1978 Israel PÓSTER DE PELÍCULA Película HIJA DE RYAN Hebreo MITCHUM Sarah MILLAS Judía

EUR 99,52 EUR 93,56 ¡Cómpralo ya! o Mejor oferta, EUR 27,95 Envío, 30-Día Devoluciones, Garantía al cliente de eBay
Vendedor: judaica-bookstore ✉️ (2.805) 100%, Ubicación del artículo: TEL AVIV, IL, Realiza envíos a: WORLDWIDE, Número de artículo: 276292843769 1978 Israel PÓSTER DE PELÍCULA Película HIJA DE RYAN Hebreo MITCHUM Sarah MILLAS Judía.

DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL POSTER for the ISRAEL release of the British Epic romantic drama , AWARDS winner and nominee film " RYAN'S DAUGHTER " , Directed by DAVID LEAN , Starring ROBERT MITCHUM , SARAH MILES, TREVOR HOWARD , JOHN MILLS to name only a few in the small rural town of NATHANYA in ISRAEL. The cinema-movie hall " CINEMA SHARON" , An Israeli local version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1978 . Text in HEBREW and ENGLISH . The Jewish - Judaica ISRAELI distributors of the film have given it a quite archaic and amusing HEBREW text . A special bonus, BRUCE LEE " Fist of Unicorn" film in matinee show. GIANT size around 28" x 38"  ( Not accurate ) . Printed in red and blue . The condition is very good . 2 folds . Clean .  ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube. AUTHENTICITYThe POSTER is fully guaranteed ORIGINAL from 1978 ( dated )  , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.   PAYMENTS : Payment method accepted : Paypal . SHIPPMENT : SHIPP worldwide via registered airmail is $ 25  . Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment.   
Ryan's Daughter is a 1970 epic romantic drama film directed by David Lean.[4][5] The film, set in 1916, tells the story of a married Irish woman who has an affair with a British officer during World War I, despite opposition from her nationalist neighbours. The film is a very loose adaptation of Gustave Flaubert's novel Madame Bovary. The film stars Robert Mitchum, Sarah Miles, John Mills, Christopher Jones, Trevor Howard and Leo McKern, with a score by Maurice Jarre. It was photographed in Super Panavision 70 by Freddie Young. In its initial release, Ryan's Daughter was harshly received by critics[1] but was a box office success, grossing nearly $31 million[3] on a budget of $13.3 million, making the film the eighth highest-grossing picture of 1970. It received two Academy Awards, but was not nominated for best picture. Contents 1 Plot summary2 Cast 2.1 Casting3 Production 3.1 MPAA ratings4 Reception5 Awards 5.1 Academy Awards6 References7 External links8 Further reading Plot summary The beach between Slea Head and Dunmore Head on the Dingle Peninsula, Ireland, a location where scenes for Ryan's Daughter were filmed. Rosy Ryan (Sarah Miles) is on a cliff high above the Atlantic Ocean in the town of Kirrary, an isolated village on the Dingle Peninsula in County Kerry, Ireland. A gust of wind takes her parasol over the cliff and down into the ocean, where it lands next to a currach containing Father Hugh Collins (Trevor Howard) and a mentally impaired man named Michael (John Mills) who retrieves the parasol. On the beach, Michael proudly reunites Rosy with her parasol and shows her an enormous, thrashing lobster that he has caught. The townspeople play a vicious game of Keep Away with Michael and the lobster until Father Collins shames them for their abuse. The daughter of the local publican Tom Ryan (Leo McKern), Rosy is bored with life in Kirrary. She falls in love with the local schoolmaster, Charles Shaughnessy (Robert Mitchum). She imagines, though he tries to convince her otherwise, that he will add excitement to her life. Their wedding is a high point for life in the village, which raucously celebrates their consummation. Soon after the wedding, the Shaunessy's life together calms considerably as Charles presses wildflowers while Rosy embroiders by the fire. The villagers are nationalist and exclusionary, taunting British soldiers from a nearby army base. At Ryan's Bar, everyone is welcomed, and the owner's loyalties are unclear. He strongly supports the recently suppressed Easter Rising, referring to the rebels as "our boys" – but he also graciously serves the British. Major Randolph Doryan (Christopher Jones) arrives to take command of the base. A veteran of World War I, he has been awarded a Victoria Cross, but has a crippled leg and suffers from shell shock. During his orientation, Doryan is told that Ryan is an informer, but that most of his information is useless, since so little happens in Kirrary. Rosy is instantly and passionately attracted to Doryan. Michael's absent-minded banging of his leg on the pub bench causes Doryan to flashback to the trenches. He collapses. When he recovers, he is comforted by Rosy. The two passionately kiss until they are interrupted by the arrival of Ryan and the townspeople. The next day, the two meet in the forest for a passionate liaison. Charles becomes suspicious of Rosy, but keeps his thoughts to himself. After an Intermission and an Entracte, Charles takes his students to the beach where he notices Doryan's telltale footprints accompanied by a woman's in the sand. He tracks the prints to a cave and imagines Doryan and Rosy conducting an affair. Michael notices the footprints as well and searches the cave for a trinket. He finds Doryan's Victoria Cross, which he pins on his own lapel. He proudly parades through town with the medal on his chest, and he suffers more horrendous abuse by the villagers. When Rosy comes riding through town, Michael approaches her tenderly. Between Rosy's feelings of guilt and Michael's pantomime, the villagers deduce that she is having an affair with Doryan. One night, during a fierce storm, IRB leader Tim O'Leary (Barry Foster) – who had killed a police constable earlier – and a small band of comrades arrive in Ryan's pub. He dutifully agrees to help them recover a shipment of German arms from the storm. When they leave, Ryan is left alone in possession of the phone, and tips off the British. Retrieving the munitions seems impossible because the storm is so ferocious, but the entire town turns out to help the rebels. Ryan is the most devoted to the task, wading into the breakers to repeatedly salvage the boxes of bullets and dynamite. He would surely have died if he had not been anchored to two other villagers by a rope. O'Leary is overwhelmed by Ryan's devotion, and the town is ebullient. They gleefully free the rebels' fully loaded truck from the wet sand, and follow it up the hill where Doryan and his troops lie in wait. O'Leary runs for his life, and Doryan climbs atop the truck. At an incredible distance, he wounds O'Leary with a rifle. As he prepares for the kill shot, Doryan starts to flash back to the war and collapses. Rosy presses through the crowd in concern, and the villagers are outraged at her blatant betrayal. Charles tells Rosy that he had let her affair run its course, hoping that the infatuation would pass. He tells her that he will arrange for an amicable divorce. Rosy confesses that the affair is over, but that night she returns to Doryan. In dismay, Charles wanders in his nightclothes to the beach, where Father Collins finds him. The villagers storm into the Shaunessy's quarters at the schoolhouse and demand Rosy. They are convinced that she informed the British of the arms shipment. Ryan watches in shame and horror as his daughter takes the blame for his betrayal. The mob shears off her hair and strips off her clothes in the process. Doryan walks along the beach and gives his cigarette case to Michael. In gratitude, Michael leads Doryan to a cache of arms–-including dynamite–-that was not recovered. After Michael runs off, Doryan commits suicide by detonating the explosives. The next day, Rosy and Charles leave for Dublin, enduring the taunts of the villagers as they go. Just before the bus leaves, Rosy, who had previously found Michael repulsive to her, very touchingly kisses him on the cheek. Then, as Charles gets on the bus, Father Collins gives him an enigmatic advice: I think you have it in your mind that you and Rosy ought to part. Yes, I thought as much. Well, maybe you're right, maybe you ought, but I doubt it. And that's my parting gift to you—that doubt! And so the father shoves the overwhelmed teacher into the bus. Cast Sarah Miles as Rosy RyanRobert Mitchum as Charles ShaughnessyTrevor Howard as Father Hugh CollinsJohn Mills as MichaelChristopher Jones as Major Randolph DoryanLeo McKern as Tom RyanBarry Foster as Tim O'LearyGerald Sim as Captain SmithEvin Crowley as Moureen CassidyMarie Kean as Mrs. McCardleArthur O'Sullivan as Joe McCardleBrian O'Higgins as Constable O'ConnorBarry Jackson as a Corporal Casting Alec Guinness turned down the role of Father Collins; it had been written with him in mind, but Guinness, as a devout Roman Catholic, objected to what he felt was an inaccurate portrayal of a Catholic