redskin is a 1929 american film with a synchronized score and sound effects , filmed partially in technicolor .

its final six minutes were shown in magnascope , an enlarged-screen projection novelty .

the film , directed by victor schertzinger , stars richard dix and was produced and released by paramount famous lasky corp .

redskin ( film )

redskin ( film ) <EOT> richard dix had played a native american previously in the 1925 epic the vanishing american . the film was a success and redskin can be seen as a followup feature . both films dealt sympathetically with their heroes , though redskin is definitely the less melodramatic film of the two .

( chorus ) : redskin , redskin , boy of my dreams , take me back to silvery streams - - where thru ' the wild wood , in childhood we wandered - - songbirds winging and singing to you and me love ' s melody , redskin , redskin , let us return - - where bright twilight welcome fires burn - - with happy hearts we ' ll go roaming , i ' ll whisper in the gloaming , i love you , redskin , i love you .

redskin is a fascinating and beautiful film . it is remarkably sympathetic , considering the time period in which it was made , and is a definite must - see for silent film fans .

looking for movie tickets ? enter your location to see which movie theaters are playing redskin near you .

redskin is currently available in the united states on disc 4 of the dvd collection treasures iii : social issues in american film , 1900 - 1934 .

| berlinale | archive | annual archives | 2015 | programme - redskin | rothaut . der todeskampf einer rasse

redskin ( usa 1929 , victor schertzinger ) . credit : library of congress . photographs of the nitrate print by barbara flueckiger .

“the film to me , as a tribal member , means everything , ” said brodie stevens , who you can usual find blending lyrics about his life into hip hop songs under the name redskin .

we don ' t have enough data to suggest any movies based on redskin . you can help by rating movies you ' ve seen .

a companion to the later redskin ( 1929 ) , in which dix again portrays a native american fighting the wrongs of the corrupt white man .

we welcome researchers , archivists , film historians , film restoration experts to contribute texts , images , links or downloads to this resource .

“paramount was the first to produce a full - length feature film utilizing process number three . entitled redskin , the picture premiered in new york city in january of 1929 . the new york times reviewer was generally impressed .

paramount was the first to produce a full - length feature film utilizing process number three . entitled redskin , the picture premiered in new york city in january of 1929 . the new york times reviewer was generally impressed .

she was taken off the film and fatefully reassigned to the canary murder case . it’s a pity , though , since brooks would certainly have been an improvement over belmont and it would have given redskin more attention from modern viewers .

belton . john , a cura di ( 2000 ) , colour film , in “ film history “ , xii , n . 4 , 2000 .

treasures iii : social issues in american film ( 1900 - 1934 ) , black & white and color , 739 minutes total , not rated , including redskin ( 1929 ) , color and color - tinted black & white , 82 minutes , not rated .

redskin ( 1929 ) directed by victor schertzinger . with richard dix , gladys belmont , jane novak , tully marshall . ( 83 min . ) live piano accompaniment by david drazin .

he ' s also creative director of ready to roll , a film and tv production company ( and current winner of melbourne ' s 48 hour film project ) .

you can view the film , “idle no more” on the rockpaperjet homepage on youtube .

( the story of the yukon film find is from the july - august , 1979 american film , " there ' s film in them thar hills ! " by sam kula . autographed photo of richard dix from the collection of miss jane hendricks . photo from redskin from one of the greatest film books ever written , the war , the west and the wilderness by kevin brownlow . i hope mr . brownlow ( my hero ) doesn ' t mind my borrowing the photo , since i was unable to purchase a still from redskin from any of my sources . glenn taranto ' s splendid richard dix website has lots of great photos and an excellent biography . the david drazin website has quotes , a list of scores and soundclips . )

future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .

redskin productions is geoff paine - performer , writer and producer . he ' s created , directed , performed in and produced shows which have toured through nsw , victoria , wa and sa . these include

the topics explored in redskin remain controversial to this day . questions of racial identity , cultural appropriation , and the damage done by stereotypes… they affect everything from hollywood blockbusters to music videos to american football teams .

for more information on the project see article analysis of film colors in a digital humanities perspective .

timeline of historical film colors is started with barbara flueckiger’s research at harvard university in the framework of her project film history re - mastered , funded by swiss national science foundation , 2011 - 2013 .

in the silent era , the american west was still unknown territory . new mexico had only been a state for 17 years when paramount sent a crew to a dramatic mesa outside albuquerque to film redskin . the scenario and story were by elizabeth pickett , who clearly had a sophisticated understanding of native peoples for her time . this film deals with issues that still have contemporary resonance . jim chee , the hero of tony hillerman ' s navajo detective novels , grapples with similar tradition vs . modernity issues as redskin ' s hero , wing foot . the pueblo tribe had allowed pickett to make some documentary films in 1925 , and redskin pays careful attention to authentic detail . the breathtaking 2 - color technicolor cinematography evokes the dramatic landscape of ansel adams ' photographs , with locations at acoma pueblo , white sands and gallup , new mexico , and canyon de chelly , arizona .

with the headline : screen : " the unforgiven ' ; huston film stars miss hepburn , lancaster .

irving thalberg of metro - goldwyn - mayer bought the film at cost and released it throughout the country .

national film preservation foundation , distributed by image entertainment , natd3827dvd , upc 0 - 14381 - 38272 - 3 .

grey owl was a liar , a lush , a bigamist and an impostor . but he was also one of the world ' s first environmental activists . richard attenborough on the life and times of the phoney ' redskin ' who inspired his new movie

home media availability : released on dvd as part of the treasures iii : social issues in american film box set .

the film is accompanied by a theater organ music score performed by john muri that was recorded during a live presentation .

the fact that geronimo has been seen in movies mostly in long shot , as a " murdering redskin , " is a reflection of the ancient truth that the histories of war are written by the victors . even this film sees him primarily as an outsider , and takes a white point of view , showing us white men who are better or worse only in relation to their contemporaries .

the exact opposite of ford ' s the searchers plotwise ( wherein a widdle baby white girl gets kidnapped and brought up redskin ) , a widdle baby native is kidnapped and brought up white . the moral of the tale : racism is bad if you hate the redskin girl raised in the busom of good ol ' godfearin ' , pilgrim ancestor family ways , but its good if it means whackin ' off the rest o ' th ' filthy varmints . leave your common sense by the door and its not as bad as it sounds .

the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .

please access detailed information on over 230 individual film color processes via the classification system on this page , display the timeline of historical film colors in chronological order , search via the tag cloud at the end of this page or directly on the search page .

15 rudolf arnheim , film as art ( berkeley : university of california press , 1957 ) , pp . 1 , 154 . ”

timeline of historical film colors by barbara flueckiger is licensed under a creative commons attribution - noncommercial - noderivatives 4 . 0 international license .

the film crew advancement program is an incentive for production companies to assist in creating job opportunities for new mexican film and television crew professionals . a qualifying production company is reimbursed 50 % of a participant’s wages for up to 1040 hours physically worked by the qualifying crew member in a specific craft position . this on - the - job training program is in addition to the 25 % film production refundable tax credit .

43 the 1930 film daily year book of motion pictures ( new york : john w . alicoate , 1930 ) , p . 16 .

64 the 1951 film daily year book of motion pictures ( new york : john w . alicoate , 1931 ) , p . 883 .

anon . ( 1930b ) “color and sound on film , ” fortune vol . 11 , no . 4 ( october ) , 124 .

11 elliott hammett , ‘competing colour systems’ , the commercial film vol . 1 no . 2 , 1935 , pp . 8 , 19 .

about the preservation the love charm was preserved from a two - color technicolor nitrate print received by the new zealand film archive from jack murtagh and tony osborne . the preservation work at film technology company , inc . , was directed by george eastman house and funded by the nfpf .

founded by fritzi kramer , movies silently’s mission is to make silent film fun and accessible with reviews , articles , animated gifs and daily updates .

this database was created in 2012 and has been developed and curated by barbara flueckiger , professor at the department of film studies , university of zurich to provide comprehensive information about historical film color processes invented since the end 19th century including specific still photography color technologies that were their conceptual predecessors .

educational film exchanges , inc . ( 1929 ) “mack sennett presents jazz mamas “ , exhibitors herald – world , 31 august , inserted page .

2 . the scene order presented here is that of the mca home video vhs release of 1992 . this video edition , bob britchard of the american film institute reports , derived from a print made for general release in great britain , and that the scene order for this print does not match that of the prints screened for the film’s premiere showings in new york and london . for more on various versions of the film , including eight foreign - language versions , see britchard’s entry on king of jazz in the 2011 edition of the american film institute’s catalogue of feature films .

reviews of silent film releases on home video . copyright ¬© 1999 - 2018 by carl bennett and the silent era company . all rights reserved .

reviews of silent film releases on home video . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .

the heroine , corn blossom , is played by gladys belmont . she would later change her name to julie carter but it did little to ignite her career . her performance in redskin is so - so . there are no bad moments but no really outstanding ones either . but here is where the tale gets really interesting .

