Beth Armstrong

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audience score 5966 Vote
runtime 1 hour, 26 m
2017
genre Family
Aidy Bryant, Steven Yeun
Writed by Carlos Kotkin

T c3 a4heke group. T c3 a4heke login. Tähekese luuletused. Taehelend. T c3 a4heke for sale. Nominated for 1 Oscar. See more awards ? Edit Storyline Middle-aged Oscar winning actress Margaret Elliot - Maggie to those that know her - is a Hollywood has-been. Her life is in shambles. She clings to the hope of resurrecting her past movie stardom as a leading ingénue. No one will hire her, she's penniless with creditors selling off anything that she owns that is of monetary value, and she has no one to turn to that can see her through financially. She has in the past supported her sister and brother-in-law, who still want to use her as their meal ticket. Divorced from her actor husband, she shares joint custody of their teen-aged daughter Gretchen, from who Maggie tries to hide her problems. When it looks as if Maggie has hit rock bottom, Jim Johannsen re-enters her life. Jim, who once had the stage name Barry Lester, got his big break in Hollywood movies by Maggie. He came to the quick realization that he was neither good as an actor or that he wanted to do it as a profession. He now works as a boat parts supplier and mechanic. Jim... Written by Huggo Plot Summary | Add Synopsis Taglines: The story of every woman who ever climbed the stairway to the found herself at the bottom looking up. Played, as it could only be, by the two-time winner of the Academy Award! See more ? Details Release Date: 11 December 1952 (USA) Company Credits Technical Specs Sound Mix: Mono (Western Electric Recording) See full technical specs ? Did You Know? Trivia In the scene where a drunken Margaret Elliot takes her Oscar for a ride in her car, Bette Davis used one of her own Oscars. See more ? Goofs When Margaret pulls up to Jim's place in her new Cadillac, lights, equipment and crew are visible in the car's polished left side. See more ? Quotes Jim Johannson aka Barry Lester: [ while at the zoo, a seal is barking loudly] Listen to that seal! Margaret Elliott: Sounds like my brother-in-law! Connections Featured in Hollywood: The Great Stars (1963) See more ?.