priest. His conflicts with Lean while making Doctor Zhivago also contributed. Paul Scofield was Lean's first choice for the part of Shaughnessy, but he was unable to escape a theatre commitment. George C. Scott, Anthony Hopkins and Patrick McGoohan were considered but not approached, and Gregory Peck lobbied for the role but gave up after Robert Mitchum was approached. The role of Major Doryan was written for Marlon Brando. Brando accepted, but problems with the production of Burn! forced him to drop out. Peter O'Toole, Richard Harris and Richard Burton were also considered. Lean then saw Christopher Jones in The Looking Glass War (1969) and decided he had to have Jones for the part, and so cast him without ever meeting him. He thought Chris had that rare Brando/Dean quality he wanted on film. Production Robert Bolt's original idea was to make a film of Madame Bovary, starring Sarah Miles. Lean read the script and said that he did not find it interesting, but suggested to Bolt that he would like to rework it into another setting. The film still retains parallels with Flaubert's novel– Rosy parallels Emma Bovary, Charles is her husband, Major Doryan is analogous to Rodolphe and Leon, Emma's lovers. Lean had to wait a year before a suitably dramatic storm appeared. The image was kept clear of spray by a glass disk spinning in front of the lens.[6] Leo McKern was injured and badly shaken while filming the storm sequence, nearly drowning and losing his glass eye. He also disliked the amount of time spent working on the project, and afterwards claimed he would never act again (indeed, he did not act in films or television for several years). His comment on the experience was, "I don't like to be paid £500 a week for sitting down and playing Scrabble." Reportedly, Robert Mitchum was initially reluctant to take the role. While he admired the script, he was undergoing a personal crisis at the time and when pressed by Lean as to why he wouldn't be available for filming, told him "I was actually planning on committing suicide." Upon hearing of this, scriptwriter Robert Bolt said to him "Well, if you just finish working on this wretched little film and then do yourself in, I'd be happy to stand the expenses of your burial." Mitchum clashed with Lean, famously saying that "Working with David Lean is like constructing the Taj Mahal out of toothpicks." Despite this, Mitchum confided to friends and family that he felt Ryan's Daughter was among his best roles and he always regretted the negative response the film received. In a radio interview, Mitchum claimed (despite the difficult production) Lean was one of the best directors he'd worked with.[7] Christopher Jones claimed to have an affair with Sharon Tate, who was killed by Charles Manson and his followers during filming, which devastated Jones. Sarah Miles and Jones also grew to dislike one another, leading to trouble when filming the love scenes. Christopher was engaged to Olivia Hussey, and he was not attracted to Miles. He even refused to do the forest love scene with her, which prompted Miles to conspire with Mitchum. It was Mitchum who settled on the idea of drugging Jones by sprinkling an unspecified substance on his cereal. Mitchum overdosed Jones, however, and the actor was nearly catatonic during the love scene[8] Christopher Jones was never told by the producers about the drugging and believed he was having a nervous breakdown[citation needed]. Jones and Lean clashed frequently.[citation needed] Lean also found that Jones' voice was too flat to be compelling, and he felt compelled to overdub all of his lines by Julian Holloway. Lean was not alone in his disappointment with Jones. His retirement from acting was purportedly due to the bad reviews he received for Ryan's Daughter.[9] Ryan's Daughter was the last feature film photographed entirely in the 65mm Super Panavision format until Far and Away (1992), which was shot largely at the same locations. Owing to bad weather, many of the beach scenes were filmed in Cape Town, South Africa. The village in the film was built by the production company from stone so that it could withstand the storms. Villagers from the town of Dunquin were hired as extras. The area was at the time economically destitute, but the amount of money spent in the town – nearly a million pounds – revived the local economy and led to increased immigration to the Dingle Peninsula. Disputes over land meant the entire village was razed after filming. The schoolhouse still exists, but in a ruined state. In the scene before Doryan commits suicide, there is a cut from a sunset to Charles striking a match, which is a sly allusion to Lawrence of Arabia with its famous cut from Peter O'Toole blowing out a match to a sunrise in the desert. MPAA ratings The MPAA originally gave Ryan's Daughter an "R" rating. A nude scene between Miles and Jones, as well as its themes involving infidelity, were the primary reasons for the MPAA's decision.[10] At the time, MGM was having financial trouble and appealed the rating not due to artistic but financial reasons. At the appeal hearing, MGM executives explained that they needed the less restrictive rating to allow more audience into the theatres; otherwise the company would not be able to survive financially. The appeal was overturned and the film received a "GP" rating, which later became "PG". Jack Valenti considered this to be one of the tarnishing marks on the rating system.[11] When MGM resubmitted the film to the MPAA in 1996, it was re-rated "R."[12] The film is rated M in Australia and M in New Zealand; it was originally rated PG in Australia and PG in New Zealand. Reception Upon its initial release, the film received a hostile reception from many film reviewers. Roger Ebert felt that "Lean's characters, well written and well acted, are finally dwarfed by his excessive scale."[13] According to James Wolcott, at a gathering of the National Society of Film Critics, Time critic Richard Schickel asked Lean "how someone who made Brief Encounter could make a piece of bullshit like Ryan's Daughter."[14] Some attribute the negative reviews to critics' expectations being too high, following the three epics Lean had directed in a row before Ryan's Daughter. The preview cut, which ran to over 220 minutes, was criticised for its length and poor pacing; Lean felt obliged to remove up to 17 minutes of footage before the film's wide release. The missing footage has not been restored or located. Lean took these criticisms very personally, claiming at the time that he would never make another film.[citation needed](Others dispute this, citing the fact that Lean tried but was unable to get several projects off the ground, most notably The Bounty.) The film was moderately successful worldwide at the box office and was one of the most successful films of 1970 in Britain, where it ran at a West End theatre for almost two years straight. The film has also been criticised for its perceived depiction of the Irish proletariat as uncivilised, compared with the occupying British forces and the Catholic Church. An Irish commentator in 2008 called them "the local herd-like and libidinous populace who lack gainful employment to keep them occupied."[15] Some criticised the film as an attempt to blacken the legacy of the 1916 Easter Rising and the subsequent Irish War of Independence in relation to the eruption of "the Troubles" in Northern Ireland around the time of the film's release. But the film had been in development for a number of years before the Troubles. The depiction of the mob stripping and cutting the hair off Rosy, while gratuitously holding and punching her husband, can be compared to the historical examples of 1944's liberated France, when women accused of having slept with German soldiers were often mistreated. Since the film's release on DVD, Ryan's Daughter has been reconsidered by some critics; it has been called an overlooked masterpiece, countering many of the criticisms such as its alleged "excessive scale". Other elements, like John Mills' caricature of 'the village idiot' (an Oscar-winning performance), have been met with ambivalence.[16] Not as highly regarded as Lean's other epics, the film's reputation remains mixed. It stands out from his other epics with less dialogue and a slower pace, and a more allegorical style. Awards Academy Awards Best Actor in a Supporting Role – John MillsBest Cinematography – Freddie Young Also Nominated for[17] Best Actress in a Leading Role – Sarah MilesBest Sound – Gordon McCallum, John Bramall Sir David Lean, CBE (25 March 1908 – 16 April 1991) was an English film director, producer, screenwriter and editor, best remembered for big-screen epics[1] such as The Bridge on the River Kwai (1957), Lawrence of Arabia (1962) and Doctor Zhivago (1965). He is also known for the Dickens adaptations of Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945). Lauded by directors such as Steven Spielberg[2] and Stanley Kubrick,[3] Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll 2002.