( 1968 ) ) . the financial backers for the film ran out of money to spend on the then very expensive color film and ordered the filmmakers to immediately switch to black - and - white . upon hearing this , the filmmakers realized that all the scenes at the native american village had been shot .

" the ballad of narayama " is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…

further viewing another 1928 colorart one - reeler shot by ray rennahan , the toy shop , can be found on flicker alley’s dvd of the garden of eden ( 1928 ) . his two - color technicolor cinematography is at its most striking in the southwest canyons and pueblos of redskin ( 1929 ) , in treasures iii . the toll of the sea ( 1922 ) , the earliest - surviving two - color technicolor feature , is in the first treasures from american film archives . competing two - color processes from other companies can be sampled through the three “early color films” in more treasures from american film archives and sunshine gatherers ( 1921 ) in treasures 5 .

educational film exchanges , inc . ( 1930b ) “mack sennett talking comedies : as modern as television” , exhibitors herald – world , 16 august : back cover .

“the inspiration basically speaks for itself , us - our people . the major factors for the film were that prime minister harper woke up a nation with no boundaries . we [ film’s production team ] knew the gift we have is film , and we seized the moment to show the world who we are as a people . it was no outside media shooting , it is no biased opinion , it was from the inside out , and because we love our people , ” said stevens .

the closest thing redskin has to villains are pueblo jim ( played by pioneering african - american character actor noble johnson ) who wants corn flower , and a small band of rich city slickers who are determined to snatch a valuable oil claim right out from under both the pueblo and navajo people . however , the story is not allowed to sink into pure melodrama .

the blank stock the dyes were transferred onto was a black and white positive film that contained mordant , a chemical with an affinity for dye . it literally locked the dyes into the emulsion of the film as they were transferred . without mordant , the dyes would have smeared all over the release print or rubbed off . over the years , different methods were used , including adding mordant to the film after soundtrack development . for most releases , mordant was contained in the emulsion of the blank .

( keating , patrick ( 2010 ) : hollywood lighting from the silent era to film noir . columbia university press : new york , on pp . 201–203 . )

update : every time the washington nfl team makes the news , i get a spike in traffic for this post . if you are reading this review for ammunition in a debate , let me save you time . the term “redskin” is treated as a slur throughout the film . the title was intended to be provocative , to show the racism that the protagonist endures . this movie was made in 1929 . the washington nfl team changed their name to its present form in 1933 . i think that’s all that needs to be said .

marshall is a “that guy” actor . you know , the actor who seems to show up in everything . not the star but often with a juicy character part . character actors generally fall into two categories : performers who play the same zany role over and over and performers who can play a wide range of the same basic type . tully marshall was the man you called when your film needed a weird little fellow . he could be benevolent ( as he is in redskin ) , he could be creepy , he could be goofy .

and , as far as the studios are concerned , if you think things have changed , think again . over 99 % of new film prints are still junked , not because they are valueless , but just the opposite . now , studios terrified of piracy make sure that few film prints survive theatrical runs . museums like the ncma looking for prints to show in a repertory film program often come up empty handed . locating a decent print for a film only 20 - 30 years old becomes a scavenger hunt . film history does not generate multi - million dollar grosses . a new 35mm print of a classic title not in need of conservation costs around $ 2 - 3000 . 00 , probably the price of a coffee break on the set of the next austin powers movie . which expense do you think the studios consider a good investment ?

crespinel , w . a . ( 2000 ) “pioneer days in colour motion pictures with william t . crespinel” , film history , 12 , 1 : 57 - 71 .

we hope you will enjoy the following film . please consider making a donation so that we can continue preserving films and presenting them on our web site . thank you !

as the film titled “idle no more” continues to be viewed , stevens , along with other members of the production team , continue to document idle no more from the inside , with another film titled , “idle no more : the next generation , ” that has received 14 , 149 views since its upload to youtube on january 9 th .

wing foot ( richard dix ) , is a navaho educated in an otherwise all - white school . in the course of the story he experiences prejudice from both the whites ( because of his race ) and the navahos ( who disown him because of his upbringing ) . thus , wing foot is looked upon as neither indian nor white , but simply a " redskin . "

it may seem surprising that a mainstream movie from 1929 would tackle these issues . to be honest , i went in to redskin bracing myself for some pretty insensitive stuff . what i found was a very sensitive and sympathetic tale of race , pride and family . it was filmed in technicolor on location in new mexico and arizona , making use of actual american indian boarding schools and settlements .

( for another great example of a color film shortage creating a fascinating movie , check out the weird and wonderful 1974 soviet flick at home among strangers , a sort of chechen western heist set during the revolution . color film was rationed so director nikita mikhalkov chose to record the violent action scenes in black and white and the flashback scenes in warm sepia . the color film was reserved for scenes of conversation and character development . i imagine a hollywood director would take the exact opposite approach– color for action , black and white for character . )

73 “para’s 3 - color process ready in year : new color system costs slightly more than black and white , ” film daily , february 24 , 1931 , 1 and 8 . ”

( anonymous ( 1933 ) : die kulturellen möglichkeiten des farbenfilms . in : film - kurier . beilage kinotechnische rundschau , 90 , 15 . 4 . 1933 . ) ( in german )

the sequences of native american life were shot in technicolor , while the rest of the film was photographed in black and white and tinted amber . this was actually an accident , ( see also

the camera negative would still be taken in the same manner but rather than the arduous skip - print - and - paste procedure , gelatin printing matrices would be generated , dyes applied to the reliefs , and each dyed matrix brought into registered contact with a blank 35mm celluloid film to which the color dyes transferred . both images were now contained on one side of a standard film .

educational film exchanges . inc . ( 1930a ) “11th annual announcement 1930 - 31 : one big comedy program” , exhibitors herald – world , 2 august : 6 of 8 page promotional insert .

“a very promising method of making subtractive pictures is the imbibition process . in this , dyed images are prepared upon master films , and the dyes are transferred in succession in register on to a single film coated with gelatin . provided that the mechanical difficulties can be overcome and sharp pictures obtained , results should be excellent , and the process has the advantage of giving a film which has exactly the same properties in regard to curl , etc . , as the ordinary black and white film , so that it can be inserted with black and white film and does not involve any changes in projection . theoretically , the imbibition process could be used for three - color as well as two - color pictures , although the difficulties increase rapidly as the number of transfers become greater .

a full - length all - technicolor revue comprised of various musical and comedic performances , a mega - budget hollywood film with no narrative arc , king of jazz is an unusual motion picture in important respects . but its music - defined style is continuous with the aesthetics of mainstream film - color practice , where color often performs an aesthetic function linked to musical accompaniment . in this regard king of jazz anticipates the technicolor films of the late 1930s , in which intense , eye - catching hues frequently coincide with musical flourishes ( see higgins 2007 : 40 , 101 - 104 , 127 - 133 , 142 ) . in a great many color films , from the 1930s up through the present , chromatic changes , like music cues , underline dramatic twists , signal the arrival of characters , mark transitions from scene to scene or act to act , and draw parallels or contrasts between one narrative event and another from a different part of the film . for natalie kalmus , technicolor’s chief ‘consultant’ to the film industry , the ‘color chart’ that her team produced for each technicolor film was comparable to ‘a musical score [ that ] amplifies the picture in the same manner’ ( kalmus 1935 : 145 ) . for kalmus and countless other film - color experts in the 1930s and since , deciding on when in a film specific colors appear is like deciding when music is to be introduced .

as the year 1930 approached , it appears as though kalmus and his backers were joined in their optimism by all members of the industry . the 1930 film daily year book of motion pictures stated :

buhler , j . , neumeyer , d . and deemer , r . ( 2010 ) hearing the movies : music and sound in film history , oxford and new york : oxford university press .

a government agent ( val kilmer ) mockingly dubbed the " washington redskin " is sent to an oglala sioux reservation to investigate a murder . part sioux himself , the agent has little affinity for his roots , referring to characters he encounters as tonto and geronimo . although nominally a thriller , michael apted ' s film becomes a painstakingly detailed look at american indian problems meshed with the agent ' s growing awareness of his spiritual heritage . mr . apted also directed " incident at oglala , " a documentary that chronicles similar material . here he mixes a documentary approach with a solid dramatic structure that " effectively drives the film ' s message home , " janet maslin wrote in the new york times . straight talk 1992 . hollywood . $ 94 . 95 . ld , $ 39 . 99 . 1 : 38 . cc . pg .

please read ! except for state - owned properties , the new mexico film office is not affiliated in any way with the locations in this database . locations are provided for informational and research purposes only . the new mexico film office does not guarantee the condition , suitability , availability or cost of the locations in this database . in some circumstances , we can provide productions with contact information but we do not provide information about availability , suitability or costs of usage . please do not send the film office requests for this type of information - you will have to contact the location of interest directly .

