Leon Hunt
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474404310
- eISBN:
- 9781474434850
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474404310.003.0013
- Subject:
- Film, Television and Radio, Film
Silvana Mangano’s stardom is marked by a series of paradoxes - a ‘reluctant’ diva who shed the voluptuous body that made her world famous, a star whose career was shaped first by a powerful film ...
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Silvana Mangano’s stardom is marked by a series of paradoxes - a ‘reluctant’ diva who shed the voluptuous body that made her world famous, a star whose career was shaped first by a powerful film producer (husband Dino De Laurentiis) and then by two arthouse auteurs (Pasolini and Visconti). This paper explores these paradoxes particularly through the episode film Le Streghe/The Witches (1967), often seen as the transition from her ‘De Laurentiis career’ to her ‘Pasolini-Visconti career’. Unusual as an actual star vehicle for Mangano, the film casts her as a glamorous movie diva not unlike herself, a bored housewife (married to Clint Eastwood), a fiery ‘Siciliana’, a spoilt society girl and a holy mute. It thus invites particular consideration of Mangano as both actress and problematic star.Less
Silvana Mangano’s stardom is marked by a series of paradoxes - a ‘reluctant’ diva who shed the voluptuous body that made her world famous, a star whose career was shaped first by a powerful film producer (husband Dino De Laurentiis) and then by two arthouse auteurs (Pasolini and Visconti). This paper explores these paradoxes particularly through the episode film Le Streghe/The Witches (1967), often seen as the transition from her ‘De Laurentiis career’ to her ‘Pasolini-Visconti career’. Unusual as an actual star vehicle for Mangano, the film casts her as a glamorous movie diva not unlike herself, a bored housewife (married to Clint Eastwood), a fiery ‘Siciliana’, a spoilt society girl and a holy mute. It thus invites particular consideration of Mangano as both actress and problematic star.
Larry Ceplair and Christopher Trumbo
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813146805
- eISBN:
- 9780813154770
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813146805.003.0021
- Subject:
- Film, Television and Radio, Film
The big paydays resumed when Trumbo agreed to write scripts for Dino de Laurentiis, the Mirisch brothers, and Martin Ransohoff. The first came to nothing, but the second was for Hawaii and the third ...
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The big paydays resumed when Trumbo agreed to write scripts for Dino de Laurentiis, the Mirisch brothers, and Martin Ransohoff. The first came to nothing, but the second was for Hawaii and the third was for The Sandpiper. The latter two resulted in credit disputes, and Trumbo ended up sharing credit with Daniel Taradash and Michael Wilson, respectively.Less
The big paydays resumed when Trumbo agreed to write scripts for Dino de Laurentiis, the Mirisch brothers, and Martin Ransohoff. The first came to nothing, but the second was for Hawaii and the third was for The Sandpiper. The latter two resulted in credit disputes, and Trumbo ended up sharing credit with Daniel Taradash and Michael Wilson, respectively.
Christian McCrea
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781911325826
- eISBN:
- 9781800342446
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325826.001.0001
- Subject:
- Film, Television and Radio, Film
David Lynch's Dune (1984) is the film that science fiction — and the director's most ardent fans — can neither forgive nor forget. Frank Herbert's original 1965 novel built a meticulous universe of ...
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David Lynch's Dune (1984) is the film that science fiction — and the director's most ardent fans — can neither forgive nor forget. Frank Herbert's original 1965 novel built a meticulous universe of dark majesty and justice, as wild-eyed freedom fighters and relentless authoritarians all struggled for control of the desert planet Arrakis and its mystical, life-extending “spice.” After several attempts to produce a film, Italian movie mogul Dino De Laurentiis and his producer daughter Raffaella would enlist David Lynch, whose Eraserhead (1977) and The Elephant Man (1980) had already marked him out as a visionary director. What emerges out of their strange, long process is a deeply unique vision of the distant future; an eclectic bazaar of wood-turned spaceship interiors, spitting tyrants, and dream montages. Lynch's film was “steeped in an ancient primordial nastiness that has nothing to do with the sci-fi film as we currently know it,” as Village Voice critic J. Hoberman put it — only with time becoming a cult classic. This book is the first long-form critical study of the film; it delves into the relationship with the novel, the rapidly changing context of early 1980s science fiction, and takes a close look at Lynch's attempt to breathe sincerity and mysticism into a blockbuster movie format that was shifting radically around him.Less
David Lynch's Dune (1984) is the film that science fiction — and the director's most ardent fans — can neither forgive nor forget. Frank Herbert's original 1965 novel built a meticulous universe of dark majesty and justice, as wild-eyed freedom fighters and relentless authoritarians all struggled for control of the desert planet Arrakis and its mystical, life-extending “spice.” After several attempts to produce a film, Italian movie mogul Dino De Laurentiis and his producer daughter Raffaella would enlist David Lynch, whose Eraserhead (1977) and The Elephant Man (1980) had already marked him out as a visionary director. What emerges out of their strange, long process is a deeply unique vision of the distant future; an eclectic bazaar of wood-turned spaceship interiors, spitting tyrants, and dream montages. Lynch's film was “steeped in an ancient primordial nastiness that has nothing to do with the sci-fi film as we currently know it,” as Village Voice critic J. Hoberman put it — only with time becoming a cult classic. This book is the first long-form critical study of the film; it delves into the relationship with the novel, the rapidly changing context of early 1980s science fiction, and takes a close look at Lynch's attempt to breathe sincerity and mysticism into a blockbuster movie format that was shifting radically around him.
