#richard eyre

[ihearttseliot]

[courseyoulovemeyoudontknowme]

Notes on a Scandal (2006, Richard Eyre)

18/08/2024

[heyho-simonrussellbeale]

At the heart of the initiative is the three-part documentary series for BBC Two and iPlayer titled Shakespeare: Rise of a Genius, featuring contributions from Judi Dench, Helen Mirren, Brian Cox, Adrian Lester, Lolita Chakrabarti, Martin Freeman and Jessie Buckley, alongside academics and writers including James Shapiro, Jeanette Winterson, Lucy Jago, Jeremy O’Harris and Ewan Fernie.

The documentary series will be made available from 8 November at 9pm.

A whole host of archived productions and Shakespeare-based films will be released across October and November to celebrate the contributions made by the First Folio.

There will also be specially created new introductions for many of these, featuring David Tennant on Hamlet, Richard Eyre on King Lear, Janet Suzman on Wars of the Roses, Gregory Doran on the Shakespeare Gala from the RSC, Russell T Davies on A Midsummer Night’s Dream, Mirren on As You Like It, Hugh Quarshie on Othello, Steven Berkoff on Hamlet at Elsinore, Simon Russell Beale on The Hollow Crown, and Ian McKellen on All is True.

[moviemosaics]

Notes on a Scandal

directed by Richard Eyre, 2006

[bluen3hey]

2006  Notes on a Scandal

[ulrichgebert]

"Es macht Spaß, den alten Leuten bei der Arbeit zuschauen, die können so so schöne Gesichter machen" sagt der Tobi. Darin topp Sir Ian Sir Anthony locker, als der Ankleider, der ein wenig wider alle Vernunft den reichlich angeschlagenen "Sir" durch seinen allerletzten Lear (es ist der 217.) begleitet/nötigt, weil, was soll denn auch aus ihm werden, wenn die Show nicht weitergeht. Sagen Sie Bescheid, wenn wir anfangen, mehr Stücke über Leute, die Shakespeare spielen anzuschauen, als Stücke von Shakespeare.

[sebastiancroftupdates]

Bash talking to Phil Hewitt about theatre, working with Dame Eileen Atkins, Sir Richard Eyre and Heartstoppper.

[movie-titlecards]

Richard III (1995)

My rating: 6/10

Quite possibly the best adaptation of the source material they could've managed: the cast is great, and McKellen in particular is excellent, portraying Richard as a wretched, pathetic, evil little man, with just enough playful nibbling at the scenery to keep things entertaining, and the 1930s setting serves well in making the visual language read to a modern audience: Richard himself as the quintessential evil dictator, while the various female characters, whose role seems to be mainly to mourn his many victims, would look right at home in any given film noir - but none of this can really help the fact of what the original source material is: a propaganda piece in a cause that has long since lost all meaning (if it ever had any) and therefore rather lacking in subtlety and, perhaps, relevance.

[byneddiedingo]

Claire Danes and Billy Crudup in Stage Beauty (Richard Eyre, 2004)

Cast: Billy Crudup, Claire Danes, Tom Wilkinson, Rupert Everett, Zoë Tapper, Richard Griffiths, Hugh Bonneville, Ben Chaplin, Edward Fox. Screenplay: Jeffrey Hatcher, based on his play. Cinematography: Andrew Dunn. Production design: Jim Clay. Film editing: Tariq Anwar. Music: George Fenton. 

It's a measure of how the discourse on sexual identity has changed since 2004 that Stage Beauty, in which it is a central theme, seems now to have missed the mark completely. Billy Crudup plays Edward Kynaston, an actor in Restoration London who was noted for his work in female roles at a time when such parts were usually still played by boys and men. Kynaston, as the film tells us, was praised by the diarist Samuel Pepys as "the loveliest lady that ever I saw in my life." As the film begins, he is performing as Desdemona in a production of Othello, and is aided by a dresser, Maria (Claire Danes), who longs to act. After his performance ends, she borrows his wig, clothes, and props, and performs in a local tavern as "Margaret Hughes." When King Charles II (Rupert Everett) lifts the ban on women appearing on stage, Kynaston finds his career threatened, and when the king's mistress, Nell Gwynn (Zoë Tapper), overhears him fulminating about the inadequacy of actresses, she persuades the king to forbid men from playing women's roles: The king gives as his reason that it encourages "sodomy." Meanwhile, Maria has taken advantage of the ban to rise in her career, and calls upon Kynaston to coach her in his most famous role, Desdemona, while teaching him how to act like a man on stage. The premise allows for some insight into the nature of gender, but the film never approaches it satisfactorily. Instead, we have a conventional ending which suggests that Kynaston and Maria fell in love. Earlier in the film, Kynaston is shown in a same-sex relationship with George Villiers, the Duke of Buckingham (Ben Chaplin), who leaves him to get married. The film never quite deals with whether Kynaston is gay, bi, sexually fluid, or simply somehow confused by having been celebrated as a beautiful woman. While it's risky to apply 21st-century psychology to 17th-century sexual mores, Stage Beauty's general indifference to historical accuracy seems to demand that it do so. As unsatisfactory as it is, Stage Beauty has a fine performance by Crudup and he and Danes have good chemistry together. 