schallert , e . ( 1930 ) “cast good in new york narrative ; ‘young man of manhattan’ tells of newspaper folk ; sennett color film shows” , the los angeles times , 17 may : a7 .

over half a century earlier , my brother david and i had attended one of grey owl ' s lectures in leicester , where we lived . we had even claimed afterwards to have shaken the hand of this real " redskin " and we had asked him for his autograph . i recalled how we had fought for possession of the book containing the author ' s signature . i also remembered , with renewed chagrin , that it was dave who won .

while not a resounding success at the box office , the viking succeeded at accomplishing its primary objectives . exhibitors did not experience cupping problems , nor was scratching of the prints a major problem . in fact , the emulsion on the technicolor imbibition film is harder than ordinary black and white . thus , the colored prints proved more durable and possessed a longer life than any of the film stocks currently in use .

yumibe , j . ( 2009 ) “‘harmonious sensations of sound by means of colors’ : vernacular colour abstractions in silent cinema , ” film history vol . 21 , no . 2 , 164 - 176 . ”

14 see simon brown , ‘colouring the nation : spectacle , reality and british natural colour in the silent and early sound period’ , film history vol . 21 no . 2 , 2009 , pp . 140–1 .

he surprisingly sympathetic tale of a navajo man , wing foot ( richard dix ) , who was taken from his family as a boy and raised in a boarding school . insulted and referred to as “redskin” by his college peers , wing foot also finds that he no longer fits in with his family , especially his extremely traditional father . will wing foot be able to bridge the gap between the culture of his birth and the culture in which he was raised ?

that’s not to say that the film is perfect . it does occasionally employ the classic movie indian platitudes in some of its title cards and a slightly paternalistic tone does shade the plot . the discovery of oil on tribal land is a deus ex machina that allows the characters to neatly sidestep conundrums like tribal war , strained paternal relations and banishment . the ending is a bit pat but the film is generally realistic and satisfying .

( bordwell , david ; staiger , janet ; thompson , kristin ( 1985 ) : the classical hollywood cinema . film style and mode of production to 1960 . london : routledge , on p . 353 . )

( bordwell , david ; staiger , janet ; thompson , kristin ( 1985 ) : the classical hollywood cinema . film style and mode of production to 1960 . london : routledge , on p . 355 . )

this film . . . comes draped in the hair shirt of revisionism , but in reality it ' s an unrepentant throwback to the " good old days " when the only good indian was a dead indian .

since february 2016 the database has been redeveloped in the framework of the research project film colors . technologies , cultures , institutions funded by a grant from swiss national science foundation , see project details on snsf grant database .

david drazin , who accompanied the nc art museum ' s screening of redskin ( and provided the photocopy of the sheet music ) describes composer j . s . zamecnik as " the paramount hack " who provided sentimental themes for most of the paramount films of the late silent era , including wings and the wedding march . lyricist kerr clearly knew nothing about the new mexico setting , a state notably lacking " silvery streams " and " wild wood , " especially on the barren acoma mesa .

in 1928 the processing was improved by virtue of a dye - transfer process , which became known as technicolor process no . 3 . the two relief images were produced as they had been in process no . 2 and two matrices were created but instead of being cemented together they remained separate . still in relief , and dyed with the correct colours , the matrices were then pressed using pressured rollers against a blank film coated with gelatine to which the dyed images were transferred by embossing the relief images onto the blank film with the dye , the dyes being locked by the use of a mordant . by this method multiple layers could be registered on a single film strip .

3 . the extent of the scene re - arrangement can be seen when mca’s video edition of the film is compared to the script for the 1933 re - release , available in the margaret herrick library in los angeles .

once the film switches from the navajo settlement to the indian boarding school , the film changes from technicolor to black and white with color tinting . the color only returns when wing foot returns to his people . this is an elegant way of symbolizing the difference between the two worlds but it came about by accident . the producers ran short of cash and sent word to director victor schertzinger to switch from expensive color film to cheaper black and white . by this time , all of the scenes featuring the navajo and pueblo had been shot and only the scenes at the boarding school and in college remained to be filmed . so the movie was actually strengthened by its budget woes .

in 2013 the university of zurich and swiss national science foundation awarded additional funding for the elaboration of this web resource . 80 financial contributors sponsored the crowdfunding campaign database of historical film colors with more than usd 11 . 100 in 2012 . in addition , the institute for the performing arts and film , zurich university of the arts provided a major contribution to the development of the database . many further persons and institutions have supported the project , see acknowledgements .

the final cumulative $ 1 . 13 million budget meant that the mysterious island struggled to return its cost , and failed . despite impressive worldwide rentals of $ 726 , 000 , the film ultimately set m - g - m back $ 878 , 000 . the excess was written off as another costly mistake . in the end , the film arrived too late to make an impact ; despite the added value of color , silents were already old news .

“then , after having learned how to make gelatin relief matrices of good quality , we tackled the problem of making adequate transfers from those matrices . we had to learn how to prepare the blank film so as to permit imbibition without diffusion . we had to devise a transfer machine capable of handling film in long lengths and in quantities , and in which blank and matrix could be brought into registered contact and held there for several minutes while the dyes transferred .

( ruedel , ulrich ( 2009 ) : the technicolor notebooks at the george eastman house . in : film history , volume 21 , number 1 , 2009 , pp . 47 - 60 , on pp . 49 - 50 )

the pinbelt design was a breakthrough in the development of the i . b . process . the metal belt , dyed matrix film , and blank film came into contact simultaneously , and remained in continuous motion together for several minutes until separated . 16 the blank was then run through an additional pass , this time in contact with the dyed matrix film for the second color record . the pinbelt was joined in a loop , and formed part of a large printing line . rows of pins along each edge of the metal belt held the blank and matrix taut and in register . while moving continuously the matrix film was unrolled , submerged in a dye tank , partially rinsed to remove excess dye , and pressed into contact with the blank . it was then washed of all remaining dye , dried , and prepared for the same procedure again . the crucial point where all three came into contact was dubbed the “roll tank” .

in addition to the slick scenario from elizabeth pickett , redskin benefits from the natural beauty of its new mexico and arizona scenery . the movie also enjoyed cooperation from the navajo , as shown by the scenes of sand painting . the very fact that both the pueblo and navajo are portrayed as distinct and separate cultures with different dress , customs , housing and economies is a refreshing change from the generic tomahawk / tipi / war - bonnet portrayals of american indians that were all too common during this period of filmmaking .

as an actor , dix was a powerhouse . he had natural screen presence that allowed him to quietly take control of his scenes . however , unlike many other equally forceful stars , he was able to dial things back to convey softer emotions . redskin called for all of his versatility . he needed to be able to show his love for his father but also the stubbornness that prevents their reconciliation . he had to face down his childhood tormentor and project exhaustion , inner rage and dignity . it’s all very impressive ,

also during this period , technicolor increased film speeds between two and three times that of process number two . this was accomplished by hypersensitizing the panchromatic camera negative by bathing it in ammonia or some other mildly alkaline solution prior to exposure .

guerin , p . j . , mack sennett color film co . ltd . ( 1930 ) printing machine for cinematograph films , us patent 1 , 880 , 087 ( filed may 9 , 1930 , patented september 27 , 1932 ) .

the film is narrated by a young observer , lt . britton davis ( matt damon ) , a west point graduate who accompanies gatewood as they bring geronimo to an army settlement ; later , after geronimo resumes his war , they go looking for him again . davis acts in the film like a witness from the future , seeing how those who understood the situation , like gatewood , were ignored and reviled because they did not fit in easily with the current sentiments in washington .

after development and etching to form the relief image the matrices were put on a special transfer machine where they function like a half - tone plate in lithography . the matrix printed from the red filter record negative was dyed with a cyan - blue dye and then pressed into contact with a special transfer film . while in contact the dye transferred from the matrix to the transfer film producing a positive dye image . when the transfer was complete the transfer film passed into contact with the matrix printed from the green filter record negative . the red dye from this matrix was transferred on top of the cyan - blue image produced by the other matrix . the transferred print was then washed and dried and was ready for projection . 31

the rights to the film have changed hands and have been licensed to multiple distributors , so it has been released under at least three distinct covers , making it look as if there were several animated features out there , rather than just this one , the disney film , and one other . the names attached to this production include children ' s video of america , pulse distribution and entertainment , bei bogner entertainment , gaiam americas , genius entertainment , nutech digital , and payless entertainment .

peter pan is an australian 50 - minute direct - to - video animated film from burbank films australia , part of a series of low - budget adaptations of classic literature . it was originally released in 1988 , taking advantage of the lapse of the original play ' s copyright in australia , 50 years after j . m . barrie ' s death in 1937 . the story was adapted by paul leadon . the film was produced by roz phillips and featured music composed by john stuart .

the 510 reels discovered by the construction crew were in different states of decomposition , and all were damp . the national film archive of canada rescued them , salvaged what they could , which came to about 425 reels , and began transferring the survivors to safety stock . 190 reels of us productions were transferred to the library of congress for conservation , including this only surviving copy of bliss . with so many silent films lost , each reel is an invaluable piece of the puzzle that is film history .

