#ronald harwood

[ihearttseliot]

[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.

[thebestestwinner]

See pinned post for the full bracket!

[dynamofilms]

Tales of the Unexpected: Series 2 (16 episodes, 1980)

[theoscarsproject]

The Dresser (1983). Personal assistant Norman struggles to get deteriorating veteran actor Sir through a difficult performance of King Lear.

Loud and a bit hammy, but still somehow wildly watchable, I actually enjoyed this one. The script is a bit all over the place, but the actors really sell it and seem to be having a bit of a ball with it, so there's enough there to get your attention and hold it. Interesting concept pretty well executed. 7/10.

[a078740849aposts]

ISBN: 978-960-04-2415-7 Συγγραφέας: Ronald Harwood Εκδότης: Κέδρος Σελίδες: 95 Ημερομηνία Έκδοσης: 2003-10-01 Διαστάσεις: 24x17 Εξώφυλλο: Μαλακό εξώφυλλο

[ulkaralakbarova]

Oliver Twist the modern filmed version of Charles Dickens bestseller, a Roman Polanski adaptation. The classic Dickens tale, where an orphan meets a pickpocket on the streets of London. From there, he joins a household of boys who are trained to steal for their master. Credits: TheMovieDb. Film Cast: Oliver Twist: Barney Clark Fagin: Ben Kingsley Bill Sikes: Jamie Foreman The Artful Dodger: Harry Eden Mr. Brownlow: Edward Hardwicke Nancy: Leanne Rowe Mr. Limbkins: Ian McNeice Noah Claypole: Chris Overton Mr. Gamfield: Andy Linden Charlotte: Teresa Churcher Barney: Jake Curran Bullseye (Dog): Turbo Charley Bates: Lewis Chase Nicky: Levi Hayes Mr. Bumble: Jeremy Swift Mrs. Sowerberry: Gillian Hanna Mr. Sowerberry: Michael Heath Bookseller: Patrick Godfrey Toby Crackit: Mark Strong Bet: Ophelia Lovibond Old Woman: Liz Smith Workhouse Master: Andy de la Tour Board Member: Richard Durden Dining Hall Master: Peter Copley 1st Magistrate: John Nettleton 2nd Magistrate: Tony Noble Farmer: Gerard Horan Farmer’s Daughter: Morgane Polanski Magistrate Fang: Alun Armstrong Mrs Bedwin: Frances Cuka Mr Grimwig: Paul Brooke Inspector Blather: Nick Stringer Elderly Officer: Frank Mills Warder: Richard Ridings Parson / Man with a Punch: Timothy Bateson Workhouse Boy: Filip Hes Workhouse Boy: Laurie Athey Hungry Boy: Joe Tremain Film Crew: Casting: Celestia Fox Producer: Roman Polanski Novel: Charles Dickens Screenplay: Ronald Harwood Producer: Robert Benmussa Producer: Alain Sarde Director of Photography: Paweł Edelman Original Music Composer: Rachel Portman Production Design: Allan Starski Editor: Hervé de Luze Executive Producer: Timothy Burrill Costume Design: Anna B. Sheppard Art Direction: Jindřich Kočí Hairstylist: Jean-Max Guérin Set Decoration: Jille Azis Makeup & Hair: Ivo Strangmüller Script Supervisor: Sylvette Baudrot Art Direction: Jiří Matolín Executive Producer: Petr Moravec Makeup & Hair: Linda Eisenhamerová Movie Reviews:

[agendaculturaldelima]

 #ProyeccionDeVida

🌎 Cine Club del Banco de la Nación, presenta:

🎬 “EL PIANISTA” [The Pianist / Le Pianiste] 🎹🎵

🔎 Género: Drama / II Guerra Mundial / Nazismo / Holocausto / Música / Biográfico /  Histórico

⌛️ Duración: 148 minutos

✍️ Guión: Ronald Harwood

��� Libro: Wladyslaw Szpilman

📷 Fotografía: Pawel Edelman

🎼 Música: Wojciech Kilar

💥 Argumento: Wladyslaw Szpilman, un brillante pianista polaco de origen judío, vive con su familia en el ghetto de Varsovia. Cuando, en 1939, los alemanes invaden Polonia, consigue evitar la deportación gracias a la ayuda de algunos amigos. Pero tendrá que vivir escondido y completamente aislado durante mucho tiempo, y para sobrevivir tendrá que afrontar constantes peligros.

