Benny and Johnny in The Bikeriders 🏍️ (2024) (2.8k), hispits: Seven Dixon and Connor Maguire (5.2k)

OCTOBER

favorite: shoeshines in vintage gay media, or intricate rituals part 3 👞 (2.4k) most popular: Brain Damage/American Psycho parallels 🍑 (4.3k)

NOVEMBER

favorite: Christopher Abbott as Reed 🪢 in Piercing (2018) (654) most popular: Randy and Manny (7.7k), hispits: Archie and Sean (8.4k)

DECEMBER

favorite: psychopaths 🖤 (790) most popular: Alan Parker, Joe Leitel and Bruce Reed in Ben-Hurry (1959) (12.4k)

tagging: @acecroft @mikaeled @lindadarnell @normasshearer @stars-bean

@eurodynamic @zanephillips @losthavenmine @rogerdeakinsdp @slayerbuffy

[latristereina]

Al Pacino and Diane Keaton at the 46th Academy Awards, April 2, 1974, at the Dorothy Chandler Pavilion in Los Angeles

[cadmium-free]

Funeral Parade of Roses (1969) - Watched on August 5, 2023

It spirals to its inevitable conclusion. We revisit a moment, a scene. A little more plays out, we step back or step forward. We live transfixed in a moment. Sometimes a scene mirrors another, it's all the same but with different details. There is no escaping fate, we can only be sucked closer and closer to our inevitable conclusion.

Stop Making Sense (1984) - Watched on October 5, 2023

I genuinely don’t think this needs any explanation or justification at all. I could watch it over and over and over and over and over.

Possession (1981) - Watched on October 17, 2023

It took me three sittings to get through this film and I wasn’t sure I liked it immediately after I finished it. And then it just simmered in my mind for days and weeks after until it finally clicked into place. I love the way Sam Neill moves in this. Everyone comments on the haunting way Isabelle Adjani looks directly into the camera, and yea. Yeah. Ok. Yeah. Yeah.

The Devils (1971) - Watched on June 26, 2023

I thought going into it with the full knowledge of Urbain Grandier would defang it, and perhaps this did soften the blow a bit, but it's audacious, frenzied, sensual. You get tangled up in its themes, its sensations, its torture.

Dog Day Afternoon (1975) - Watched on January 13, 2023

This set off a brief and ferocious obsession with Al Pacino. I have a strained relationship with films based on true crimes, but this slides past my qualms, perhaps just on the strength of the fact John Wojtowicz himself did write a review of it.

Bound (1996) - Watched on April 5 and August 19, 2023

The way Corky and Violet can come together with genuine trust so quickly. The way Ceaser can misunderstand Violet so fundamentally. The literal betrayal in realising who someone is.

Häxan (1922) - Watched on October 27, 2023

The 1922 equivalent of a Youtube video essay where a guy is like, "Guys, I just learned a bunch of fucked up facts about witches and witch trials. I think maybe we just execute women for being poor and mentally ill. Also aren't mental institutions a bit fucked up?" but like, a bit hornier than you would expect for the subject.

Cruising (1980) - Watched on January 17, 2023

It’s all about looking and being noticed. The camera is looking. Al Pacino is looking. The men are looking. And the ambiguity of the gaze and the plot.

Pontypool (2008) - Watched on October 4, 2023

It's a film about words. It's a film about broadcasting from a radio station and seeing nothing. Our imagination fills in the visual gaps. It's so much more horrifying to be piecing everything together from the safety of a recording booth.

The Lair of the White Worm (1988) - Watched on February 1, 2023

Hugh Grant—looking like a lesbian—who is a freaky little rich boy who believes in cryptids, Peter Capaldi—looking like a lesbian—sucking snake venom from a neck bite, an incredibly sexy snake woman with a house full of snake stuff, a giant snake puppet, surreal dream sequences, the coolest game of snakes and ladders ever made, snake dicks, weaponised bagpipe music, homoeroticism, and giant strap-ons.

Ravenous (1999) - Watched on October 19, 2023

This film is so offbeat and strange. It has the strange feel of a comedy, while being a really understandably grim depiction of cannibalism as manifestation of greed, expansionism, and colonization. I kept having these moments of shock that this was a studio movie, that studios were willing to make this film that so thoroughly deconstructs the American mythology.

Penda's Fen (1974) - Watched on July 6, 2023

The first movie in a long time that has made me feel as though I need to pick it apart like an essay, to rewatch multiple times and take notes and repeat sentences until I’ve done a thorough analysis. I've never had a film hit me in quite this way before.

[davidhudson]

Jill Clayburgh, April 30, 1944 – November 5, 2010.