“dr . troland : there is no absolutely prerequisite intensity , but we favor one of about 10 millilamberts , which is about equivalent to a 10 foot - candle illumination on the average screen . the measurement is made with the shutter running and is the apparent brightness of the screen under these conditions . regarding the relative non - inflammability of technicolor positive , this is due to the fact that the film contains no metallic silver to absorb the heat rays and raise its temperature to the ignition point . the coloring materials which are used are almost wholly transparent to infra - red radiation , and they have about the same absorption as gelatin or film base . of course , the nitrocellulose base is just as inflammable as ever , but the heat passes through instead of being taken up by the film . we have found it possible with a mazda lamp source to stop the film in the gate indefinitely without its being ignited . however , this is not recommended with a high intensity or other arc lamp . ”

but americans are not quick to describe our treatment of the indians as genocide , and even a somewhat revisionist film like " geronimo " is careful to describe the conflicts between the u . s . government and indian " hostiles " as a war .

this complicated moral tapestry is what keeps the film fresh and modern . the characters are not bad or good because of their skin color or national loyalties . they are , first and foremost , people . some basically good characters cause harm without meaning to .

( neale , steve ( 1985 ) : the beginnings of technicolor . in : angela dalle vacche and brian price ( eds . ) : color . the film reader . new york : routledge , 2006 , pp . 13–23 , on pp . 14–15 . )

american me . edward james olmos reveals the prison drug scene and los angeles street gangs in a stark , bleak film . 1992 . mca / universal . $ 94 . 98 . ld , $ 39 . 98 . 2 : 05 . cc . r .

technicolor was fully aware that dye - transfer was a viable and potentially lucrative manufacturing technique for black & white release prints . this potentiality was not lost on kodak , either . in an off - the - books arrangement technicolor agreed with the film manufacturer not to pursue further development . despite promising good results , a black & white i . b . printing process could have been detrimental to one of kodak’s main sources of income if it came into widespread use . “there was a supposed agreement with eastman kodak not to print black and white , ” remembered edward estabrook . “the matrix system allowed you to make black and white prints for a fraction of the normal cost . the cost advantage was based on the use of blank film instead of film with emulsion which eliminated the silver . ” 44

d’haeyere , h . ( 2010 ) “splashes of fun and beauty : mack sennett’s bathing beauties” in king , r . and paulus , t . ( eds . ) , slapstick comedy , afi film reader , london and new york : routledge : 207 - 225 .

“however , the technicolor process in its present form overcomes all of these objections with the possible exception of a reasonable increase in cost . technicolor cameras are now able to work under exactly the same lighting conditions with exactly the same lens apertures as do black and white cameras , and technicolor i . b . film has the same mechanical characteristics as black and white film . it is single - coated , runs through any standard projector , and shows greater resistance to mechanical breakdown than does standard black and white positive . since it contains no silver it is much less liable than black and white to catch fire in the projector when any accident happens . we are therefore confronted primarily only with the questions of the desirability of color in general and of the perfection with which technicolor film reproduces natural color values .

corn blossom is summoned home to her pueblo village where she is forced to abandon her boarding school ways and is cut off from wing foot . wing foot , meanwhile , is invited to a college party but soon realizes that most of the students there resent him , are jealous of him or view him as some kind of toy . a seemingly friendly college party girl finds it funny to perform her version of a tribal war dance ( it is just as racist as it sounds ) . this makes her boyfriend jealous and he heaps slurs on wing foot . before long , everyone is calling him redskin .

they admit that up to now a true yellow is unobtainable . in on with the show warners photographed a yellow taxi , but it came out orange on the film . only when red is added does yellow pick up , and then the result is more orange than yellow .

brost , l . ( 2007 ) “on seeing red : the figurative movement of film colour , ” in w . everett ( ed . ) , questions of colour in cinema : from paintbrush to pixel , bern , switzerland : peter lang , 2007 , 127 - 139 .

2 * in the two - color subtractive method , a beamsplitter prism exposed two frames at once , one through a red filter and one through a green filter . a print was made from each set of images and the two prints were cemented together , yielding a relief image on each side of the film . one side was then dyed red , the other blue - green . imbibition processing improved the method by dyeing each negative’s relief - image print ( its ‘matrix’ ) and immediately stamping it onto another film ; the process resembled half - tone lithography . ”

acoma pueblo ( where corn blossom lives in redskin ) contains the oldest continuously inhabited homes in the us . native americans have lived here since 1150 ad . the pueblo people settled the top of this mesa , 367 feet above the valley , at 7000 ft above sea level to escape marauding bands of navajo and apache ( a conflict echoed in the plot ) . in 1929 , the only way to the top was a series of hand holds carved out of the rock , and the movie company asked permission to cut a dirt road to the top to transport their equipment . this is still the only road , unpaved until 1993 .

il film contribuiva così a dimostrare come l’intera tradizione passata della colorazione potesse essere agevolmente annessa al nuovo regime del colore analogico , con gli innumerevoli vantaggi che avrebbero potuto derivarne . questo ritorno in forza delle attrazioni rivelava anche il grande potenziale di energia che il colore era in grado di liberare sullo schermo . ”

the new mexico film office facilitates location usage of many state buildings and properties throughout new mexico owned by the general services department . certain restrictions apply , and in some instances , security and personnel fees may be required . click the link to our database above to search for state owned buildings and properties .

" in the early 1970s the national film theater in london asked langlois for a loan of the cinematheque ' s print tod browning ' s 1927 feature the unknown . langlois agreed . months passed , and then suddenly , the print turned up in london . after thanking langlois the director of the nft expressed surprise at the length of time it had taken to fill his request . langlois reply was , " ah , but you see , we have so many cans of film marked " unknown " at the cinematheque . " - - glenn myrent and georges p , langlois , henri langlois , first citizen of cinema

even as process no . 3 was being rolled out commercially , kalmus continued his research to figure out a way to use three colours , thus making possible the rendering of the full colour spectrum . the dye - transfer process had effectively solved one of the problems of three - colour cinematography , which was that even by using double - sided film there was still the challenge of how to register the third colour on the print . imbibition allowed two or more colour images to be transferred via the matrices onto the print , provided that the images were in precise register . kalmus therefore focused on producing a working three - colour camera . initial experiments with a successive - frame system were abandoned in favour of a camera which used a beam splitter to split the light from the source through filters , the green record passing straight through a green filter onto a film strip , while the red and blue records were captured on a bipack film through a magenta filter . the camera therefore produced three negatives , one red , one blue , one green . as with the two - colour process , gelatine relief matrices were made which were then dyed complementary subtractive colours and pressed one after the other against a blank film which absorbed the dye .

paramount , m - g - m and universal are making three prints of the color product–one on the film , a second on the disk and a third silent . radio and tiffany , using rca photophone system , are sticking strictly to two , while warners , using vitaphone , is doing the same . 50

the most glaring example of’ delay in color product is a film which is just now about to be released . the picture was completely cut , edited , and ready for release last august as far as the studio was concerned . the seven - month delay has been spent waiting for sufficient prints to come back for general distribution . and the business is moving too fast for any “lot” to mark time for 28 weeks while a finished feature is being processed . point is that some other studio with a similar story beat the color film to screens by doing it in black and white–and that’s a burn - up for the studio boys addicted to color . . . . film execs state they appreciate the national ad campaigns by tech , but point out the delays are causing them to lose the advantages of the publicity . . . . studio heads figure possible delays due to color is one worry they shouldn’t have to shoulder . 55

at one time the extremely delicate process of printing film was being carried on in a building of which one wall had been torn away to make room for enlarging the structure . a job that requires virtually laboratory conditions was being performed amid the debris of falling bricks and the roar of the riveter’s gun . 61

strike three came in the form of a continuing nationwide depression . kalmus found that motion picture executives “were suddenly confronted with the necessity for drastic curtailment of their own budgets because of a sharp drop in motion picture theater attendance . ” 62 the 1951 film daily yearbook of motion pictures summarized the situation as follows :

coates , p . ( 2008 ) “on the dialectic of filmic colors ( in general ) and red ( in particular ) : three colors : red , red desert , cries and whispers , and the double life of véronique , ” film criticism vol . 32 , no . 3 , 2 - 23 .

in redskin , his character can be seen as the complete opposite of richard dix’s . dix plays a man who no longer has a home . marshall’s navajo jim , on the other hand , has effortlessly bridged that gap . part of the reason for his success is that he is a classic slacker . he is perfectly happy to nap his life away and he is not one to make waves . however , he has a good heart and he is willing to help out wing foot . navajo jim is the only person in the trading post who will still speak to wing foot after his exile and he is ready to jump in and save the day when our hero’s claim is jumped .