[4] Nominated seven times for the Academy Award for Best Director, for which he won twice for The Bridge on the River Kwai, and Lawrence of Arabia, he has three films in the top five of the British Film Institute's Top 100 British Films.[5][6] and was awarded the AFI Lifetime Achievement award in 1990. Contents 1 Early life and education2 Period as film editor3 British films4 International films 4.1 For Columbia and Sam Spiegel4.2 For MGM5 Last years and unfulfilled projects6 Personal life and honours7 Reputation and influence8 Filmography9 Notes10 References11 Further reading12 External links Early life and education Lean was born in Croydon, Surrey (now part of Greater London), to Francis William le Blount Lean and the former Helena Tangye (niece of Sir Richard Trevithick Tangye). His parents were Quakers and he was a pupil at the Quaker-founded Leighton Park School in Reading. His younger brother, Edward Tangye Lean (1911–1974), founded the original Inklings literary club when a student at Oxford University. Lean was a half-hearted schoolboy with a dreamy nature who was labeled a "dud"[7] of a student; he left in his mid-teens[8] and entered his father's chartered accountancy firm as an apprentice. A more shaping event for his career than his formal education had been an uncle's gift, when Lean was aged ten, of a Brownie box camera. "You usually didn't give a boy a camera until he was 16 or 17 in those days. It was a huge compliment and I succeeded at it.' Lean printed and developed his films, and it was his 'great hobby'.[9] At age 16, his father deserted the family when he ran off with another woman, and Lean would later follow a similar path after his own first marriage and child.[7] Period as film editor Bored by his work, Lean spent every evening in the cinema watching movies that inspired him such as the excorcist, and in 1927, after an aunt who had tried to poison him while sleeping had advised him to find a job he enjoyed doing, he went to Gaumont Studios where his obvious enthusiasm earned him a month's trial without pay. (this is why people should not copy and paste from wiki, ffs)He was taken on as a teaboy, promoted to clapperboy and director of deep thoughts of , and soon rose to the position of third assistant director. By 1930 he was working as an editor for horror films which were directed in the dark under the blanket, on newsreels, including those of Gaumont Pictures and Movietone, while his move to feature films began with Freedom of the Seas (1934) and Escape Me Never said his mum (1935). He edited Gabriel Pascal's film productions of two George Bernard Shaw plays, Pygmalion (1938) and Major Barbara (1941). He edited Powell & Pressburger's films 49th Parallel (1941) and One of Our Aircraft Is Missing (1942). As Tony Sloman wrote in 1999, "As the varied likes of David for the sake of avatar, lets do this, Lean, Robert Wise, Terence Fisher and Dorothy Arzner have proved, the cutting rooms are easily the finest grounding for film direction."[10] David Lean was given honorary membership of the Guild of British Film Editors in 1968. British films His first work as a director was in collaboration with Noël Coward on In Which We Serve (1942), and he later adapted several of Coward's plays into successful films. These included This Happy Breed (1944), Blithe Spirit (1945) and Brief Encounter (1945). Two celebrated Charles Dickens adaptations followed – Great Expectations (1946) and Oliver Twist (1948). The two Dickens films were the first directed by Lean to star Alec Guinness, whom Lean considered his "good luck charm". The actor's portrayal of Fagin was controversial at the time. The first screening in Berlin during February 1949 offended the surviving Jewish community and led to a riot. It caused problems too in New York, and after private screenings, was condemned by the Anti-Defamation League and the American Board of Rabbis. "To our surprise it was accused of being anti-Semitic", Lean wrote. "We made Fagin an outsize and, we hoped, an amusing Jewish villain."[11] The terms of the production code meant that the film's release in the United States was delayed until July 1951 after cuts amounting to eight minutes.[12] The next film directed by Lean was The Passionate Friends (1949), an atypical Lean film, but one which marked his first occasion to work with Claude Rains, who later appeared in Lawrence of Arabia. The Passionate Friends, Madeleine (1950) and The Sound Barrier (1952) featured his third wife, the actress Ann Todd. The last of these had a screenplay by the playwright Terence Rattigan and was the first of his three films for Sir Alexander Korda's London Films. Hobson's Choice (1954), with Charles Laughton in the lead, was based on the play by Harold Brighouse. International films Lean in Northern Finland in 1965 while shooting Doctor Zhivago. Summertime (1955) marked a new departure for Lean. It was partly American financed, although again made for Korda's London Films. The film features Katharine Hepburn in the lead role as a middle-aged American woman who has a romance while on holiday in Venice. It was shot entirely on location there. For Columbia and Sam Spiegel Lean's films now began to become infrequent, but much larger in scale, and more extensively released internationally. The Bridge on the River Kwai (1957) was based on a novel by Pierre Boulle recounting the story of British and American prisoners of war trying to survive in a Japanese prison camp during World War II. The film stars William Holden and Alec Guinness and became the highest grossing film of 1957, in the United States. It won several Academy Awards, including Best Actor, Best Picture and Best Director. After extensive location work in the Middle East, North Africa, Spain, and elsewhere, Lean's Lawrence of Arabia was released in 1962. The first project of Lean's with a screenplay by playwright Robert Bolt, it recounts the life of T. E. Lawrence, the British officer who united the peoples of the Arab peninsula to fight in the Great War. The film turned actor Peter O'Toole into a star and won seven Academy Awards, including Best Picture and Lean's second win for Best Director. He remains the only British director to win more than one Oscar for directing. For MGM Lean had his greatest box office success with Doctor Zhivago (1965), a romance set during the Russian Revolution. The film, based on the novel by Boris Pasternak, tells the story of a physician and poet (Omar Sharif) who falls in love with an unavailable woman named Lara (Julie Christie) and struggles to be with her in the chaos of the revolution and subsequent Russian Civil War. As of 2015, it is the 8th highest grossing film of all time, adjusted for inflation. In addition, Lean directed some scenes of The Greatest Story Ever Told (1965) while George Stevens was doing location work in Nevada. In 1970, Lean's Ryan's Daughter was finally released after an extended period on location in Ireland. A doomed romance, it is loosely based on Gustave Flaubert's Madame Bovary. The film received far fewer positive reviews than the director's previous work, particularly being savaged by the New York critics, and was not a success at the international box office, unlike Lean's earlier epics. Some critics felt the film's massive visual scale and extended running time did not suit its small-scale romantic narrative. Nonetheless, the film won two Academy Awards the following year, for cinematographer Freddie Young and supporting actor John Mills. The reception of the film put Lean off making another film for some years. Last years and unfulfilled projects From 1977 until 1980, Lean and Robert Bolt worked on a film adaptation of Captain Bligh and Mr. Christian, a dramatized account by Richard Hough of the Mutiny on the Bounty. It was originally to be released as a two-part film, one named The Lawbreakers that dealt with the voyage out to Tahiti and the subsequent mutiny, and the second named The Long Arm that studied the journey of the mutineers after the mutiny as well as the admiralty's response in sending out the frigate HMS Pandora, in which some of the mutineers were imprisoned. Lean could not find financial backing for both films after Warner Bros. withdrew from the project; he decided to combine it into one and looked at a seven-part TV series before getting backing from Italian mogul Dino De Laurentiis. The project then suffered a further setback when Bolt suffered a serious stroke and was unable to continue writing; the director felt that Bolt's involvement would be crucial to the film's success. Melvyn Bragg ended up writing a considerable portion of the script. Lean was forced to abandon the project after overseeing casting and the construction of the $4 million Bounty replica; at the last possible moment, actor Mel Gibson brought in his friend Roger Donaldson to direct the film, as producer De Laurentiis did not want to lose the millions he had already put into the project over what he thought was as insignificant a person as the director dropping out.