👥 Reparto: Adrien Brody (Wladyslaw Szpilman), Thomas Kretschmann (Capitán Wilm Hosenfeld), Emilia Fox (Dorota), Ed Stoppard (Henryk Szpilman), Frank Finlay (Padre), Jessica Kate Meyer (Halina Szpilman), Roddy Skeaping (Músico callejero), Michał Żebrowski (Jurek), Maureen Lipman (Madre), Nomi Sharron (Mujer buscando esposo) y Julia Rayner (Regina Szpilman)

📢 Dirección: Roman Polanski

© Productoras: R.P. Productions, Heritage Films, Studio Babelsberg & Runteam Ltd

🌎 Países: Alemania – Francia – Polonia – Reino Unido

📅 Año: 2002

📽 Proyección:

📆 Miércoles 29 de Mayo

🕡 6:30pm. 

🎥 Auditorio Artes de la Nación (av. Javier Prado Este 2499, 5º piso - San Borja)

🚶‍♀️🚶‍♂️ Ingreso libre, previa reserva: https://info.bn.com.pe/CineclubBN_Miercoles

[byneddiedingo]

Ray Milland and Ann Todd in So Evil My Love (Lewis Allen, 1948)

Cast: Ray Milland, Ann Todd, Geraldine Fitzgerald, Leo G. Carroll, Raymond Huntley, Raymond Lovell, Martita Hunt, Moira Lister, Roderick Lovell, Muriel Aked. Screenplay: Ronald Millar, Leonard Spiegelgass, based on a novel by Joseph Shearing. Cinematography: Mutz Greenbaum. Production design: Thomas N. Morahan. Film editing: Vera Campbell. Music: William Alwyn. 

So Evil My Love needs a better actress than the starchy Ann Todd to make its central premise work, that a respectable Victorian widow of an Anglican missionary would fall so hard for a handsome cad that she'd do anything from larceny to murder for him. It could also have used a more charismatic cad than Ray Milland in the role. We meet Olivia Harwood (Todd) on a ship returning to England from Jamaica, where she has buried her husband. When the ship's doctor asks her to help nurse some malaria patients on board, she agrees -- a little reluctantly, which is perhaps a sign that she's not as sweetly complaisant as she might be. One of the patients is traveling under the name Mark Bellis (Milland), which may not be his real name: He's an artist who makes his living by stealing valuable paintings and forging Rembrandts. A spark is lit between them, although we don't really see it because the actors have so little chemistry, and when they get back to London, Bellis makes his way to her doorstep. She owns a small house and lets out rooms, one of which he takes, though under the disapproving eye of her other tenant, the ostentatiously proper Miss Shoebridge (Muriel Aked). When Olivia allows Bellis to paint her, in an off-the-shoulder peasant blouse, she relaxes her defenses and passion blossoms -- or what passes for it in the screenplay if not on the screen. Meanwhile, Olivia makes contact with an old school friend, Susan Courtney (Geraldine Fitzgerald), who is unhappily married to the wealthy and domineering Henry Courtney (Raymond Huntley). Susan has confessed her unhappiness, and her love for another man, Sir John Curle (Roderick Lovell), in letters to Olivia. When the affair between Bellis and Olivia develops, he finds the letter and sees the possibility of blackmailing Courtney, who is in line for a peerage that would be derailed by scandal. Under Bellis's spell, Olivia gets deeper and deeper into a plot that turns lethal. There's potential for real heat in the story, but miscast leads and a talky script undo it. 

[qudachuk]

Ahead of her 88th birthday, we look back at the actor’s best roles, from a down-on-her-luck dame to everyones favourite umbrella-flying nannyNot every moment of Andrews’ career has been brilliant. Ronald Harwood co-wrote this hypnotically shoddy romcom starring Marcello...