“while technicolor ii marked a significant achievement , it was not free of problems due to the nature of the cemented positive . irregularities associated with cupping ( bending and curving of the film which interfered with proper focusing ) and emulsion scratching marred the process and motivated technicolor to introduce a third core technology , the imbibition process ( covered in a notebook of the same name ) . imbibition ( ib ) , or dye transfer , aimed to unite two colour records on a single layer of emulsion in order to overcome the problems of the cemented positives . in this system , the matrices did not form the projection positive itself ; instead , the gelatine relief images would be soaked in a dye solution and used ( as in a printing process ) to transfer the dye onto another piece of film . this ‘blank’ film served merely as a recipient of the dyes and provided a single colour projection print with one emulsion , establishing the process known as technicolor iii .


gods and monsters is a 1998 british-american period drama film that recounts the last days of the life of troubled film director james whale , whose experience of war in world war i is a central theme .

it stars ian mckellen as whale , along with brendan fraser , lynn redgrave , lolita davidovich and david dukes .

the film was directed and written by bill condon , based on christopher bram 's novel father of frankenstein .

gods and monsters won the academy award for best adapted screenplay , and was nominated for best actor in a leading role ( ian mckellen ) and best actress in a supporting role ( lynn redgrave ) .

the film features reconstructions of the filming of bride of frankenstein , a movie whale directed .

the title comes from a line in bride of frankenstein , in which the character dr. pretorius toasts dr. frankenstein , " to a new world of gods and monsters ! " the story has also been adapted as a play of the same name which premiered in london at the southwark playhouse in february 2015 .

gods and monsters ( film )

gods and monsters ( film ) <EOT> the world of gods and monsters : a journey with james whale - monstershow . net

‘the mummy’ synopsis unearthed ! find out more of the upcoming universal monsters universe film below .

looking for movie tickets ? enter your location to see which movie theaters are playing gods and monsters near you .

' ' gods and monsters ' ' will be shown tonight at 6 and tomorrow at 1 : 30 p . m . as part of the new york film festival .

i unexpectedly spotted this gods and monsters dvd less than a week ago at a family dollar store near my apartment .

gods and monsters : a novel - kindle edition by christopher bram . literature & fiction kindle ebooks @ amazon . com .

the film clearly belongs to mckellen , whose presence is what makes the film as affecting at it is .

gods and monsters won an academy award for best adapted screenplay in last sunday ' s oscars . the film ' s stars sir ian mckellen and lynn redgrave were also nominated but lost out to others .

his portrayal of james whale in bill condon ' s film gods and monsters received honours from around the world , including nominations for the academy award ( oscar ) , screen actors guild award , the golden satellite , and the golden globe . in 1999 he was named " best actor " by the national board of review , los angeles film critics association , chicago film critics association , toronto film critics , broadcast film critics association , the independent spirit awards , the online film critics society , the british independent film awards , and many others .

" gods & monsters " ( also registered as " gods " ) is a song written by lana del rey and tim larcombe , and produced by larcombe and emile haynie in 2012 from del rey ' s third ep , and second major - label release , paradise .

written , co - produced and co - directed by david j . skal , the world of gods and monsters is a behind - the scenes chronicle of the making of the 1998 academy award - winning film gods and monsters starring ian mckellen , brendan fraser and lynn redgrave . narrated by author /  filmmaker clive barker , the documentary interweaves the life and career of james whale , director of the original frankenstein , with the making of the acclaimed biopic . interviewees include writer / director bill condon ( oscar winner for best adapted screenplay ) , ian mckellen , brendan fraser , lynn redgrave , and christopher bram , author of the novel father of frankenstein , on which the film was based . the worlds of gods and monsters is included in the universal studios home video dvd of gods and monsters .

del rey ' s short film , tropico ( released december 6 , 2013 ) , contains a visual for " gods & monsters " , as part of tropico ' s second chapter titled gods & monsters . it shows del rey working as a stripper and actor shaun ross as a gang member who works as a clerk at a convenience store during the day .

the jon spaihts scripted film does sound very intriguing as it deals with not only material that brings to mind the original 1932 classic , but also has a bit of a lovecraftian twist . the official plot synopsis offers fans a film that promises to “usher in a new world of gods and monsters . ” for those that may not know , “gods and monsters” is a nod to james whale , the visionary filmmaker that gave us the universal classics frankenstein and bride of frankenstein .

gods and monsters is a spellbinding , confusing piece of semi - fiction , featuring fine performances ; mckellen leads the way , but redgrave and fraser don ' t lag far behind .

in short , it ' s a moment , and a film , about compassion .

loved seeing this underrated film , good quality and arrived early , would use again .

when life departs ( karsten kiilerich and sefan fjeldmark , producers ; a . film production )

" gods and monsters " is not a deep or powerful film , but it is a good - hearted one , in which we sense the depth of early loss that helped to shape whale ' s protective style , and the california openness that allows clayton boone to care for a man he has nothing in common with . the film includes a clip from " the bride of frankenstein " of a toast to " gods and monsters . " by creating a wife for frankenstein ' s monster out of base materials , dr . praetorious of course was the god . now james whale finds he no longer has the strength or the impulse to create a lover for himself . at the end there are neither gods nor monsters , only memories .

from the sweeping sands of the middle east through hidden labyrinths under modern - day london , the mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters .

the film received its all - star uk premiere in london on thursday night . the bbc ' s lawrence white got a sneak preview of the film first .

this book , the basis for the film " gods and monsters , " was a delightful read . i found it engaging with good character development that was complex but not overly so . i saw the movie before i read the book and was impressed at how true the former was to the latter .

back in 1957 , the british film director james whale wrote a suicide note and was subsequently found dead in his hollywood swimming pool . it ' s almost a pity that gods and monsters didn ' t start with the body in the pool , narrating its own demise . it worked in sunset boulevard , and gods and monsters is almost a remake of billy wilder ' s classic - except that here the retired director gets to be the star , the gloria swanson figure holding forth about how it was the movies that got smaller .

from the sweeping sands of the middle east through hidden labyrinths under modern - day london , the mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters . ”

gods and monsters keeps us interested in the life of james whale for its full 105 - minute running time . most of us know his monsters - the stiff karloff creature ( whose appearance was suggested by whale ) , the bizarrely beautiful bride of frankenstein , and claude rains ' invisible man - but we know little of the individual who gave them life , and faced his own private demons on a daily basis . condon ' s film helps to remedy that . gods and monsters is a rich , multi - layered portrait of a director from hollywood ' s golden age whose own life was as interesting as any of his movies .

in 2009 he was given lifetime achievement awards at san sebastian film festival and the evening standard awards .

gods and monsters ( a . k . a . father of frankenstein ) is a great novel on lots of different levels . it explores the gay world of hollywood in the 1950s , the impossibility of . . .

the 1980 ' s film " mazes and monsters " is often cited along other materials as evidence of the dangers of pen - and - paper role - playing games ; the film is a thinly - veiled fictionalized adaptation of the death and investigation of james dallas egbert iii . it encouraged the panic against a growing gaming subculture .

universal monsters are coming back with a vengeance in the dark universe , and we have the dates to howl about .

winner - fipresci award the flanders international film festival " for the film ' s multi - layered , masterly portrait of james ' frankenstein ' whale and the hollywood myth , against the background of human relations and history . "

nohe is a film distributor and entrepreneur with more than 20 years of executive and management experience in the film industry . most recently , he was a partner in circus road films , where he helped more than 100 films find distribution . nohe has broad - based relationships with talent agencies , managers , publicity firms , festival programming , post - production , marketing , and theatrical distribution . nohe has worked with filmmakers including christopher nolan on “following” and bill condon on “gods & monsters . ”

while the primary focus of gods and monsters is the central relationship , the movie also has a great deal to say about the process of film making . we see a flashback to the creation of a classic scene from the bride of frankenstein ( with actress rosalind ayres bearing a striking resemblance to elsa lanchaster ) , experience a lavish hollywood party given by george cukor ( the director of the philadelphia story and a star is born ) , and listen with rapt attention as whale tells stories of his triumphs and tragedies behind the camera . the " gods and monsters " of the title can have many meanings within the context of this story , but the most apparent is the one relating to the film maker and his creations . throughout this movie , we wonder whether whale is shaping clay into his final monster .

in demi - gods we trust . good movie ! percy jackson : sea of monsters only settles for being an " okay " movie . there are constant deviations from the novel , only decent scripting , acting , visual effects , good music , and mixed acting . however , it is not a waste , especially for fans of percy jackson . now that many characters and plot points have been set into place after being shattered by the first film , the makers of this film have paved a promising path for another film that may be even better than the first two . in this retelling of rick riordans book , " the sea of monsters " , percy jackson , accompanied by his friends annabeth chase , clarisse la rue and tyson , his half brother , goes on a journey to the sea of monsters to retrieve the golden fleece and save camp half - blood .