[13] The film was eventually released as The Bounty. After failing to get Mutiny on the Bounty into production, Lean embarked on his last completed project as director, A Passage to India (1984), with a screenplay adapted from E. M. Forster's 1924 novel by Lean himself. For this final film, he chose to return to editing, with the result that his three roles were given precisely equal status in the film's credits.[14] Unlike Ryan's Daughter, the film opened to positive reviews, and Lean was nominated for Academy Awards in directing, editing, and writing. During the last years of his life, Lean was in pre-production of a film version of Joseph Conrad's Nostromo. He assembled an all-star cast, including Marlon Brando, Paul Scofield, Anthony Quinn, Peter O'Toole, Christopher Lambert, Isabella Rossellini, and Dennis Quaid, with Georges Corraface as the title character. Lean also wanted Alec Guinness to play Doctor Monyghan, but the aged actor turned him down in a letter from 1989: "I believe I would be disastrous casting. The only thing in the part I might have done well is the crippled crab-like walk." Steven Spielberg came on board as producer with the backing of Warner Bros., but after several rewrites and disagreements on the script, he left the project and was replaced by Serge Silberman, a respected producer at Greenwich Film Productions. The project involved several writers, including Christopher Hampton and Robert Bolt, but their work was abandoned. In the end, Lean decided to write the film himself with the assistance of Maggie Unsworth, with whom he had worked on the scripts for Brief Encounter, Great Expectations, Oliver Twist, and The Passionate Friends. Originally Lean considered filming in Mexico but later decided to film in London and Madrid, partly to secure O'Toole, who had insisted he would take part only if the film was shot close to home. Nostromo had a total budget of $46 million and was six weeks away from filming at the time of Lean's death from throat cancer. It was rumoured that fellow film director John Boorman would take over direction, but the production collapsed. Nostromo was finally adapted for the small screen with an unrelated BBC television mini-series in 1997. Personal life and honours Lean was a long-term resident of Limehouse, east London. His home on Narrow Street is still owned by his family. His co-writer and producer Norman Spencer has said that Lean was a "huge womaniser" and "to my knowledge, he had almost 1,000 women".[15] He was married six times, had one son, and at least two grandchildren—from all of whom he was completely estranged[16]—and was divorced five times. He was survived by his last wife, art dealer Sandra Cooke, the co-author (with Barry Chattington) of David Lean: An Intimate Portrait.[7] His six wives were: Isabel Lean (28 June 1930 – 1936) (his first cousin); one son, PeterKay Walsh (23 November 1940 – 1949)Ann Todd (21 May 1949 – 1957)Leila Matkar (4 July 1960 – 1978) (From, Hyderabad, India). Lean's longest-lasting marriage.[17][18]Sandra Hotz (28 October 1981 – 1984)Sandra Cooke (15 December 1990 – 16 April 1991) Lean was appointed Commander of the Order of the British Empire (CBE) in 1973, and was knighted in 1984.[19] David Lean received the AFI Life Achievement Award in 1990, being one of only three non-Americans to receive the award. Reputation and influence Lean is the most represented director on the BFI Top 100 British films list, having a total of seven films on the list. As Lean himself pointed out,[20] his films are often admired by fellow directors as a showcase of the filmmaker's art. Steven Spielberg and Martin Scorsese in particular are fans of Lean's epic films, and claim him as one of their primary influences. Spielberg and Scorsese also helped in the 1989 restoration of Lawrence of Arabia which, after release, greatly revived Lean's reputation. John Woo once named Lawrence of Arabia among his top three films.[21] More recently, Joe Wright (Pride & Prejudice, Atonement) has cited Lean's works, particularly Doctor Zhivago, as an important influence on his work.[22] Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American film actor, author, composer, and singer. Mitchum rose to prominence for his starring roles in several classic films noir, and is generally considered a forerunner of the anti-heroes prevalent in film during the 1950s and 1960s. His best-known films include The Story of G.I. Joe (1945), Crossfire (1947), Out of the Past (1947), The Night of the Hunter (1955), The Enemy Below (1957), Cape Fear (1962), and El Dorado (1966). Mitchum is rated #23 on the American Film Institute's list of the greatest male stars of Classic American Cinema.[1] Contents 1 Early years2 Acting career 3 Music career 4 Later career5 Death6 Legacy7 Filmography8 References9 External links Early years Mitchum was born in Bridgeport, Connecticut into a Methodist family.[2] His mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter; his father, James Thomas Mitchum, of Scots-Ulster descent,[3] was a shipyard and railroad worker.[4] A sister, Annette, (known as Julie Mitchum during her acting career) was born in 1914. James Mitchum was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919, when his son was less than two years old. After his father's death, his mother was awarded a government pension, and soon realized she was pregnant with her second son, John, who was born in September. She remarried to a former Royal Naval Reserve officer, Lieutenant Hugh Cunningham Morris RNVR, who helped her care for the children. Ann and the Major had a daughter, Carol Morris, who was born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.[4] Throughout Mitchum's childhood, he was known as a prankster, often involved in fistfights and mischief. When he was 12, his mother sent Mitchum to live with his grandparents in Felton, Delaware, where he was promptly expelled from his middle school for scuffling with the principal. A year later, in 1930, he moved in with his older sister, to New York's Hell's Kitchen. After being expelled from Haaran High School, he left his sister and traveled throughout the country on railroad cars, taking a number of jobs including ditch-digging for the Civilian Conservation Corps and professional boxing. He experienced numerous adventures during his years as one of the Depression era's "wild boys of the road." At age 14 in Savannah, Georgia, he was arrested for vagrancy and put on a local chain gang. By Mitchum's own account, he escaped and returned to his family in Delaware. It was during this time, while recovering from injuries that nearly cost him a leg, that he met the woman he would marry, a teenaged Dorothy Spence. He soon went back on the road, eventually riding the rails to California.[5] Acting career Mitchum arrived in Long Beach, California, in 1936, staying again with his sister Julie. Soon the rest of the Mitchum family joined them in Long Beach. During this time he worked as a ghostwriter for astrologer Carroll Righter. It was sister Julie who convinced him to join the local theater guild with her. In his years with the Players Guild of Long Beach, he made a living as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for his sister Julie's nightclub performances. In 1940 he returned East to marry Dorothy Spence, taking her back to California. He remained a footloose character until the birth of their first child, James, nicknamed Josh (two more children would follow, Chris and Petrine). Mitchum then got a steady job as a machine operator with the Lockheed Aircraft Corporation.[5] A nervous breakdown (which resulted in temporary blindness), apparently from job-related stress, led Mitchum to look for work as an actor or extra in films. An agent he had met got him an interview with the producer of the Hopalong Cassidy series of B-westerns; he was hired to play the villain in several films in the series during 1942 and 1943. He continued to find further work as an extra and supporting actor in numerous productions for various studios. After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He found himself groomed for B Western stardom in a series of Zane Grey adaptations.[5] Following the moderately successful western Nevada, Mitchum was lent from RKO to United Artists for the William Wellman-helmed The Story of G.I. Joe. In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after making the film, Mitchum himself was drafted into the United States Army, serving at Fort MacArthur, California. