Picnic at Hanging Rock (film)
Picnic at Hanging Rock is a 1975 Australian mystery drama film, produced by Hal and Jim McElroy, directed by Peter Weir, starred Vivean Gray, Dominic Guard, Anne-Louise Lambert, Helen Morse, Rachel Roberts. It was adapted by Cliff Green from the 1967 novel of the same name by Joan Lindsay, deliberately ambiguous about whether the events took place, although the story is in fact fictitious; the plot involves the disappearance of several schoolgirls and their teacher during a picnic at Hanging Rock, Victoria on Valentine's Day in 1900, the subsequent effect on the local community. Picnic at Hanging Rock was a critical success. At Appleyard College, a girls' private school, near the town of Woodend, Australia, the students are dressing on the morning of Valentine's Day, 1900. Miranda, Marion, waifish Sara, outsider Edith read poetry and Valentine's Day cards; the group prepares for a picnic to a local geological formation known as Hanging Rock, accompanied by the mathematics mistress Miss Greta McCraw and the young and beautiful Mlle. de Poitiers.
On the authority of the stern headmistress Mrs. Appleyard, jittery teacher Miss Lumley advises Sara that she is not allowed to attend. Driven by buggy operator Ben Hussey, the party passes through and arrives at the Rock by mid-afternoon. After a meal, Mr Hussey notes his watch has stopped at the stroke of twelve, as has the watch of Miss McCraw. With permission from Mlle. de Poitiers, Miranda and Irma decide to explore Hanging Rock and take measurements, with Edith allowed to follow. The group is observed several minutes by a young Englishman, Michael Fitzhubert, lunching at the Rock with his uncle Colonel Fitzhubert, aunt Mrs. Fitzhubert, valet Albert. At the top of Hanging Rock, the group lies on the ground dazed by the sun. Miss McCraw, still at the base of the Rock, stares up. Miranda and Irma awaken and move, as if in a trance, into a recess in the rock face. Edith, who watches them and flees down the Rock in terror; the distraught and hysterical party returns to the College, where Mlle. de Poitiers explains to Mrs Appleyard that Miss McCraw has been left behind.
Sara notes the absence of Miranda. A search party, led by Sgt. Bumpher and Constable Jones of the local police, finds nothing, although Edith reveals that she witnessed Miss McCraw climbing the Rock without her skirt. Michael Fitzhubert is questioned and reveals that he watched the schoolgirls, but can provide no clues as to their whereabouts. Michael becomes obsessed with finding Miranda. Despite Albert's protests, Michael decides to remain overnight and begins climbing again the next day, leaving a trail of paper; when Albert follows the markers, he finds a nearly catatonic Michael. Just before leaving on a buggy with a local doctor, Michael passes to Albert a fragment of lace from a dress. Albert discovers Irma, unconscious but alive; the residents of Woodend become restless as news of the discovery spreads. At the Fitzhubert home, Irma is treated for dehydration and exposure, tells the police and Mlle. de Poitiers she has no memory of what happened. A servant girl notes that Irma's corset is missing but is advised by Mrs Fitzhubert that it is not important.
Michael befriends the recovered Irma but alienates her when he demands to know what happened on the Rock. Mrs Appleyard advises Miss Lumley that several parents have withdrawn their children from the school. Before leaving for Europe, Irma visits her classmates a final time. Mlle. de Poitiers intervenes. That night, Miss Lumley gives notice to a drunken Mrs Appleyard. Mrs Appleyard tells Sara that, as her guardian has not paid her tuition, Sara must return to the orphanage. Afterwards, Mrs Appleyard lies to Mlle. de Poitiers and claims that Sara's guardian collected her early that morning. The next morning, Sara's body is found in the greenhouse by the school gardener. Believing Sara committed suicide by leaping from her bedroom window, Whitehead confronts Mrs. Appleyard, calm in full mourning dress with her possessions packed. Michael tells Albert he has decided to travel north, with Albert revealing he had a dream in which his lost sister Sara visited him. During a flashback to the picnic scene, Sgt.
