Tony Richardson - Mademoiselle (1966)

Quote:

In 1951, French writer Jean Genet presented a screenplay called "Les Rêves Interdits/L'Autre Versant du Rêve" to actress Anouk Aimée as a wedding gift. He then proceeded to sell the rights three times without telling her. Eventually the script was reworked by Marguerite Duras and filmed by British director Tony Richardson as Mademoiselle, with Jeanne Moreau in the title role. In its final form, Mademoiselle tells the story of a repressed schoolteacher who visits a veritable plague of deliberate "accidents" on the people of her rural French village. She sets fires, poisons animals, and causes floods -- all in a fit of thwarted passion for an immigrant woodcutter. Though Marlon Brando was originally set to play the role of the Italian craftsman, the part went to Ettore Manni when the production schedule shifted. Umberto Orsini plays Antonio, the woodcutter's forlorn son, whom Mademoiselle maliciously humiliates out of perverse desire for his father.





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subs:
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Tony Richardson - Tom Jones (1963)

A bawdy, exuberant adaptation of Henry Fielding's classic 18th century novel, Tom Jones bears the enviable contradiction of being a timeless period piece. Boasting both a uniformly excellent cast and a screenplay by John Osborne that remains one of the cinema's most successful literary hatchet jobs, the film ushered in a new era for British cinema. Its unabashed commercialism (which had to be financed by United Artists after its subject matter was deemed too outré by British financiers) was key to the subsequent influx of American dollars into the British film industry, and it signaled the effective end of the darker, more politicized English Free Cinema movement. The film was a landmark for a number of other reasons, first and foremost director Tony Richardson's presentation of the subject matter.
Presaging MTV-style film direction by at least three decades, Richardson directed his film with impressive speed, employing rapid cuts, frequent breaking-down of the fourth wall, and a pace breathless enough to make audiences forget that they were watching what had been a 1000-page novel. Notable, too, was the fact that a story set two centuries ago could ring so true with a contemporary audience. The depiction of Tom's libidinous past was marked by the sort of carefree, liberated attitude that would soon become one of the defining attributes of the film's era. Moreover, it featured one of the most memorable demonstrations of the link between food and sex ever committed to celluloid, giving new meaning to the term "human appetite." With so many lasting qualities — to say nothing of a star-making performance by a young and dashing Albert Finney — it is little surprise that Tom Jones has stood the test of time as one of the 20th century's most enjoyable cinematic achievements. — Rebecca Flint Marx




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Tony Richardson - A Taste of Honey (1961)

Quote:

Director Tony Richardson adapted the screenplay of A Taste of Honey from the "kitchen sink" stage play by Shelagh Delaney. Rita Tushingham plays a working-class British teenager, living with her drink-sodden, libertine mother Dora Bryan. Denied affection by her selfish mother, Tushingham is pushed further in the background when Bryan impulsively marries her latest boyfriend Robert Stephens. The girl takes a job at a shoe store, then moves in with her kindly homosexual employer Murray Melvin. The two lost souls live in harmony until Tushingham becomes pregnant after a casual affair with black sailor Paul Danquah. Melvin comes to the rescue by offering to look after the baby. This relatively blissful state of affairs is short-lived; before long, Tushingham's hateful mother, having been kicked out by Stephens, descends upon her daughter and her "family," with all her debilitating emotional baggage intact. A poignant denouement caps this riveting slice-of-life drama.







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Spanish Subs:
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Karel Reisz & Tony Richardson - Momma Don't Allow (1956)

Description: In March 1954, Karel Reisz and Tony Richardson submitted a proposal to the BFI Experimental Film Fund for a short documentary. At the time, Reisz was working for the bfi as programmer of the National Film Theatre, while Richardson was a young BBC television director. The film, originally titled Jazz, was about a Saturday evening in a North London jazz club.

The film was shot on 16mm film during Winter 1954-5 with a total grant of just £425 (the pair had requested only £232). By the time the it was completed in November 1955, its title had been changed to Momma Don't Allow.

On 25th January 1956, a few days before the Free Cinema event, Momma Don't Allow was screened as part of a programme of bfi-funded films for press and industry representatives at the NFT. Press reviews were very encouraging.

Momma Don't Allow was warmer and more sympathetic to its working-class subjects than Lindsay Anderson's earlier O Dreamland (1953), which also formed part of the first Free Cinema programme. The film captures the emerging 'youth culture' - a term unheard of before the 1950s - contrasting the relaxed, confident working-class Teddy Boys and their girlfriends with the more awkward 'toffs' whose arrival threatens to change the mood of the evening.

Following Momma Don't Allow, Richardson became increasingly involved in theatre and film production, and never made another Free Cinema film. He was, however, the first of the Free Cinema figures to make the move into feature films, setting up Woodfall Film Productions with playwright John Osborne. Woodfall's first release was an adaptation of Osborne's stage hit Look Back in Anger (1959), directed by Richardson.

Reisz was appointed film officer by car manufacturer Ford, which later funded Lindsay Anderson's Every Day Except Christmas (1957) and Reisz's own We Are the Lambeth Boys (1959).






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Password: www.AvaxHome.ru

Tony Richardson - The Loneliness of the Long Distance Runner (1962)

One of the key "angry young man" films which helped define the British "Kitchen Sink Drama" style of the late 1950's and early 60's, this story centers on Colin Smith (Tom Courteney), a bitter young man from a working-class family. Uninterested in school and determined not to follow his father into factory work, Colin and his friend Mike (James Bolam) make their pocket money through petty crime, until they're arrested after the robbery of a baker's shop and sentenced to Borstal (British reform school). The Governor of the school (Michael Redgrave) takes a keen interest in Colin, but he cares less for his rehabilitation than his gifts as a broken-field runner; Colin finds himself torn between the need to please his captors and his determination not to play along with what he sees as a corrupt system. The Loneliness Of The Long Distance Runner was the first film for Tom Courteney, whose performance earned him the "Most Promising Newcomer" prize at the 1962 British Film Academy awards. -- Mark Deming












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Tony Richardson - The Entertainer (1960)

Description: John Osbourne wrote his play "The Entertainer" specifically at the request of Laurence Olivier, who wanted the Angry Young Man of the British theater to create a vehicle for him, one of the figures of the British Establishment that Osbourne was rebelling against. Olivier hoped that appearing in the Osbourne play would make him relevant to a new generation of theater goers. It proved to be one of Olivier's greatest stage successes (The Colonial Theatre in Boston has a plaque on the outside wall commemorating Olivier's appearance there during the US tour of the play), while the film adapted from the play won him the sixth of his ten acting Academy Award nominations. His performance as Archie Rice, as well as his marriage to his young co-star Joan Plowright, one of the leading actresses of the new wave of British thespians, did keep Olivier contemporary with the new leaders of the British theater. Conversely, Olivier's generational contemporaries, including the actors John Gielgud and 'Ralph Richardson' and the playwright Terence Rattigan, would become to seem Stout and old-fashioned as they failed to keep up with the theatrical evolution. (Gieilgud would counter with the role of Julian in Edward Albee's obscure "Tiny Alice" on Broadway in 1962, but outside of the classical repertoire, he and Richardson did not recover their cachet as actors in contemporary plays until the mid-1970s, in Harold Pinter's "No Man's Land".) Olivier would help shepherd the new generation of actors, directors and playwrights as the head of the National Theatre in the 1960s and early '70s.




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