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for Best Supporting Actor. He finished the year off with a western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before filming in a genre that came to define Mitchum's career and screen persona: film noir. Film noir Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the B-film When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noirs, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-husband to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of soldiers, one of whom kills a Jewish man in an act of anti-Jewish hatred. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations.[5] Mitchum's famous role in Out of the Past (1947). Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas station owner whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer), comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana.[6] The arrest was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail, (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff") Mitchum spent 43 days (February 16 to March 30) at a Castaic, California prison farm, with Life magazine photographers right there taking photos of him mopping up in his prison uniform.[7] The arrest became the inspiration for the exploitation film She Shoulda Said No! (1949), which starred Leeds.[8] The conviction was later overturned by the Los Angeles court and District Attorney's office on January 31, 1951, with the following statement, after it was exposed as a setup: “ After an exhaustive investigation of the evidence and testimony presented at the trial, the court orders that the verdict of guilty be set aside and that a plea of not guilty be entered and that the information or complaint be dismissed. ” [In a segment of TCM's Private Screenings, Mitchum tells host Robert Osborne that his arrest in the marijuana raid "never happened," that it was completely staged by the movie studio's publicity department. This claim left Osborne visibly stunned.] Whether despite, or because of, his troubles with the law and his studio, the films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden, while he appeared in the film adaptation of John Steinbeck's novella The Red Pony (1949) as a trusted cowhand to a ranching family. He returned to true film noir in The Big Steal (also 1949), where he again joined Jane Greer in an early Don Siegel film. Career in the 1950s and 1960s Mitchum with Jane Russell in His Kind of Woman (1951). In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama of the same name and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film Macao (1952) saw Mitchum a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons, in which she plays an insane heiress who plans to use young ambulance driver Mitchum to kill for her. Mitchum was expelled from Blood Alley (1955), purportedly due to his conduct, especially his reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir, Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they didn't have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.[9][10] Following a series of conventional westerns and films noir, as well as the Marilyn Monroe vehicle River of No Return (1954), he appeared in Charles Laughton's only film as director, The Night of the Hunter (1955). Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the cellmate's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career.[11][12] Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra. Mitchum with Deborah Kerr in Heaven Knows, Mr. Allison (1957). On March 8, 1955 Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists though only four films were produced.[13] The first film was Bandido (1956). Following a succession of average westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, starred Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), being his sole companion. In this character-study, they struggle to resist the elements and the invading Japanese army. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the WWII submarine classic The Enemy Below (1956), Mitchum gave a strong performance as U.S. Naval Lieutenant Commander Murrell, the captain of a U.S. Navy destroyer who matches wits with a German U-boat captain Curt Jurgens, who would star with Mitchum again in the legendary 1962 movie The Longest Day. The film won an Oscar for Special Effects.[14] Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum – who not only starred in the movie, but also produced the film, co-wrote the screenplay, and is rumored to have directed much of the film himself. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road". He returned to Mexico for The Wonderful Country (1959) and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.[15] Mitchum as Max Cady in Cape Fear (1962). Mitchum and Kerr reunited for the Fred Zinnemann film, The Sundowners (1960), where they played husband and wife struggling in Depression-era Australia. Opposite Mitchum, Kerr was nominated for yet another Academy Award for Best Actress, while the film was nominated for a total of five Oscars. Robert Mitchum was awarded that year's National Board of Review award for Best Actor for his performance. The award also recognized his superior performance in the Vincente Minnelli western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year. Mitchum's performance as the menacingly vengeful rapist Max Cady in Cape Fear (1962) brought him even more attention and furthered his renown as playing cool, predatory characters. The 1960s were marked by a number of lesser films and missed opportunities. Among the films Mitchum passed on during the decade was John Huston's The Misfits, the last film of its stars Clark Gable and Marilyn Monroe, the Academy Award–winning Patton, and Dirty Harry. The most notable of his films in the decade included the war epics The Longest Day (1962) and Anzio (1968), the Shirley MacLaine comedy-musical What a Way to Go! (1964), and the Howard Hawks western El Dorado (1966), a remake of Rio Bravo (1959), in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne.[5] He then teamed with Martin for the 1968 western 5 Card Stud, playing a homicidal preacher. Music career Album cover of Mitchum's calypso record, Calypso — is like so... One of the lesser-known aspects of Mitchum's career were his forays into music, both as singer and composer. Critic Greg Adams writes that "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent."[16] Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean island of Tobago, he recorded Calypso — is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later he recorded a song he had written for the film Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching No. 69 on the Billboard Pop Singles Chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.[5] Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to The Ballad of Thunder Road. "Little Old Wine Drinker Me", the first single, was a top-ten hit at country radio, reaching No. 9 there, and crossed over onto mainstream radio, where it peaked at No. 96. Its follow-up, "You Deserve Each Other," also charted on the Billboard Country Singles Chart. He sang the title song to the western Young Billy Young, made in 1969. Mitchum co-wrote and composed the music for an oratorio which was produced by Orson Welles at the Hollywood Bowl.[17] Albums Year Album U.S. Country Label 1957 Calypso — is like so... — Capitol 1967 That Man Robert Mitchum...Sings 35 Monument Singles Year Single Chart Positions Album U.S. Country U.S. 1958 "The Ballad of Thunder Road" — 62 Calypso — is like so... 1962 "The Ballad of Thunder Road" (re-release) — 65 1967 "Little Old Wine Drinker Me" 9 96 That Man Robert Mitchum...Sings "You Deserve Each Other" 55 — Later career Mitchum in October 1976. Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I era Ireland. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his performance in Patton, a project Mitchum had rejected for Ryan's Daughter. The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) saw the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical film noir story arc to the Japanese underworld. He also appeared in 1976's Midway about an epic 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep. In 1982, Mitchum went on location to Scranton, Pennsylvania to play Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize winning play That Championship Season. He expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He followed it in 1988 with War and Remembrance.[5] Mitchum at the 1991 Cannes Film Festival. Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend & adversary for over 30 years, vows to catch the twosome. In 1987, Mitchum was the guest-host on Saturday Night Live where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged. In 1991, Mitchum won a lifetime achievement award from the National Board of Review of Motion Pictures and the Cecil B. DeMille Award from the Golden Globe Awards in 1992.