With Al Pacino.

[itsmyfriendisaac]

♉ April 25th: The Godfather, Al Pacino.

[strryhaze]

Neil Perry : I can't talk to him this way.

John Keating : Then you're acting for him, too. You're playing the part of the dutiful son. Now, I know this sounds impossible, but you have to talk to him. You have to show him who you are, what your heart is!

Neil Perry : I know what he'll say! He'll tell me that acting's a whim and I should forget it. They're counting on me; he'll just tell me to put it out of my mind for my own good.

Among his many activities at Brown, John especially enjoyed being onstage and proved to be a talented actor. He told director John Emigh that one of the reasons he loved acting was that he believed people would cast him not because of his family background but because he fit the role best. Jim Barnhill, who taught John in a small scene study class in his sophomore year, described John as “among the best and most talented students” he ever encountered. He thought that John could have been accepted into Juilliard School or the Yale School of Drama.

While John appeared in a few plays that Emigh directed, he passed on one. It was Shakespeare’s Henry IV, which tells the story of a young man who transcends his misspent youth to become king. Even though most of his friends were in it, Emigh reflected, “John wanted nothing to do with that play. It hit too close to home.”

In January 1982 John again showed his commitment by cutting off his hair for David Rabe’s play In the Boom Boom Room. He played the role of Big Al, a foul-mouthed street hoodlum who was dating a go-go dancer. “Kennedy’s performance was really the high point of the evening,” the Brown Daily Herald critic wrote. He brought out his “more sensitive side in a very realistic manner, all this without hardly ever succumbing to the characteristic Pacino-type movements and speech patterns so many actors feel obliged to take on.

John’s final theater performance came in April 1983 for Miguel Piñero’s Short Eyes. “It was not John F. Kennedy and the guys,” recalled Richard Gray Jr. “It was an ensemble.” John, he reflected, went out of his way to be like everybody else. “It was clear in the theater community that John never wanted to get anything because of his name. He wanted to be right for the role.”

“Mrs. Onassis, who attended the opening-night performance of Short Eyes, gave them rave reviews, telling the actors, “This was as good as anything on Broadway.” Stephen Hill recalled that John’s famous mother “radiated this glow of friendliness and warmth. I remember how proud she was of John, how happy John was to be with his mom and introducing her to all of us. It made me realize Jackie Onassis is just another proud mother.”

Many people have written that John wanted to be an actor and that his mom objected and forced him to pursue a more traditional legal career. Christopher Andersen quoted a friend as saying, “His mother laid down the law. She told John in no uncertain terms that acting was beneath him, that he was his father’s son, and that he had a tradition of public service to uphold.” But not all close friends shared that opinion.

“I really think that’s just myth,” reflected Sasha Chermayeff. “I think he enjoyed acting. But he had no intention of pursuing acting professionally, ever. I never ever heard him say anything seriously about wanting to pursue it as a real life’s work.”

Although director Emigh claimed that John confessed he liked the theater because he would be evaluated based on his talent and not his family name, John was not so naïve as to believe such neutrality existed. He knew there was no escaping his past—not even when he was pretending to be someone else.

— america’s reluctant prince, stephen gillon .

[haslemere]

Al Pacino's new movie The Ritual has gotten lots of exciting updates, including a release date and poster. The upcoming horror movie from director David Midell tells the story of two priests from different backgrounds who must work together to perform an exorcism that will aim to help a possessed young woman. It will feature Oscar winner Pacino, Dan Stevens, Ashley Greene, Patricia Heaton, and Abigail Cowen.

The release date is confirmed for Easter Weekend, releasing April 18, 2025.

That indeed looks pretty scary .. But then there's hot priest Dan to also look forward to😆🔥

[voguefashion]

Dinah Shore, Burt Reynolds, Al Pacino, Marvin Hamlisch, Ann-Margret, Roger Smith, Paul Newman, Joanne Woodward, Susan George, Jack Jones, Felicia Farr, Jack Lemmon, Jill Ireland, Charles Bronson, Linda Blair, Paul McCartney, Linda McCartney, Raquel Welch & Damon Welch at the 46th Academy Awards at the Dorothy Chandler Pavilion in Los Angeles, California on April 2nd 1974.