in 2014 , american actress jessica lange covered " gods & monsters " for the american horror story : freak show episode " edward mordrake ( part 1 ) " . the cover was released as a single on october 22 , 2014 . [ 5 ]

watchable dvd poor film , only worth watching if there is nothing else to watch . . . . .

hollywood history comes to life in this tale of the last days of frankenstein director james whale , played by sir ian mckellen . long forgotten by the studios , whale has retired to pursue painting and a life of leisure . gods and monsters explores his final fascination with a handsome gardener , clayton boone .

uncovering the latest on steven moffat and mark gatiss’ “dracula” adaptation . 2018 has been a quiet year for the universal monsters . while the tomb has…

it’s not only black people who’ve been disregarded by the film industry , it used to be women , it’s certainly gay people to this day , ” he said to sky news while promoting bfi presents shakespeare on film .

excellent film really enjoyed it , its best described as a fictional story about the real life last year of hollywood legendary director james whale . partly funded by good old auntie beeb you might also consider getting the film " stan " as it ' s done in a similar vain story about the death of oliver hardy and stan laurels goodbye to his friend and comedy film partner .

redgrave nearly steals the film as whale ' s crabby , central european housekeeper hanna - whose function as comic relief and superficial resemblances to igor , the good doctor ' s sidekick in mel brooks ' film young frankenstein may be more than coincidental .

however , i do think audiences also want to see exciting re - imagined incarnations of the classic monsters . of course , the monsters universe will be competing with the mcu and dceu , but so will every other movie playing at relevant theaters during the theatrical release of the mummy and beyond .

an interview with writer / director boots riley about his incendiary new film , " sorry to bother you . "

the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .

lerman is adroit at looking eager and battle - worthy but not too cocky in a film as much about character development as sword play .

ian mckellen has always been a highly respected british actor balancing shakespeare and marvel comic villain and wise magician with aplomb . nominated for best actor in gods and monsters , he plays james whale , the hollywood director who created the classic frankenstein and bride of frankenstein during the 30s . gods and monsters , set in the 50s , shows whale with symptoms of dementia . he is cared for by hanna , portrayed by lynn redgrave who also received a nomination for best supporting actress . the allegory is simple and effective . whale is dr . frankenstein , the god , who creates his monster , played by brendan frasier , a hunky , dim - witted , homophobic gardener . hanna is his igor .

universal is serious about this franchise push , going so far as to lay groundwork in the very first trailer . “welcome , ” says russell crowe , “to a new world of gods and monsters . ” but how does the studio plan to adapt eight - year - old properties to compete with iron man and the skywalker family ?

for the majority of percy jackson : sea of monsters , the titular character spends his time moping over the uncertainty of his heroism .

but as should be expected whenever disney ventures into cross - cultural milieus , the film is characterized by the good , the bad and the ugly .

ian mckellen and helen mirren have been cast as the leads in new line’s drama “ the good liar . ” the film will be directed by bill condon , who most recently helmed disney ’s “ beauty and the beast . ” condon will also produce with greg yolen . jack morrissey and bron creative’s aaron l . gilbert and jason cloth are executive producing . “mr . holmes” writer jeffrey hatcher wrote the screenplay for “the good liar , ” based on the novel by nicholas searle . “the good liar” is a reunion for condon and mckellen , who previously collaborated on “ gods and monsters ” and “ mr . holmes . ” condon won an oscar for best adapted screenplay for “ gods and monsters , ” while mckellen was nominated for best actor . mckellen will portray a career con artist who can hardly believe his luck when he meets a well - to - do widow , played by mirren . as she opens her home and life to him , he is

with a cast that also includes lolita davidovich as clayton ' s occasional girlfriend and lynn redgrave , warmly attentive and unrecognizably plain , as whale ' s devoted housekeeper , ' ' gods and monsters ' ' has been capably made in all regards . what especially elevates it is the razor - sharp cleverness of mr . mckellen ' s performance , which brings unusual fullness and feeling to a most unusual man .

blood sweat honey will offer services ranging from producer representation , film festival strategy , script and post - production creative consulting to theatrical release , hybrid distribution , marketing and international consultation .

" the ballad of narayama " is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…

brendan fraser was all over hollywood in the early 90’s up until the early - aughts , thanks to a successful run of comedies and blockbusters including “ encino man , ” “ airheads , ” “ george of the jungle , ” “ gods and monsters ” ( far and away his best film ) , “ the mummy ” trilogy , “ the quiet american , ” “ crash , ” and “ journey to the center of the earth . ” they’re not all movies i would recommend , but he clearly connected with a wide audience .

in this film ian mckellen plays an outrageous old queen . he plays the part perfectly . this is no surprise to me .

disney folks say they did their homework for this film , creating an allegedly pacific islander advisory board named the oceanic story trust .

that said , and for all the bad and the ugly in this film—enough to provoke a facebook page with thousands of followers—there is still inspiration and entertainment to be found here . setting the cultural cringe factor aside , the film is entertaining and even inspiring . the moana character is strong and her voice ( portrayed by auli‘i cravalho ) is clear and powerful . most exciting of all , for this viewer , is the engagement with navigation and wayfinding .

is there any better subject matter to read during the month of october than classic monsters ? i think not . and there ' s really no better book to read than " father of frankenstein " or as it is now known " gods and monsters " . i have to admit , this is one of the few times where i saw the movie before reading the book . however , unlike the other times , it really didn ' t matter in this instance . both the book and the movie were brilliantly written and executed - and can both stand on their own . but , going

director rob zombie talks about creature from the black lagoon . creature from the black lagoon remains as one of the most cherished of universal monsters movies…

david koepp , who contributed to the script for the mummy and also wrote 2016 ' s inferno , apparently turned in a script for the film in 2016 that was well received by the studio . but much more promising is that bill condon has signed onto the project . condon is most well known these days for blockbusters like 2017 ' s box office - enchanted beauty and the beast and the fourth and fifth twilight pictures . but he won an oscar for his screenplay to gods and monsters , a movie he wrote and directed about james whale . and whale , of course , was an early hollywood auteur that directed and really masterminded the original bride of frankenstein .

ian mckellen’s brilliant performance as 1930s director james whale highlights “gods and monsters . ” historical hollywood fiction drawn from christopher bram’s book “father of frankenstein” doesn’t always convince , particularly in the last lap . but it’s an engrossing , unusual , imaginatively executed bit of psychological gamesmanship nonetheless . director - scenarist bill condon’s first - class production will need good reviews and strong [ … ]

condon ' s film has the flavour of hollywood proust , with faces from the past - a doddering karloff , a matronly elsa lanchester - turning up as weary phantoms of themselves . but you could almost think of gods and monsters as a two - hander with classy support . in this odd - couple story , the parallel with frankenstein and his creation is almost too obvious at first , although in the dream sequences , both men get to play creator and monster . yet the film ' s meat is less in the fantasy than in the simple play - offs , which begin with mckellen gazing at fraser , and pursing his lips quizzically , discreetly drawing a hint of an awestruck breath .

ian mckellen’s brilliant performance as 1930s director james whale highlights “gods and monsters . ” historical hollywood fiction drawn from christopher bram’s book “father of frankenstein” doesn’t always convince , particularly in the last lap . but it’s an engrossing , unusual , imaginatively executed bit of psychological gamesmanship nonetheless . director - scenarist bill condon’s first - class production will need good reviews and strong marketing to cross over beyond gay and arthouse auds .

taking off from mr . whale ' s complex nature and the unknown circumstances of his last days , the film adapts christopher bram ' s hypothetical novel about the filmmaker into an immensely touching character study that is heightened by well - chosen glimpses of hollywood ' s past . written and directed by bill condon , who had his own fling with tongue - in - cheek horror when he made the oddball ' ' strange behavior ' ' and ' ' strange invaders , ' ' ' ' gods and monsters ' ' creates a deeply resonant portrait of mr . whale and the gay hollywood of his era .

the uproar preceded the film by months , sparked by the character design of maui , the demigod , whose huge physical bulk was called out as culturally insensitive , hippolike , obese . those complaints were partly quelled after some earnest explanation by the film’s creative team . still , put it this way : though he’s voiced by dwayne “the rock” johnson and provides the liveliest spark in the film , maui will be nobody’s idea of the sexiest man alive .

universal monsters universe speaks with david plunkert , the artist behind the 200th anniversary edition of mary shelley’s “frankenstein . ” earlier this year , mary shelley’s “frankenstein” celebrated…

as an understated , character driven drama , gods and monsters is elegant indeed , ian mckellen ' s performance - stunning . from a dramatica perspective , however , i believe the scant objective story is a missed opportunity . instead of providing an account ( as fine as it is ) of an actual and fictional characters ' friendship , the big picture would have been more powerful had it been developed to a greater extent . the film could have been elevated to an important social critique of the film industry ' s acquiescence of the general public ' s negative perception ( os problem ) of homosexuality - - and the rampant misunderstanding ( os concern ) that is , now as then , inherent to the subject matter .