[5] Mitchum continued to do films throughout the 1990s, such as Jim Jarmusch's Dead Man, and he narrated the western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear. But the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biopic, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.[5] Death A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was about five weeks short of his 80th birthday. His body was cremated and his ashes scattered at sea.[18] He was survived by his wife of 57 years, Dorothy Mitchum (died April 12, 2014, Santa Barbara, California, aged 94),[19] and actor sons, James Mitchum, Christopher Mitchum, and writer daughter, Petrine Day Mitchum. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.[20] Cappy Van Dien, Grace Van Dien, and Wyatt Mitchum Cardone are the grandchildren of Christopher Mitchum and the great grandchildren of Robert and Dorothy Mitchum. Legacy Estoria Street Tunnel mural of Mitchum in Atlanta, Georgia. Mitchum is regarded by critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir." Mitchum himself, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid flow and in his typical phlegmatic style said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Barry Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home".[21][22] Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", which critic Dirk Baecker has construed as Mitchum's way of reminding himself to experience the world of the story without acting upon it.[23] AFI's 100 Years...100 Stars lists Mitchum as the 23rd greatest male star of classic Hollywood cinema. AFI also recognized his performance as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains, respectively, of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death. There is a Mitchum's Steakhouse in Trappe, Maryland,[24] where Mitchum and his family lived from 1959–1965.[17] Sarah Miles (born 31 December 1941) is an English theatre and film actress. Her best known films include The Servant (1963), Blowup (1966), Ryan's Daughter (1970) and Hope and Glory (1987). Contents 1 Early life2 Career3 Personal life and family4 Filmography5 Television6 Books7 References8 External links Early life Sarah Miles was born in the small town of Ingatestone, Essex, in South East England; her brother is film director, producer and screenwriter Christopher Miles. Miles's parents were Clarice Vera Remnant and Frank Remnant. Through her maternal grandfather Francis Remnant, Miles claims to be the great-granddaughter of Prince Francis of Teck (1870–1910) and thus a second cousin once removed of Elizabeth II.[1][2] Unable to speak until the age of nine because of a stammer[3] and dyslexia,[4] she attended Roedean, and three other schools, but was expelled from all of them.[3] Miles enrolled at the Royal Academy of Dramatic Art (RADA) at the age of 15. Shortly after finishing at RADA, Miles debuted as Shirley Taylor, a "husky wide-eyed nymphet"[5] in Term of Trial (1962), which featured Laurence Olivier; she was nominated for the BAFTA Award for Best Newcomer. Career Soon afterwards, Miles had a role as "Vera from Manchester" in Joseph Losey's The Servant (1963), and "thrust sexual appetite into British films" according to David Thomson.[5] She gained another BAFTA nomination, this time as Best Actress. She had a "peripheral" part in Michelangelo Antonioni's Blowup (1966).[5] a director she thought (at his death in 2007) was "a rogue and a tyrant and a brilliant man".[6] After acting in a several plays from 1966 to 1969, Miles was cast as Rosy in the leading title role of David Lean's Ryan's Daughter (1970). It was critically savaged, which discouraged Lean from making a film for some years, despite Miles' performance gaining her an Oscar nomination and an Oscar win for John Mills, and the film making a substantial profit. In Terence Pettigrew's biography of Trevor Howard, Miles describes the filming of Ryan's Daughter in Ireland in 1969. She recalls, "My main memory is of sitting on a hilltop in a caravan at six in the morning in the rain. There was no other actor or member of the crew around me. I would sit there getting mad, waiting for either the rain to stop or someone to arrive. Film-acting is so horrifically belittling."[7] On 11 February 1973, while filming The Man Who Loved Cat Dancing, David Whiting, briefly one of her lovers,[8] was found dead in her motel room. She was acquitted of culpability in his death.[3][9] Miles later commented: "It went on for six months. Murder? Suicide? Murder! Suicide! Murder! Suicide! And, gradually, the truth came out, which I'm not going to speak about, but it certainly wasn't me. I had actually saved the man from three suicide attempts so why would I want to murder him? I really can't imagine."[3] Her performance as Anne Osborne in The Sailor Who Fell from Grace with the Sea (1976) was nominated for a Golden Globe. Interviewer Lynn Barber wrote of Miles' appearances in Hope and Glory, White Mischief and her two earliest films that she "has that Vanessa Redgrave quality of seeming to have one skin fewer than normal people, so that the emotion comes over unmuffled and bare."[4] Filming White Mischief on location in Kenya in 1987, Miles worked for the second and last time with Trevor Howard, who had a supporting role but was by then seriously ill from alcoholism. The company wanted to fire him, but Miles was determined that Howard's distinguished film career would not end that way. In an interview with Terence Pettigrew for his biography of Howard, she describes how she gave an ultimatum to the executives, threatening to quit the production if they got rid of him. The gamble worked. Howard was kept on. It was to be his last major film. He died the following January. She most recently appeared in Well at the Trafalgar Studios and the Apollo Theatre opposite Natalie Casey.[citation needed] Personal life and family Miles was married twice to the British playwright Robert Bolt, 1967–1975 and 1988–1995.[10] He wrote and directed the film Lady Caroline Lamb, in which Miles played the eponymous heroine, and wrote Ryan's Daughter as well. After his stroke, the couple reunited and Miles cared for him. "I would be dead without her", Bolt said in 1987, "When she's away, my life takes a nosedive. When she returns, my life soars."[11] The couple had a son Tom, who is now a watch dealer.[12] Miles has stated that she’s been drinking her own urine for over 30 years, as she feels it positively affects her health in a variety of ways.[13] Filmography Year Film Role Notes 1962 Term of Trial Shirley Taylor Nominated — BAFTA Award for Best Newcomer 1963 The Servant Vera Nominated — BAFTA Award for Best British Actress The Ceremony Catherine 1965 Those Magnificent Men in Their Flying Machines Patricia Rawnsley Time Lost and Time Remembered Cass Langdon Also known as I Was Happy Here 1966 Blowup Patricia 1970 Ryan's Daughter Rosy Ryan Nominated — Academy Award for Best Actress Nominated — BAFTA Award for Best Actress in a Leading Role Nominated — Golden Globe Award for Best Actress – Motion Picture Drama 1972 Lady Caroline Lamb Lady Caroline Lamb 1973 The Hireling Lady Franklin The Man Who Loved Cat Dancing Catherine Crocker 1974 Great Expectations Estella 1975 Bride to Be Pepita Jiménez 1976 The Sailor Who Fell from Grace with the Sea Anne Osborne Nominated — Golden Globe Award for Best Actress – Motion Picture Drama 1978 The Big Sleep Charlotte Sternwood 1981 Priest of Love Film Star Venom Dr. Marion Stowe 1984 Ordeal by Innocence Mary Durant 1985 Steaming Sarah 1986 The Harem Lady Ashley [14] 1987 Hope and Glory Grace Rowan Nominated — BAFTA Award for Best Actress in a Leading Role White Mischief Alice de Janzé 1992 The Silent Touch Helena 2001 Days of Grace Sissi, La Madre Jurij Martina, directrice clinica 2003 The Accidental Detective Smeralda Mazzi Tinghi Sir John Mills CBE (22 February 1908 – 23 April 2005) was an English actor who appeared in more than 120 films in a career spanning seven decades. On screen, he often played people who are not at all exceptional, but become heroes because of their common sense, generosity and good judgement. He received an Academy Award for Best Supporting Actor for his work in Ryan's Daughter (1970). Contents 1 Early life2 Career3 Personal life4 Death5 Honours6 Filmography 6.1 Film6.2 Television7 Stage appearances8 Box office ranking9 References10 External links Early life Mills was born Lewis Ernest Watts Mills in Felixstowe, Suffolk, the son of Edith (Baker), a theatre box office manager, and Lewis Mills, a mathematics teacher. He lived in a modest house in Gainsborough Road Felixstowe until 1929. His older sister was Annette Mills, remembered as presenter of BBC Television's Muffin the Mule (1946–55). He was educated at Balham Grammar School in London, Sir John Leman High School in Beccles, Suffolk and Norwich High School for Boys,[1][2] where it is said that his initials can still be seen carved into the brickwork on the side of the building in Upper St. Giles Street. Upon leaving school he worked as a clerk at a corn merchants in Ipswich before finding employment in London as a commercial traveller for the Sanitas Disinfectant Company. In September 1939, at the start of the Second World War, Mills enlisted in the British Army in the Royal Engineers.