[havithreatendub4]

#private screening of #Donnie Brasco with #Al Pacino #April 26, 2023

[nellarw95]

Happy Birthday Al 🥳🎂🎈🎁🎉

Alfredo James Pacino

April 25,1940

Buon Compleanno 🥳🎂🎈🎁🎉

25 Aprile 1940

[fuori-orario-film-posts]

Diane Keaton, Robert DeNiro, Robert Duvall, Francis Ford Coppola, James Caan, Al Pacino and Talia Shire at "The Godfather" 45th Anniversary Screening during the Tribeca Film Festival April 29, 2017 in NYC

[alexlacquemanne]

2023 in 12 movies (1 per months)

January

The Horse Whisperer (1998) directed by Robert Redford with Robert Redford, Kristin Scott Thomas, Scarlett Johansson, Sam Neil, Chris Cooper and Cherry Jones

[First Time]

February

L'Horloger de Saint-Paul (1974) directed by Bertrand Tavernier with Philippe Noiret, Jean Rochefort, Jacques Denis, Yves Afonso, Julien Bertheau and Jacques Hilling

[First Time]

March

The Fabelmans (2022) directed by Steven Spielberg with Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Keeley Karsten, Julia Butters and Judd Hirsch

[First Time]

April

The Third Man (1949) directed by Carol Reed with Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard and Bernard Lee

[First Time]

May

The World, The Flesh and the Devil (1959) directed by Ranald MacDougall with Harry Belafonte, Inger Stevens and Mel Ferrer

[First Time]

June

La ciociara (1960) directed by Vittorio De Sica with Sophia Loren, Eleonora Brown, Jean-Paul Belmondo, Carlo Ninchi, Andrea Checchi and Pupella Maggio

[First Time]

July

Oppenheimer (2023) directed by Christopher Nolan with Cillian Murphy, Robert Downey Jr., Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett and Casey Affleck

[First Time]

August

Heat (1995) directed by Michael Mann with Al Pacino, Robert De Niro, Val Kilmer, Tom Sizemore, Diane Venora, Amy Brenneman, Dennis Haysbert, Donald Breedan and Ashley Judd

[First Time]

September

Catch Me If You Can (2002) directed by Steven Spielberg with Leonardo DiCaprio, Tom Hanks, Christopher Walken, Nathalie Baye, Amy Adams, Martin Sheen, James Brolin and Brian Howe

[First Time]

October

Le Grand Bain (2018) directed by Gilles Lellouche with Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde, Jean-Hugues Anglade, Philippe Katerine, Félix Moati, Alban Ivanov, Balasingham Thamilchelvan, Virginie Efira et Leïla Bekhti

[First Time]

November

Fools Rush In (1997) directed by Andy Tennant with Matthew Perry, Salma Hayek, Jon Tenney, Carlos Gómez, Tomás Milián, Siobhan Fallon et John Bennett Perry

[First Time]

December

The Great Race (1965) directed by Blake Edwards with Tony Curtis, Natalie Wood, Jack Lemmon, Peter Falk, Keenan Wynn et Ross Martin

[First Time]

Honourable Mentions :

Airplane! (1980)

Duel (1972)

Les Sentiments (2003)

The Carpetbaggers (1964)

Scoop (2006)

Mon crime (2023)

To Have and Have Not (1944)

The Super Mario Bros. Movie (2023)

The Man Who Shot Liberty Valance (1962)

臥虎藏龍 (2000)

The Glenn Miller Story (1954)

Le Dernier Voyage (2020)

Dead Men Don't Wear Plaid (1982)

L'ingorgo (1979)

Indiana Jones and the Last Crusade (1989)

Adieu Gary (2008)

Conflict (1945)

Fahrenheit 451 (1966)

La Nuit américaine (1973)

Sorcerer (1977)

La Guerre des polices (1979)

Life of Pi (2012)

The Big Short (2015)

Le Hussard sur le toit (1995)

Excalibur (1981)

The Naked Gun: From the Files of Police Squad! (1988)

Bridget Jones’s Diary (2001)

Le Procès Goldman (2023)

Enter the Dragon (1973)

Matrimonio all'italiana (1964)

Chaplin (1992)

La Vie de château (1966)

Escape from Alcatraz (1979)

Au-delà des grilles (1949)

Second Tour (2023)

Le Couteau dans la plaie (1962)

The Eiger Sanction (1975)

JFK (1991)

Le Fugitif (1993)

Chef (2014)

Quai des Orfèvres (1947)

Appointment with Death (1988)

Bridget Jones: The Edge of Reason (2004)

Wallace & Gromit: The Curse of the Were-Rabbit (2005)

River of No Return (1954)

L'Assassinat du père Noël (1941)

Dances with Wolves (1990)

Die Glasbläserin (2016)

The Lion in Winter (1968)

Les Mystères de Paris (1962)

[charliethomascoxuniverse]

Charlie Cox Interview（Broadway.com in London）

April 14, 2008

Charlie Cox could be forgiven for choosing the allure of Hollywood over the daily grind of the West End. It's both bracing and somewhat surprising, then, to find the 25-year-old star of the fantasy adventure film, Stardust, not to mention the Al Pacino Merchant of Venice and Heath Ledger vehicle Casanova before that, on stage at the Comedy Theatre in a Harold Pinter double bill, The Lover and The Collection. 