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Tähekesed. Taheke paengaroa trust. Täheke delfi. Theken spine. Star! Poster by Howard Terpning Directed by Robert Wise Produced by Saul Chaplin Written by William Fairchild Starring Julie Andrews Richard Crenna Michael Craig Daniel Massey Music by Lennie Hayton Cinematography Ernest Laszlo Edited by William H. Reynolds Distributed by 20th Century Fox Release date July?18,?1968 (United?Kingdom, premiere) October?22,?1968 (United?States) Running time 175 minutes Country United States Language English Budget $14. 32 million [1] Box office $4 million (USA) [2] $10 million (worldwide) [3] $4. 2 million (rentals) [4] Star! (re-titled Those Were the Happy Times for its 1969 re-release) is a 1968 American biographical musical film directed by Robert Wise and starring Julie Andrews. The screenplay by William Fairchild is based on the life and career of British performer Gertrude Lawrence. Plot [ edit] The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in André Charlot 's West End revue. She reunites with close childhood friend Noël Coward who provides witty commentary on Gertie's actions. Charlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads. She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of " Burlington Bertie ". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage. After their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three. Gertrude faces financial ruin after spending all her considerable earnings, but ultimately manages to pay back her creditors and retain her glamour. As her career soars, her long-distance relationship with her daughter deteriorates. When Pamela cancels an anticipated holiday with Gertie, she gets extremely drunk and insults a roomful of people at a surprise birthday party thrown by Coward. Among the people insulted at the party is American theatre producer Richard Aldrich. When he returns to escort the hungover star home, he gives an honest appraisal of her. She is insulted, then intrigued by him, making an unannounced visit to his Cape Playhouse where she proposes to play the lead. They argue at rehearsal. He proposes marriage; she throws him out. Back on Broadway, she has trouble getting a handle on a crucial " The Saga of Jenny " number in Lady in the Dark. Aldrich turns up at a daunting rehearsal where he observes her frustration and takes her, with Coward, out to a nightclub. She protests, then realizes the kind of performance they are watching is the key to her dilemma in the show. Coward pronounces him "a very clever man". After a rousing performance of "Jenny", the film ends with her marriage to Aldrich, eight years before her triumph in The King and I and untimely death from liver cancer at the age of 54. Cast [ edit] Musical numbers [ edit] Overture (Medley: Star! / Someone to Watch Over Me /Jenny/Dear Little Boy/ Limehouse Blues) Star! Piccadilly Oh, it's a Lovely War In My Garden of Joy Forbidden Fruit (not on LP, added to end of CD) N' Everything Burlington Bertie from Bow Parisian Pierrot Limehouse Blues Someone to Watch Over Me Dear Little Boy (Dear Little Girl) Entr'acte ? Star! instrumental (not on LP soundtrack or CD) Someday I'll Find You The Physician Do, Do, Do Has Anybody Seen our Ship? My Ship The Saga of Jenny Main Title ? Star! instrumental (not on LP soundtrack or CD) Star! ? Extended Version ? (originally released as a 45rpm single; added to the end of the CD; used with director/producer's approval to underscore cast of characters roll for the VHS/Laserdisc release) Production [ edit] According to extensive production details provided in the DVD release of the film, when Julie Andrews signed on to star in The Sound of Music, her contract with Twentieth Century-Fox was a two-picture deal. As The Sound of Music neared completion, director Robert Wise and producer Saul Chaplin had grown so fond of her that they wanted to make sure that their team would be the one to pick up the studio's option for the other picture "before anybody else got to her first". [5] Wise's story editor Max Lamb suggested a biopic of Lawrence and, although Andrews previously had rejected offers to portray the entertainer, she was as keen to work with Wise and Chaplin again as they were to work with her, and she subsequently warmed to their approach to the story. She signed for $1 million against 10 percent of the gross plus 35 cents for each soundtrack album sold. [6] Once Andrews was on board, Wise bought the rights to both Lawrence's 1945 autobiography A Star Danced and her second husband's 1954 memoir Gertrude Lawrence as Mrs. A. Max Lamb did extensive research, including numerous interviews with people who actually had known Lawrence. It became clear that the interviews provided a more accurate account than the rosy picture in the books, so they became the basis of the screenplay. Wise felt it was important to hire a British screenwriter, and he decided on William Fairchild. The contrast of the rosy impression of her life in the books with the less glamorous real story from the interviews found its way into the script, which initially had an animated Lawrence telling the story while the live version played out what (more or less) really happened. Eventually, Fairchild suggested Lawrence's story be told in (color) flashback while she watched a (black-and-white) documentary about her life, thus allowing the real Lawrence in a screening room set to comment on the veracity of the character Lawrence in the film within the film. Fairchild's screenplay renamed, replaced or combined some real people, for dramatic and legal reasons. Two of Lawrence's closest friends, Noël Coward and Beatrice Lillie, were approached regarding the rights to portray them in the film. While Coward was generally supportive, suggesting only small alterations to his character's dialogue, Lillie had a manager who demanded that she play herself, in addition to numerous script changes that enlarged her role. Wise then asked Fairchild to find the name of another female performer Lawrence had worked with who was already dead. Billie Carleton became the composite character that replaced Lillie in the film. When Lawrence reconnects with her wayward father in the film, he is performing in music halls with a mature woman who joins him when he departs for a job in South Africa. In reality Rose was a chorus girl not much older than Lawrence, and she remained in the UK. On screen, Lawrence's first husband Jack Roper is roughly her age, whereas in real life his name was Francis Gordon-Howley and he was twenty years her senior. Her upper-class Guardsman boyfriend, actually Capt. Philip Astley, is identified as Sir Tony Spencer on screen, and the Wall Street financier named Ben Mitchell in the film was really Bert Taylor. Daniel Massey, who portrayed Noël Coward, was Coward's godson in real life. His performance earned one of the seven Academy Award nominations for the film. In his commentary for the laserdisc and DVD release of the film, Massey reveals he was unhappy with the sound of his voice when he saw the film for the first time. As production wrapped in late 1967, he?at his own request?re-dubbed all of his dialogue before returning home to London. Massey's commentary also recounts a conversation in which Coward addressed his own sexual orientation, which is barely hinted at in the film. Massey quotes Coward saying "I've tried it all, from soup to nuts... " confirming his preference for the latter. Michael Kidd choreographed the musical sequences. Both he and Andrews have talked about his pushing her beyond what she thought her limits were, particularly for "Burlington Bertie" and "Jenny"?which turned out to be among her best moments on film. Andrews has said that her lasting friendship with Kidd and his dance assistant and wife Shelah is one of the things she valued most from the experience. Boris Leven was responsible for the production design and his sets took over nine different stages on the Fox lot. Fashion designer Donald Brooks designed 3, 040 individual costumes for the film, including a record 125 outfits for Andrews alone. The $750, 000 cost of Andrews' wardrobe was subsidized by Western Costume company, which took ownership after filming. Western rented them out to many subsequent TV and movie productions, (including Funny Lady) for over 20 years, then auctioned most of them, along with hundreds of other famous costumes, at Butterfield & Butterfield's in West Hollywood. Theatrical release [ edit] At a time when the popularity of roadshow theatrical releases in general, and musicals in particular, were on the wane, the United States was one of the later countries in which the film was released. [7] When the film was in production, 15, 000 people responded to promotional ads placed
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