[lifewithaview]

Antonio Banderas and Laura Linney in The Other Man (2008)

Dir.Richard Eyre

In Cambridge, software engineer Peter (Liam Neeson) and shoe designer Lisa are successful in their careers and have been happily married for twenty-five years. They have an adult daughter, Abigail, and Lisa frequently travels to Milano to do business with the Gianni & Gianni Company. When Lisa is gone, Peter finds a message in her cell phone and decides to snoop her e-mails and discovers in a secret folder named Love that she had a lover, Ralph. Peter travels to Milano and stalks Ralph; he finds that the man plays chess in a bar. Peter gets close to Ralph and discusses his relationship with Lisa without knowing that he is her husband.

*Laura Linney replaced Juliette Binoche.

[script-supervisor]

Antonia Quirke visiting script supervisor Susanna Lenton on the set of "The children act", dir. Richard Eyre, 2017.

[luckystarinsky]

when mary oliver said ‘if you suddenly and unexpectedly feel joy, don’t hesitate. give in to it.’

and mahmoud darwish said ‘and if happiness should surprise you again, do not mention its previous betrayal.

enter into the happiness, and burst.’

[bob-the-movie-man-film-reviews]

Allelujah (12): Caring for the Marginalia of Society.

#onemannsmovies review of "Allelujah" (2023). #Allelujah. Alan Bennett's tale of NHS cuts, jerkily adapted for the big screen. 3/5.

A One Mann’s Movies review of “Allelujah” (2023). In “Allelujah” we take a scalpel to the NHS. It’s a film that looks fun and fluffy from the trailer, but which has a distinctly dark edge. Bob the Movie Man Rating: Plot Summary: In Wakefield, West Yorkshire, ‘The Beth’ is an old Victorian hospital priding itself on providing small-scale quality care for elderly patients, led by the…

[ozdeg]

[biglisbonnews]

‘We fetishised being young – it’s just stupid!’: Judi Dench and Richard Eyre on ageing, Covid and saving the NHS Shot in 2021, a film of Allelujah, Alan Bennett’s 2018 play set on a geriatric ward, is released next month. How relevant does it remain? Its stars, including Jennifer Saunders and Bally Gill, share their thoughts during production – and more than a year laterI live 10 minutes’ walk from a disused psychiatric hospital in north London. Well, partly disused: 40% of St Ann’s in Tottenham, with the glossy new assessment centre and low-rise 30s blocks, is still going strong. The other side of the site, built as a fever hospital in 1892, has been gradually abandoned.There is a Victorian laundry, grand as an ocean liner. A massive castellated water tower, like the rook in a giant’s chess set. A gorgeous sprawl of red-brick wards and lodges, with shaped gables, stacked chimneys and blind boxes over intricate windows. Continue reading... https://www.theguardian.com/film/2023/feb/10/we-fetishised-being-young-its-just-stupid-judi-dench-and-richard-eyre-on-ageing-covid-and-saving-the-nhs

[princesssarisa]

In light of all the recent Wuthering Heights discussion about Heathcliff's race, whether he's necessarily a man of color or might just be a dusky-skinned white man, and all the evidence that could point either way in the text, I'd like to share these comments.

When Heathcliff comes back after his three-year absence, Nelly describes his cheeks as "sallow" – a dull, sickly yellowish color.

Jane Eyre uses the exact same word to describe the complexion of Richard Mason, Bertha's brother.

I used to focus on that description of Mason as evidence that Bertha and her relatives are white Creoles (e.g. of Spanish or French descent), not part-black Creoles, and that besides ableism, the problem with Bertha's characterization is xenophobia, not racism. Charlotte Brontë called Mason's skin "sallow," not "dark."

But with the reminder that Emily Brontë used the same word to describe Heathcliff's complexion at one point, I realize it's ambiguous. On the one hand, that description might imply that Heathcliff is paler than we'd expect, and that by modern standards he might (just might) be an "ethnic white" man, not a man of color. On the other hand, the fact that an obviously POC-coded character like Heathcliff can also be described as "sallow" shows that this word doesn't necessarily mean Mason's skin is light.

Meanwhile, departing from the subject of race, rereading that scene of Heathcliff's return makes me notice its parallels with the earlier account of Hindley's return from college.

Both Heathcliff and Hindley come back after being gone for three years – the exact same amount of time – and are both greatly changed in their looks and demeanor. Both are better educated and more socially aware than they were before, both have become crueler and more ruthless, and both are ready to use the power society grants them – either through money, status, or the patriarchy – to "crush those beneath them," as Heathcliff says. And both, I now realize, are described as looking more sickly than before. Hindley more so, since Nelly describes him as thinner and paler than he used to be. But even though Heathcliff's body looks stronger and more athletic than before – which makes Nelly guess he might have been in the military – his complexion has turned sallow.

Throughout the book, sickliness is associated with over-civilization, while "robust good health" is enjoyed by simpler people attuned with the Yorkshire countryside and its culture. This is most obvious in the illnesses and premature deaths of Catherine (which happens because she betrays her true nature and becomes over-civilized), Edgar, Isabella, Linton, and Frances. But maybe it also appears in the thinness and pallor of Hindley and the sallowness of Heathcliff's face when they come home after three years of becoming more "civilized" and quickly turn to villainy.

@thevampiricnihal, @bethanydelleman