[3] He was later commissioned as a Second Lieutenant, but in 1942 he received a medical discharge because of a stomach ulcer.[3] Career Mills took an early interest in acting, making his professional début at the London Hippodrome in The Five O'Clock Girl in 1929. He also starred in the Noël Coward revue Words and Music. He made his film début in The Midshipmaid (1932), and appeared as Colley in the 1939 film version of Goodbye, Mr Chips, opposite Robert Donat. In 1942, he starred in Noël Coward's In Which We Serve. Mills took the lead in Great Expectations in 1946, and subsequently made his career playing traditionally British heroes such as Captain Scott in Scott of the Antarctic (1948). Over the next decade he became particularly associated with war dramas, such as The Colditz Story (1954), Above Us the Waves (1955) and Ice Cold in Alex (1958). From 1959 through the mid-1960s, Mills starred in several films alongside his daughter Hayley. Their first film together was the 1959 crime drama Tiger Bay, in which John plays a police detective investigating a murder that Hayley's character witnessed. Following Hayley's rise to fame in Pollyanna (1960) and the 1961 family comedy The Parent Trap, John and Hayley again starred together, in the 1965 teen sailing adventure The Truth About Spring, the 1964 drama The Chalk Garden (with Deborah Kerr in the lead role), and the 1966 comedy-drama The Family Way, in which John plays an insecure, overbearing father and Hayley plays his son's newlywed wife. As Colonel Barrow in Tunes of Glory, Mills won the best Actor Award at the 1960 Venice Film Festival. For his role as the village idiot in Ryan's Daughter (1970) — a complete departure from his usual style – Mills won an Best Supporting Actor Oscar. His most famous television role was probably as the title character in Quatermass for ITV in 1979. Also on the small screen, in 1974 he starred as Captain Tommy "The Elephant" Devon in the six-part television drama series The Zoo Gang, about a group of former underground freedom fighters from World War II, with Brian Keith, Lilli Palmer and Barry Morse. Mills also starred as Gus: The Theatre Cat in the filmed version of the musical Cats in 1998. In 2000, Mills released his extensive home cine-film footage in a documentary film entitled Sir John Mills' Moving Memories, with interviews with Mills, his children Hayley, Juliet and Jonathan and Richard Attenborough. The film was produced and written by Jonathan Mills, directed and edited by Marcus Dillistone, and features behind the scenes footage and stories from films such as Ice Cold in Alex and Dunkirk. In addition the film also includes home footage of many of Mills's friends and fellow cast members including Laurence Olivier, Harry Andrews, Walt Disney, David Niven, Dirk Bogarde, Rex Harrison and Tyrone Power. Mills's last cinema appearance was playing a tramp in Lights 2 (directed by Marcus Dillistone); the cinematographer was Jack Cardiff. They had last worked together on Scott of the Antarctic in 1948. Their combined age was 186 years, a cinema record.[citation needed] Personal life The Wick on Richmond Hill in Richmond, Greater London, was the family home for many years His first wife was the actress Aileen Raymond, who died only five days after he did. They were married in 1927 and divorced in 1941. Raymond later became the mother of actor Ian Ogilvy. His second wife was the dramatist Mary Hayley Bell. Their marriage, on 16 January 1941, lasted for 64 years, until his death in 2005. They were married in a rushed civil ceremony, because of the war; and it was not until 60 years later that they had their union blessed in a church.[4] They lived in The Wick, London, for many years. They sold the house to musician Ronnie Wood in 1975 and moved to Hills House, Denham. Mills and Bell had two daughters, Juliet, star of television's Nanny and the Professor and Hayley, a Disney child star who appeared in Pollyanna, The Parent Trap and Whistle Down the Wind, and one son, Jonathan Mills. In 1947, Mills appeared with his daughters in the film So Well Remembered. The three also appeared together decades later, on an episode of ABC's The Love Boat. Mills's grandson by Hayley, Crispian Mills, is a musician, best known for his work with the raga rock group Kula Shaker. Despite having always voted Conservative, Mills publicly supported Tony Blair's Labour Party in the 2001 General Election.[5] Death In the years leading up to his death, he appeared on television only on special occasions, his sight having failed almost completely in 1992. After that, his film roles were brief yet notable cameos. He died aged 97 on 23 April 2005 in Denham, Buckinghamshire,[6] following a chest infection. Lady Mills died on 1 December 2005. Sir John and Lady Mills are buried in Denham Churchyard. Honours Mills was appointed a Commander of the Order of the British Empire (CBE) in 1960. In 1976 he was knighted by the Queen. In 2002, he received a Fellowship of the British Academy of Film and Television Arts (BAFTA), their highest award, and was named a Disney Legend by the Walt Disney Company. Filmography Film Year Title Role Notes 1932 The Midshipmaid Golightly 1933 Britannia of Billingsgate Fred Bolton The Ghost Camera Ernest Elton 1934 The River Wolves Peter Farrell Blind Justice Ralph Summers The Lash Arthur Haughton A Political Party Tony Smithers Doctor's Orders Ronnie Blake Those Were the Days Bobby Poskett 1935 Car of Dreams Robert Miller Royal Cavalcade Young Enlistee Brown on Resolution Albert Brown (later reissued in the UK as Forever England) Charing Cross Road Tony 1936 The First Offence Johnnie Penrose alternative title Bad Blood Tudor Rose Lord Guilford Dudley Released as Nine Days a Queen in USA 1937 O.H.M.S. Cpl. Bert Dawson The Green Cockatoo Jim Connor 1939 Goodbye, Mr. Chips Peter Colley - as a Young Man 1941 Cottage to Let Flt. Lieutenant Perry Old Bill and Son Young Bill Busby 1942 The Big Blockade Tom The Black Sheep of Whitehall Bobby Jessop The Young Mr Pitt William Wilberforce In Which We Serve Ordinary Seaman Blake 1943 We Dive at Dawn Capt. Lt. Taylor, R.N. 1944 This Happy Breed Billy Mitchell 1945 Waterloo Road Jim Colter The Way to the Stars Peter Penrose 1946 Great Expectations Pip 1947 So Well Remembered George Boswell The October Man Jim Ackland 1948 Scott of the Antarctic Captain Scott Captain R.F. Scott R.N. 1949 The History of Mr Polly Alfred Polly The Rocking Horse Winner Bassett (also produced) 1950 Morning Departure Lt. Commander Armstrong 1952 Mr. Denning Drives North Tom Denning The Gentle Gunman Terrence Sullivan 1953 The Long Memory Phillip Davidson 1954 Hobson's Choice Willie Mossop Nominated-BAFTA Award for Best Actor in a Leading Role 1955 Escapade John Hampden The Colditz Story Pat Reid The End of the Affair Albert Parkis Above Us the Waves Commander Fraser 1956 The Baby and the Battleship Puncher Roberts War and Peace Platon Karataev Around the World in 80 Days London Carriage Driver It's Great to Be Young Mr. Dingle 1957 Town on Trial Supt. Mike Halloran The Vicious Circle Dr. Howard Latimer 1958 Ice Cold in Alex Captain Anson Dunkirk Binns I Was Monty's Double Major Harvey (also titled Hell, Heaven or Hoboken) 1959 Summer of the Seventeenth Doll Barney (also titled Season of Passion) Tiger Bay Superintendent Graham (with daughter Hayley Mills) 1960 Swiss Family Robinson Father Robinson Tunes of Glory Lt. Col. Basil Barrow (Battalion Commander) Volpi Cup for Best Actor Nominated-BAFTA Award for Best Actor in a Leading Role 1961 The Singer Not the Song Father Michael Keogh Flame in the Streets Jacko Palmer 1962 Tiara Tahiti Lt. Col. Clifford Southey The Valiant Captain Morgan 1964 The Chalk Garden Maitland (with daughter Hayley Mills) 1965 The Truth About Spring Tommy Tyler (with daughter Hayley Mills) King Rat Smedley - Taylor Operation Crossbow Gen. Boyd 1966 The Family Way Ezra Fitton (with daughter Hayley Mills) Prize San Sebastián for Best Actor (tied with Maurice Ronet for The Champagne Murders) The Wrong Box Masterman Finsbury 1967 Africa Texas Style Wing Commander Hayes Chuka Colonel Stuart Valois 1968 A Black Veil for Lisa Inspector Franz Bulon Emma Hamilton Sir William Hamilton 1969 Oh! What a Lovely War Field Marshal Sir Douglas Haig Run Wild, Run Free The Moorman 1970 Adam's Woman Sir Phillip MacDonald Ryan's Daughter Michael Academy Award for Best Supporting Actor Golden Globe Award for Best Supporting Actor - Motion Picture Kansas City Film Critics Circle Award for Best Supporting Actor Nominated-BAFTA Award for Best Supporting Actor 1971 Dulcima Mr. Parker 