similar material was dealt with earlier this year in " love and death on long island , " starring john hurt as an aging british writer who develops a crush on an american teen heartthrob ( jason priestley ) . that was a funnier movie , and also more elusive , since the hurt character is not an active homosexual ( indeed , hardly seems sexual at all ) and hardly understands the nature of his own obsession . levels of irony were possible . in " gods and monsters , " on the other hand , both the director and the yard man are pretty much kept at the service of the film ' s sentimental vision .

the track was well received by critics . jesse cataldo of slant magazine said , " nothing here is on the same level as born to die , with only a few tracks , like " gods and monsters " and bonus track " burning desire " , attaining a similar degree of snappy , mesmerizing languorousness . " [ 4 ] nick butler of sputnikmusic felt the track was an unintentionally new sound for del rey , but that the track was good . allmusic reviewer john bush commented that the line " like a groupie incognito posing as a real singer , life imitates art " was an embodiment of the whole album . some reviewers shared negativity on the track , such as drowned in sound ' s david edwards who commented : " ' gods and monsters ' simply drags . "

this wonderful novel has one toe in " hollywood " fiction and one in the annals of " queer " literature : the author is gay as was the real life director james whale . this novel is the basis for the wonderful film gods and monsters that weaves a relationship between the real whale and the fictitious landscaper clay boone . a career that was largely forgotten and the strata of memories of the ailing director near life ' s end are two of the main threads , with the third thread being the backstory and the dangerous spark that boone brings to whale ' s ebbing life . well written but not archly nor off - puttingly literary .

boone , an army vet adrift in life , is impressed by the film director and glad to have met someone other than his roadhouse drinking buddies and on - off barmaid girlfriend betty ( lolita davidovich ) .

christopher bram , in gods and monsters , has created a beautifully poignant novel that tells of a friendship between famed movie director james whale ( frankenstein ; bride of frankenstein ; show boat ) and fictional character clayton boone , whale’s supposed yard man . some of what’s here is truth ; most of it is invented . but bram creates a lovely relationship between a aging and dying gay man and a young man who sees whale’s pain and , though not gay himself , is sensitive enough to provide the support

fixture of independent film world had been planning to attend cannes . robbie little , the british producer , co - president of the little film company and stalwart of the independent world , has died unexpectedly in london en route to cannes . little , who served alongside his wife ellen , was a widely admired , deeply experienced and beloved figure in the film industry . at the time of his death he was working with producer debbie gray on the timothy spall and vanessa redgrave drama mrs lowry & son and the more you ignore me , and was planning to continue talks with international buyers on the croisette . little

we ' re in the 1950s , and sir ian mckellen ' s james whale - real - life director of classic thirties horror movies frankenstein and bride of frankenstein - hasn ' t made a film for years .

a major theme in the film is whale’s homosexuality . it’s fitting that brendan frasier’s character is homophobic for in the 50s it was a sin against god and a social taboo . now it’s 2013 and more people are tolerant . this is a very tasteful film about this delicate topic and the reason it’s great is because the stereotypical homophobe rises above his prejudiced perceptions and comes to see the inner beauty of whale and experience true friendship . the message is great .

ian mckellen and helen mirren have been cast in the good liar , a thriller set up at new line cinema to be adapted from nicholas searle ' s debut novel and directed by bill condon . the pic reunites mckellen and condon from their collaborations on gods and monsters and mr . holmes . jeffrey hatcher wrote the script for good liar , about career con artist roy courtnay ( mckellen ) , who can hardly believe his luck when he meets well - to - do widow betty mcleish ( mirren ) online . as…

' ' gods and monsters ' ' is an unalloyed success at the new york film festival , with a performance by ian mckellen that richly deserves to be remembered at the end of the year . like john hurt in ' ' love and death on long island ' ' ( giving a similarly splendid performance , though in a narrower role ) , he works wonders with the character of a marvelously urbane english homosexual who becomes obsessed with an adonis from a wildly different world . in this case it ' s brendan fraser , also impressive , as the hunk who mows the lawn .

fixture of independent film world had been planning to attend cannes with mrs lowry & son . robbie little , the british producer , co - president of the little film company and stalwart of the independent world , has died unexpectedly in london en route to cannes . little , who served alongside his wife ellen , was a widely admired , deeply experienced and beloved figure in the film industry . at the time of his death he was working with producer debbie gray on the timothy spall and vanessa redgrave drama mrs lowry & son and the more you ignore me , and was planning to continue talks with international buyers on the croisette .

bill condon directs drama which will also shoot in berlin . principal photography has begun on new line cinema drama the good liar , starring helen mirren and ian mckellen . bill condon , the oscar - winning screenwriter of gods and monsters , is directing from a screenplay by jeffrey hatcher ( mr . holmes ) based on the book by nicholas searle . the film follows a career con artist ( mckellen ) who meets a wealthy widow online ( mirren ) . also in the cast are russell tovey and jim carter . director condon is also producing alongside greg yolen . executive producers are jack morrissey , nick o’hagan , aaron l . gilbert , and jason cloth .

mckellen then went on to muse why an openly gay man has never won the oscar . of course , mckellen has been nominated twice for the academy award — first for playing the aging gay film director james whale in gods and monsters , and then as gandalf in the first installment of the lord of the rings . “no openly gay man has ever won the oscar ; i wonder if that is prejudice or chance , ” he said . of course , there are a number of high - profile examples of the reverse holding true : tom hanks , philip seymour hoffman and sean penn all have oscar statuettes for such turns .

ian mckellen ' s brilliant performance as 1930s director james whale highlights " gods and monsters . " historical hollywood fiction drawn from christopher bram ' s book " father of frankenstein " doesn ' t always convince , particularly in the last lap . but it ' s an engrossing , unusual , imaginatively executed bit of psychological gamesmanship nonetheless . director - scenarist bill condon ' s first - class production will need good reviews and strong marketing to cross over beyond gay and arthouse auds .

but the film ' s story also has a different angle with a powerful revelation : moana’s people had stopped voyaging long ago , and had placed a taboo—another polynesian world—on going beyond the reef .

bram grew up in kempsville , virginia . after graduating from the college of william and mary in 1974 ( b . a . in english ) , he moved to new york city four years later . there , he met his lifelong partner , documentary filmmaker draper shreeve . bram ' s novel father of frankenstein , about film director james whale , was made into the movie gods and monsters starring ian mckellen and brendan fraser . bill condon adapted the screenplay and directed . condon won an academy award for his adaptation . in 2001 , bram was a guggenheim fellow . in 2003 , he received the bill whitehead award for lifetime achievement . he currently resides in new york .

the multiplicities of the film are endearing . it’s what can happen when you have a great script , for it brings out great acting . do you agree ?

how did life begin ? there can hardly be a bigger question . for much of human history , almost everyone believed some version of " the gods did it " . any other explanation was inconceivable .

clayton is slow to understand that whale is gay . well , in 1957 , a lot of people might not have understood . when he figures it out , he isn ' t angered and there ' s no painful and predictable scene of violence . instead , the film proceeds on a bittersweet course in which a young and not terribly bright man grows to like an old and very intelligent man , and to pity him a little . the film is a biopic leading toward a graceful elegy .

wow . gods and monsters is one of those movies i’ve wanted to sit down and watch since i can remember , and i just haven’t got it done yet . i really , really should . it sounds great . but yes , condon probably deserved a crap award for directing crap . the twilight series is just one of those things…i don’t have to have seen it front - to - back to know how horrible it is . why the hell would he even sign on for it ?

originally titled " father of frankenstein " and subsequently changed to " gods and monsters " to match the movie version , this novel is a subtly charming rendition of the last two weeks of the life of james whale , director of horror flicks frankenstein and bride of frankenstein ( as well as many others ) . at this point in his life , whale has just recovered ( somewhat ) from a stroke and is living alone in his mansion . after making the acquaintance of his young , butch , former marine yardman clayton , wha

whale ' s film career didn ' t just consist of his horror films - frankenstein and the eerie , febrile comedy bride of frankenstein . it also took in the first - world - war drama journey ' s end , the razzle - dazzle of show boat and a protracted slide into the margins . set two decades after whale ' s heyday , gods and monsters has the director played by ian mckellen as a white - haired , soigné aesthete , a faded grandee with too many voices in his head - flashbacks of his films , the echo of his impoverished dudley childhood ( listen to those midland vowels slip subliminally in and out ) , and the memory of his lost love , a young soldier who died in flanders .