It’s Cox's second-ever professional stage gig following a Southwark Playhouse production three years ago of Tis Pity She's A Whore. In the first of the two Pinters, both dating to the early 1960s, Cox makes a cameo appearance as a milkman suggestively delivering cream to the home of the adulterous (or is she really?) Gina McKee. But it's The Collection that tests the young actor's chops, playing both the boy toy of older gent Timothy West as well as a possible bedmate of McKee's Stella. (The truth, as so often in Pinter, is teasingly elusive.)

 The supremely open and affable Cox chatted to Broadway.com one recent Saturday before that day's two shows about his West End debut, fielding those famous Pinter pauses, and why the fame that surely awaits him is also in some way terrifying.

So, here you are nearing the final stretch of a four-month West End run when surely the demand for you to stick with movies must be intense.

I suppose, and there is a way in which this was the first real decision that I had to make, since I was offered a film at the same time as this play. But the truth of the matter is, when you start out acting, you take any job you can get. A lot of young actors nowadays are being forced into film and into fame, and they're not any better than when they started. And I've always thought the best possible scenario for my life and my career is longevity, and the theater has to be part of that.

But don't agents go, "You can't give over 16 weeks to lesser-known Pinter when you could be doing movies?"

It depends on who the agent is. My agent in England [Lindy King] is incredibly understanding. There is no such thing as "can" or "can't." She sees the bigger picture. I mean, obviously, she will advise me as to what she thinks is best for my career, but that's precisely why this appealed to me so much. I hope to do much more theater. I love it. I've had a fabulous time all the way through.

When you did Tis Pity at the Southwark Playhouse in 2005, that was only a three-week run. How have you found the eight-show-a-week routine over the past few months?

It's interesting: After rehearsals, a lot of the work is done, and you don't have to come into work and face new challenges as you often do on a film. I'm finding that when you do a long run, you have to go places you've never been before to keep the material fresh, and that's working with some very seasoned actors in both film and theater: Timothy West, Gina McKee... I will go through a period of four or five days when I feel I can't deliver, but then something happens that brings you out of any possible rut. It's about finding new ways of being able to hear it each night.

I'm sure the fact that it's Pinter is a major plus.

Yes, especially that it's Pinter. The words he uses are so precise and so brilliant and so perfect for their placement within a script that when we first started, I thought, I can't do this without a dictionary.

What about those celebrated Pinter pauses? Are they tricky to navigate?

Well, we have to remember that Pinter was an actor first and foremost, and he is there to help the actor in his writing. There's become this belief that you have to tap out the pauses, but he'll openly admit that is absolute bollocks. With Harold, the punctuation is even more important than the pauses and the silences.

Did Pinter come to rehearsals?

He came on three different occasions, and I was kind of all right with it. Gina and Rich were really, really scared. He had very, very few notes: he gave me some areas where I could slow down a bit.

It must be fun priming yourself for the intrigue of The Collection with your brief encounter with Gina in The Lover.

The two plays do work surprisingly well together in that Harold's characters tend to do battle with the same power struggle. But let's be honest: the milkman could be done by anyone; it's kind of embarrassing, actually. What happened was that Jamie [the plays' director, Jamie Lloyd] gave me the script and said that there's a small character in The Lover who's normally played by the person who plays Bill in The Collection: that made a lot of sense to me.

You began in theater with a Jacobean writer, John Ford. Do you see any Shakespeare in your stage future, especially having appeared with Al Pacino on screen in The Merchant of Venice?

I'd love to, though I don't find it very easy. I know there are some people who find that doing Shakespeare is just like chatting but I'm much more comfortable doing something more modern. I don't feel natural when playing royal monarchs [Laughs.]

You worked with the late Heath Ledger on Casanova and his awful death must prompt all sorts of questions about the price of fame.

God yes, though you'd never have encountered anyone genuinely kinder or less driven by ego than Heath. But I can honestly tell you that I never got into [this profession] for money or anything like that. Fame terrifies me to my very soul, I just fucking hate it. It makes me incredibly anxious.

You've clearly got a genuine sense of perspective, so I'm sure you'll deal with it just fine. What's next, once the play ends?

I've got a month off and then I'm off to Los Angeles to do another movie with Al Pacino, who this time is playing my dad, who is being taken off life support. It's called Lullaby, and the whole thing takes place in a hospital room; it's a dark comedy, actually.

~*~