[howardhawkshollywoodannex]

Barney Clark as Oliver Twist (2005) asks "Please sir, may I have some more."

Oliver Twist was adapted from Charles Dickens 1838 novel by Ronald Harwood. Ron was born in Cape Town, South Africa, and has 43 writing credits from a 1961 Canadian tv episode to a 2015 move on the telly. He is an Oscar winner for another Roman Polanski film, The Pianist.

His other notable credits include The Dresser (1983), Being Julia, and The Diving Bell and the Butterfly. It is unclear if his writing credit for the 2015 version of The Dresser with Anthony Hopkins is for his original 1983 screenplay, or for any work he did on the 2015 remake.

[genevieveetguy]

- We're not really used to... - A woman? I suppose you think I should be back in Darwin, at the church fête or a lady's whatever you call it. Well I will have you know, I am as capable as any man. - Guests. We're not used to guests is what I was about to say but now that you mention it I happen to quite like the women of the outback.

Australia, Baz Luhrmann (2008)

[hello-robin-goodfellow]

Brian Cox

IN: THE DELIBERATE DEATH OF A POLISH PRIEST by Ronald Harwood set design: Eileen Diss costumes: Dany Everett lighting: Dave Horn director: Kevin Billington

Almeida Theatre, London N1 17/10/1985 (c) Donald Cooper/Photostage

@amalthea9

[thebestestwinner]

Top two vote-getters will move on to the next round. See pinned post for all groups!

[dynamofilms]

Tales of the Unexpected: Series 1 (9 episodes, 1979)

[kevrocksicehouse]

Roland Harwood wrote screenplays that were fleshed out into classic movies. A few other good movies that weren’t written by the guy who says “Action.”

Charles Lederer’s His Girl Friday. D: Howard Hawks (1941). Lederer adapted Ben Hecht’s fast-paced and acid-tongued play and film “The Front Page” with a twist. The ace reporter that editor Walter Burns (Cary Grant) is trying to keep is also his ex-wife (Rosalind Russell) about to marry an insurance man (Ralph Bellamy) that Burns describes as “looks like that fella in the movies – Ralph Bellamy.” A politically charged murder trial story gives him the chance to get her back using every underhanded trick in the book he may well have written.

Clifford Odets’ and Ernest Lehman’s Sweet Smell of Success. D: Alexander Mackendrick (1957). Odets portentous and theatrical language was parodied in The Coen Brothers Barton Fink, but it was perfect for this portrayal of corrupt and cynical press agents orbiting a tyrannical showbiz columnist with each using a hepster lingo that combined jazz slang and subliterary bon mots (“I’d hate to take a bite out of you Sidney. You’re a cookie full of arsenic.”)

Robert Towne’s Chinatown. D: Roman Polanski (1974). This Raymond Chandleresque detective story of how a private detective (Jack Nicholson) on a missing persons case uncovers a plot to manipulate the water supply around LA to deflate land prices. He also uncovers a miasma of evil that no movies end could evaporate. Certainly not this one.

David Webb Peoples’ Unforgiven. D: Clint Eastwood (1992). The antiheroic Western script had been bouncing around Hollywood for years when Eastwood took it on and saw that Peoples was writing for and about the star’s enigmatic gunslinger persona but through coldly realist eyes. It’s about a former gunslinger who takes a reward offered by a group of prostitutes to avenge one of their own leaving everyone, assassin, sadistic sheriff (Gene Hackman) and craven “biographers alike” covered with the mud of Big Whiskey.

Aaron Sorkin’s The Social Network. D: David Fincher (2000). Sorkin’s scripts can sometimes read like Esquire “think pieces” come to life but boy DOES he bring them to life as in this one about the squabbling, emotionally stunted geniuses who created Facebook. The opening scene, a bad breakup that caused Mark Zuckerberg (Jesse Eisenberg) to start the most influential communication movement since radio, while in a misogynist rage, is one of the best openers ever written.