summary : james whale directed some of the most sylish and unique movies of the 30s - frankenstein , bride of frankenstein , showboat and journey ' s end - but ten years after the release of frankenstein he had quit hollywood . set in 1957 , gods and monsters begins with whale ( ian mckellen ) suffering a stroke and remembering long - repressed episodes of his early life . haunted and lonely he recounts these experiences to his gardener , clayton boone , ( brendan fraser ) and a friendship develops between the two ; a relationship heartily disapproved of by whale ' s housekeeper , hanna , ( lynn redgrave ) .

james whale , as dapper in death as dressed for dinner , is the main character in bill condon ' s gods and monsters . he is conscious ( mc symptom - self - aware ) his deteriorating health ( mc domain - universe ) signals the inevitable end ( mc thematic issue - destiny ) , however , the proper englishman ' s courteous ways and impeccable manners remain unfailing - - as does his ardent desire for beautiful boys ( mc resolve - steadfast ) .

a moving and humane book about a great cinematic hero , james whale , director of frankenstein , bride of frankenstein , the old dark house and showboat . this book , which formed the basis for the movie gods and monsters , gives us a wonderful , somewhat vain and irascible character wrestling with his own declining powers . though having a clear gay perspective , it treats all it ' s personalities , whatever their sexuality , weaknesses or proclivities , with the dignity that allows them to be difficult and troublesome but profoundly human . ultimately it beautifully captures both the joy and sadness of being alive on the earth as both a creative and an inevitably corporeal being .

an example of a reasonably challenging film that doesn ' t really accomplish what it sets out to do , but is nevertheless thoughtfully - conceived and contains a couple of highly enjoyable performances that keep it afloat .

in " gods and monsters , " whale knows his health is failing . he lives alone except for a cheerless housekeeper ( lynn redgrave , very good ) who lectures him on bad behavior and tells him he will go to hell . she sizes up clayton and knows the whole story instantly - - has no doubt seen the same scenario enacted many times . but this time , because clayton feels empathy and because whale feels the chill of approaching death , the seduction strategies are pro forma . what the man most needs to do is talk , and clayton lets him , as he slips between the present and his vivid memories .

early this morning universal monsters universe learned the official ‘ the mummy ‘ synopsis for the upcoming film starring tom cruise and sofia boutella . fresh off the heels of the announcement that russell crowe is in negotiations to cameo as either a “dr . jekyll like” or dr . jekyll character in the mummy , bloody disgusting , screen crush , and joblo have begun to report on the official plot synopsis of the alex kurtzman directed picture , as well .

yet a bit of leering prankishness remains alive yet , as demonstrated when whale makes a fawning young film student ( jack plotnick ) shed a clothing article for each question answered .

this true - life - saga - turned - novel is deeply affecting and impeccably crafted . i was most personally impressed by the nuanced portrayal of what it was to be gay in the trenches , what it was to be gay in the early golden years of hollywood , what it was and is to be gay when the world around you refuses to treat you justly , and at the same time how wealth can be both a means of escaping the conundrums and the doldrums and a means of entrapping you further within them . its lgbt themes aside , the novel also effectively grapples with aging , with loss , with class divides , with the futility of nostalgia , and all while drawing the reader in zigzags through the life and times of james whale , the real creator of the filmic frankenstein and his many monsters . the only reason father of frankenstein didn ' t get the fifth star is because in its second half the narrative voice becomes too detached , distancing itself a bit too much from the characters it describes , and as a result , the audience is less engaged with them , less determined to wish them redemptions and happy endings . still , i thoroughly enjoyed it and i look forward to seeing the film based on it , gods and monsters .

the next and only officially slated dark universe movie is a remake of the crown jewel in universal monsters canon : bride of frankenstein . the original was released in 1935 and still remains as one of the few truly breathtaking examples of a horror sequel that builds on what came before and makes its own wonderful achievement .

excellent ! i had watched the film version years ago and always meant to read the book . the appearance of ian mckellen in another bill condon film this summer , mr . holmes caused me to go back and fullfill that wish . i am so glad i did . i loved this book . christopher bram captures the time period perfectly and the added depth of character in both the james whale and clayton boone makes the book a perfect companion to the film . it ' s no wonder it was an oscar nominee for best adapted screenplay . this book has so many interesting themes ; world war i , the original frankenstein films , homosexuality in 1930 - 50 ' s hollywood , identity and the power of memory . highly recommended !

in the film , their vessels resemble “mad max meets the tiki barge , ” complete with coconut palms growing on them . disney’s kakamora are mean , relentless at getting what they want , and full of sophisticated technology . and utterly silly at the same time .

whether or not all these monsters will appear on - screen together is unclear , but don’t be surprised if they do at some point because that appears to be the endgame for this sort of undertaking .

there are plenty of bad films to get riled up about in the summer . " percy jackson : sea of monsters " isn ' t one of them . this is harmless tween - centric fun .

lynn redgrave , in the film ' s winning but faintly mechanical comic turn , clucks over him moralistically as his protective housekeeper , twisting her mouth and rolling her eyes at the unspeakable business she believes to be going on .

his portrayal of the wizard gandalf the grey in peter jackson ' s film the lord of the rings : the fellowship of the ring received accolades from critics and filmgoers worldwide , including his second nomination for the academy award .

with universal pictures ’ planned dark universe remake of bride of frankenstein on indefinite hold , beauty and the beast helmer bill condon has now signed on for a new project , with the filmmaker set to direct ian mckellen and helen mirren in the good liar . based on the novel by nicholas searle , the good liar “centers on career con artist roy courtnay ( mckellen ) , who can’t resist one last score when he meets well - to - do widow betty mcleish ( mirren ) online . as the woman opens up her home and life to him , the man is surprised to find himself caring about her , turning what should be a cut - and - dry swindle into a treacherous tightrope walk as all is not what it seems . ” the good liar marks the fourth collaboration between condon and mckellen after gods and monsters , mr . holmes and beauty and the beast . the film is also being scripted by jeffrey hatcher , who

percy jackson : sea of monsters is a good special effects family movie that ' s every bit as accomplished as the lightning thief and possibly better - even if it doesn ' t follow the rick riordan juvenile fantasy novels like a road map .

the relationship cleverly reworks the doctor - monster pairing of the original story to comment on fathers and sons , masters and servants and the mind and the body .

okay , i see you rolling your eyes , but… kind of . essentially , the mummy is being used to launch a large , interconnected story involving the classic monsters from the golden age of hollywood . movies about the wolf man , the invisible man , abraham van helsing , the creature from the black lagoon , and even the bride of frankenstein are already in early stages of development , and their stories will , in theory , intersect on film in the years ahead .

what do you think of bill condon as a director / writer ? did you agree he deserved the 2013 gold raspberry award for worst director with the film , t wilight , breaking dawn part 2 ? he was on fire in the 2000s . he wrote the screenplay and directed d ream girls ( 2006 ) . besides writing the script for kinsey ( 2004 ) , he earned acclaim for writing chicago ( 2006 ) . in 2009 , he produced and co - wrote the script for the 81st academy awards–one of the best ones i can remember–hosted by hugh jackman . however , it was his academy award winning screenplay , gods and monsters ( 1 998 ) when i was first wowed . have you seen it ? i revisited it the other night . how graceful were the language and acting .

father of frankenstein by christopher bram 1995 read in feb 2010 a novel using james whale the real director of frankenstein , and bride of frankenstein as the main character . this fictional account of the directors last days was the basis for the movie , “gods and monsters” . i read this after reading mr bram’s non - fiction book of essays , mapping the territory . i was so taken by his clear and precise writing , i knew i would enjoy anything he wrote . and i was correct . he is also a great story teller . i greatly enjoyed this book and his description of an old man realizing he is losing his mind , and sense of reality . i recommend this book

the mummy has been released and the dark universe is here . a new 21st century take on the beloved universal monsters from the 1930s and ' 40s , this is something fans have either anticipated or feared , but as it ' s here , we explore what it will transform into next .

however , the most interesting ( or , depending on your opinion on the state of cinema , frustrating ) aspect of the movie is that it’s meant to kick off a massive cinematic universe for the universal monsters .

overall , the film looks sumptuous , with designer richard sherman and photographer stephen katz evoking perfectly the stagnant spaciousness of fifties beverly hills , the better to contrast it with whale ' s cobwebbed mental corridors . but the real action takes place behind closed doors , and you wish that condon had had the courage to leave us there , instead of opening the drama up . the more fine images we get , the less cinematic the film somehow feels , almost like a study guide with sidebars to amuse and instruct us .

enjoyed reading about the fictionalized life of james whale who directed bride of frankenstein . an out gay man in hollywood when that was not an " accepted " thing to be . the first half of the novel and the epilogue worked best for me . james whale at the end of his life , no longer working as a director and generally forgotten by the hollywood community begins to think about his experiences as a young , lower class british youth and how he transcended to the heights of hollywood . it adds texture to his character and creates a rich inner life for him . originally called as above father of frankenstein , the title of the movie is gods and monsters .