LisaCollins
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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西恩·迈德斯
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斯蒂芬·格拉汉姆
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妮娅姆·阿尔格
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Helen Behan
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Deirdre Donnelly
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Mark Hugh-Williams
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Frank Laverty
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James Nelson-Joyce
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马克·奥哈洛伦
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John Burke
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汤姆·戴维斯
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Aiste Gramantaite
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沃克斯豪尔·杰梅因
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David McSavage
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妮雅姆·库萨克
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With no immediate family to live for, Joseph is haunted by a past he has tried, for decades, to forget - if not actively obscure with drink and drugs. Suffering the hangover from hell - the dry spell over - he walks away from his present life and boards a boat bound for Ireland to confront hazy, fear-inducing memories from a childhood spent in the care system that he's had to forget. Emotionally and physically wrecked, Joseph reunites with an incredulous Anna (Helen Behan, This is England '88 - and '90), the sister he hasn't seen since childhood. Anna persuades her wary husband Michael (Frank Laverty; Michael Collins) to let Joseph stay and give him work in the family-owned building company. There, Joseph is forced to directly confront the demons of his past when he comes face to face with Craigy (Mark O'Halloran), a shadowy figure who is dogged by dark rumors, and who won't leave Joseph alone. Joseph's precarious family reunion is further complicated when he is immediately drawn to ...
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Fifteen year-old Taylor Collins is a golf legacy. The son of a PGA veteran, the younger brother of a PGA rookie, he has all the talent in the world-but wants nothing to do with golf or the pressure of being the next in line. After Taylor purposely blows his tryout for the school team, his disappointed father takes a drive that ends in a texting-while-driving accident and lands him in a coma. Taylor blames himself and, with the guidance of his brother and the prayer support from his mother Jenny and newfound crush Bailey, makes it his mission to get back on the team and become the first freshman in state history to lead his team to a state championship. Faith, hope, and love bring Taylor and his family closer than ever and he learns that the greatest way to honor his father and his God is to embrace the gifts and talents he was given.
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Thirteenyear-oldHollyHobbieliveswithherfamilyinCollinsville,apictureperfectNorthAmericansmalltownwithmain-streetvalues.EachepisodefollowsHollytryingtomaketheworldabetterplace,whiletacklingtheeverydaychallengesofgrowingup–frombulliestobreakouts,crushestocurfews.Holly’sprinciplemissioninSeason1issavingthestrugglingCalicoCaféwhichisrunbyhergrandmother,asherrelationshipwithAmy(bestfriendsincetheageoftwo)istestedbythearrivalofnewgirlintown,Piper.Hollyisabuddingsinger/songwriter,andcatchyoriginalmusicperformedbyHolly(RubyJay,485kIGfollowers)connectswhicheachepisode’splotduringliveperformancesatHolly’sopen-miceventsattheCafé.
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大卫·布鲁克纳
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经典恐怖片《养鬼吃人/猛鬼追魂》将拍新版电影，近日定下导演：大卫·布鲁克纳(《黑森灵》《鬼作秀》)。原版讲述男子Frank不慎打开了另一个次元，被著名恶鬼“针头鬼”带领的魔鬼Cenobites所杀。而多年后，Frank的哥哥Larry带着妻子Julia，搬到了他已故的妈妈的老宅中，因为一次意外，Larry的血让Frank的尸体重生，也让恶鬼降临……后成了一个系列。新版将从系列第一部开始重启，据称将在忠于原版的基础上有进化。Spyglass媒体公司打造。BenCollins和LukePiotrowski编剧，大卫·S·高耶(《蝙蝠侠：黑暗骑士三部曲》《刀锋战士》)提供故事并参与制片，这个导演、编剧、制片组合也就是今年圣丹斯电影节的热门恐怖片《鬼屋》的班底。