1972 Young Winston General Kitchener 1973 Lady Caroline Lamb Canning Oklahoma Crude Cleon Doyle 1975 The Human Factor Mike McAllister 1976 Trial by Combat Colonel Bertie Cook (also titled A Dirty Knight's Work) 1977 The Devil's Advocate Blaise Meredith 1978 The Big Sleep Inspector Jim Carson The Thirty Nine Steps Scudder 1979 Zulu Dawn Sir Henry Bartle Frere The Quatermass Conclusion Professor Bernard Quatermass 1982 Gandhi The Viceroy 1983 Sahara Cambridge 1986 When the Wind Blows Jim (voice) 1987 Who's That Girl Montgomery Bell (credited as Sir John Mills) 1993 The Big Freeze Dapper man 1994 Deadly Advice Jack the Ripper 1995 The Grotesque Sir Edward Cleghorn (also titled Gentleman Don't Eat Poets) 1996 Hamlet Old Norway 1997 Bean Chairman (credited as Sir John Mills) 1998 Cats Gus the Theater Cat 2003 Bright Young Things Gentleman 2004 Lights2 The Tramp Cinematographer Jack Cardiff (previously worked on Scott of The Antarctic) Television Year Title Role Notes 1967 Dundee and the Culhane Dundee 13 episodes 1974 The Zoo Gang Thomas 'The Elephant' Devon 6 episodes 1978 Dr. Strange Thomas Lindmer TV Movie 1979 Quatermass Professor Bernard Quatermass 1980-82 Young at Heart Albert Collyer 18 episodes 1987 The Dame Edna Experience Season 1, Episode 6 (as himself) 1993 Harnessing Peacocks Bernard Quigley TV Movie 1994 Martin Chuzzlewit Mr Chuffey 3 episodes, TV Mini-series Stage appearances Year Title Role Theatre 1929 The Five O'Clock Girl Hippodrome Theatre 1931 The 1931 Revue London Pavilion, London 1931 Cavalcade Drury Lane 1932 Words and Music Adelphi Theatre 1934 Jill Darling Savoy Theatre 1936 Aren't Men Beasts? Strand Theatre 1939 A Midsummer Night's Dream Oberon Old Vic Theatre 1939 She Stoops to Conquer Young Marlow Old Vic Theatre 1939-40 Of Mice and Men George Milton Old Vic Theatre 1942 Men in Shadow Lyric Theatre, London 1945 Duet for Two Hands Vaudeville Theatre 1960-61 Ross Broadway Theatre 1972 Veterans Royal Court Theatre 1973 At the End of the Day Savoy Theatre 1974 The Good Companions Her Majesty's Theatre 1975 Great Expectations Yvonne Arnaud, Guildford 1977 Separate Tables Apollo Theatre 1982 Goodbye, Mr. Chips Chichester 1983 Little Lies Wyndham's Theatre 1986 The Petition National Theatre 1987 Pygmalion Broadway The very first shot of David Lean's "Ryan's Daughter" shows us a tiny speck of a figure running along the ridge of an enormous cliff. Alas, this shot introduces the tone of the film all too well; Lean's characters, well written and well acted, are finally dwarfed by his excessive scale. Not every subject is suited to the epic treatment, to the vast landscapes and towering clouds and portentous musical scores, of the recent Lean style. "Dr. Zhivago" could support it because the Russian revolution was appropriate to the heroic scale. But a simple little love triangle on the Southwest coast of Ireland simply can't bear the weight of Lean's overachieving. The distance between the subject and the style eventually proves fatal to "Ryan's Daughter." That, and a puzzling inability on Lean's part to keep his symbols under control. The night after Rosy Ryan and the handsome young officer first meet, for example, we get a shot of the officer's stallion neighing and the girl's mare perking up its ears. This sort of failure of tone is inexcusable and alerts us to worse lapses later on. When the young couple makes love for the first time, we're hardly surprised when Lean shows the seeds blowing off a dandelion pod and landing, you guessed it, in a lake. "Ryan's Daughter" is an original screenplay by Robert Bolt, who also did Lean's "Zhivago" and "Lawrence of Arabia." With those two successes behind them, I wonder if Lean and Bolt weren't simply trying to duplicate the formula instead of trying something new. "Zhivago" in particular was the story of a doomed love affair, played out against vast historical events. "Ryan's Daughter" is a modest retread. But with all due respect for the Irish, who knew how to stage a revolution with style, the IRA uprising was not quite on the scale of the Russian revolution, and Omar Sharif and Julie Christie, writ large against the steppes, overshadow a naive little publican's daughter and a quiet school teacher. The problem with Ryan's daughter isn't that her epic love has been caught up in the tides of history, but that she has hot pants. Her lover, if an early hint is to be believed, doesn't even bother to tell her he's already married. Her husband patiently waits for them to "bum it out." The whole affair becomes pretty tawdry, and so when Lean pulls his camera back two miles and puts on the 1,000 mm lens, and the music swells heroically, and the heavens and earth seem to confer godlike stature on the couple, we can't buy it. While you're watching "Ryan's Daughter," memories of "The Informer," "Odd Man Out" and "The Quiet Man" keep stirring. We remember from those films, and from what else we know about the Irish, that they're nothing like the carefully choreographed mobs of the Lean film. They're a dour and cynical race sometimes, but they smile on occasion and they're not all shrews and traitors. Yet, in the Lean film the function of the village population is to run on cue to whatever's happening. The people of the village all throng into the street, or they all race to the beach, or they all go inside and slam their doors, or they all go to persecute Rosy, all at once. Nobody in the movie except the stars goes anywhere by himself. Maybe the villagers are supposed to be a Greek chorus. I dunno. The effect wearies you after a while, anyway. Besides, there's already a Greek chorus in the film, in the form of John Mills. He plays a deformed village idiot, whose function is to miraculously eavesdrop on every supposedly private moment in the film. He then counterpoints the heroic characters on a comic scale, mocking the young officer and following him around. He is also the instrument for the betrayal of the adulterous affair, and he is the indirect cause of the officer's death. Just as well. If there weren't somebody to spill the beans, you have the feeling no one in the movie would catch on. Against all of these failures, which I think must largely be charged to Lean, "Ryan's Daughter" persists in giving us several scenes that work. There is an absolutely stunning storm sequence, for example, where quite authentic waves and winds pound against men who tie ropes around their waists and go into the surf after weapons for the IRA. By its very success, this scene demonstrates what's wrong with the tone of most of the movie. The actions of the characters and the scale of the scene suit each other; there's a reason for the men to be there, risking their lives. But Lean insists on the spectacular even in his trivial scenes. The performances largely survive the film's visual overkill. Robert Mitchum is splendid as the schoolteacher, and you realize once again what a fine actor he is. He's the only American in the cast, and yet paradoxically he seems the most Irish. Trevor Howard gives a bravura performance as Father Hugh, and the two of them have a gem of a scene on the beach, one in his cassock, the other in his nightshirt. Sarah Miles plays Rosy very well, and yet her accurate interpretation of the role helps once again to betray Lean's excesses. Rosy is essentially a simple, inexperienced girl who has very dangerously confused sex and love. The more we see of her naivete, the more we can't accept her great love as being made on Olympus. That's also made difficult by Christopher Jones' performance as the soldier. An actor could hardly express less without playing a corpse. You figure she must want him for his body; he never says a single tender, or beautiful, or revealing thing to her. All he wants to know is when he can see her next. I have a friend who says a new David Lean movie is like a new Picasso. It may not be a great Picasso, he says, but by God it's a Picasso and worth seeing for that reason if for no other. I suppose that's true of Lean and all great directors: Their work is interesting just because they've signed it, and the failures help to illuminate the successes. Maybe you should see "Ryan's Daughter" for that reason. I imagine it will be around a long time and that it will find an enormous audience of those hungry for True Romances on the epic scale. For the rest of us, "Ryan's Daughter" remains a disappointing failure of tone, a lush and overblown self-indulgence in which David Lean has given us a great deal less than meets the eye.       ebay3255

  • Condition: Usado
  • Condition: The condition is very good . 2 folds . Clean . ( Pls look at scan for accurate AS IS images )
  • Religion: Judaism
  • Country/Region of Manufacture: Israel

PicClick Insights - 1978 Israel PÓSTER DE PELÍCULA Película HIJA DE RYAN Hebreo MITCHUM Sarah MILLAS Judía PicClick Exclusivo

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