Bumpher states in a voice over that the body of Mrs Appleyard was found at the base of Hanging Rock from an apparent suicide. The search for the missing schoolgirls and Miss McCraw continued sporadically for several years without success, their disappearance is left as an unsolved mystery. The novel was published in 1967. Reading it four years Patricia Lovell thought it would make a great film, she did not think of producing it herself until Phillip Adams suggested she try it. She hired Peter Weir to direct on the basis of Homesdale and Weir brought in Hal and Jim McElroy to help produce. Screenwriter David Williamson was chosen to adapt the film, but was unavailable and recommended noted TV writer Cliff Green. Joan Lindsay had approval over who did the adaptation and she gave i
Poms is an upcoming American comedy dance film, directed by Zara Hayes. It stars Diane Keaton, Jacki Weaver, Pam Grier, Celia Weston, Alisha Boe, Rhea Perlman, it is scheduled to be released on May 2019, by STX Entertainment. Martha, a woman who moves into a retirement community, starts a cheer leading squad with her fellow residents, Sheryl and Alice, proving that it’s never too late to follow your dreams. Diane Keaton as Martha Jacki Weaver as Sheryl Pam Grier as Olive Rhea Perlman as Alice Celia Weston as Vicki Alisha Boe Phyllis Somerville Charlie Tahan Bruce McGill Carol Sutton as Ruby Ginny MacColl as Evelyn Patricia French as Phyllis Sharon Blackwood Karen Beverly as Barbara In July 2016, it was announced Zara Hayes would direct the film, from a story written by Zara Hayes and Shane Atkinson and a screenplay by Shane Atkinson. Nick Meyer, Rose Ganguzza, Celyn Jones, Kelly McCormick and Andy Evans serve as producers on the film, while Meyer Schaberg and Marc Schaberg will serve as executive producers, under their Sierra/Affinity, Mad as Birds Films and Rose Pictures banners, respectively.
In May 2017, Diane Keaton and Jacki Weaver joined the cast of the film. In July 2018, Pam Grier, Rhea Perlman, Celia Weston, Phyllis Somerville, Alisha Boe, Charlie Tahan and Bruce McGill joined the cast of the film. Principal photography began in Atlanta, Georgia. In November 2018, STX Entertainment acquired U. S. distribution rights to the film. It is scheduled to be released on May 10, 2019. Poms on IMDb
A pastiche is a work of visual art, theatre, or music that imitates the style or character of the work of one or more other artists. Unlike parody, pastiche celebrates, rather than mocks, the work; the word pastiche is a French cognate of the Italian noun pasticcio, a pâté or pie-filling mixed from diverse ingredients. Metaphorically and pasticcio describe works that are either composed by several authors, or that incorporate stylistic elements of other artists' work. Pastiche is an example of eclecticism in art. Allusion is not pastiche. A literary allusion may refer to another work. Moreover, allusion requires the audience to share in the author's cultural knowledge. Both allusion and pastiche are mechanisms of intertextuality. In literature usage, the term denotes a literary technique employing a light-hearted tongue-in-cheek imitation of another's style; the word implies a lack of originality or coherence, an imitative jumble, but with the advent of postmodernism pastiche has become positively constructed as deliberate, witty homage or playful imitation.
For example, many stories featuring Sherlock Holmes penned by Arthur Conan Doyle, have been written as pastiches since the author's time. Ellery Queen and Nero Wolfe are other popular subjects of mystery pastiches. A similar example of pastiche is the posthumous continuations of the Robert E. Howard stories, written by other writers without Howard's authorization; this includes the Conan the Barbarian stories of Lin Carter. David Lodge's novel The British Museum Is Falling Down is a pastiche of works by Joyce and Virginia Woolf. In 1991 Alexandra Ripley wrote the novel Scarlett, a pastiche of Gone with the Wind, in an unsuccessful attempt to have it recognized as a canonical sequel. In 2017, John Banville published Mrs. Osmond, a sequel to Henry James's The Portrait of a Lady, written in a style similar to that of James. In 2018, Ben Schott published Jeeves and the King of Clubs, an homage to P. G. Wodehouse's character Jeeves, with the blessing of the Wodehouse estate. Charles Rosen has characterized Mozart's various works in imitation of Baroque style as pastiche, Edvard Grieg's Holberg Suite was written as a conscious homage to the music of an earlier age.
Some of Pyotr Ilyich Tchaikovsky's works, such as his Variations on a Rococo Theme and Serenade for Strings, employ a poised "classical" form reminiscent of 18th-century composers such as Mozart. One of the best examples of pastiche in modern music is that of George Rochberg, who used the technique in his String Quartet No. 3 of 1972 and Music for the Magic Theater. Rochberg turned to pastiche from serialism after the death of his son in 1963. "Bohemian Rhapsody" by Queen is unusual as it is a pastiche in both senses of the word, as there are many distinct styles imitated in the song, all "hodge-podged" together to create one piece of music. A similar earlier example is. One can find musical "pastiches" throughout the work of the American composer Frank Zappa. A pastiche Mass is a musical Mass. Most this convention has been chosen for concert performances by early-music ensembles. Masses are composed of movements: Kyrie, Credo, Agnus Dei. In a pastiche Mass, the performers may choose a Kyrie from one composer, a Gloria from another.
In musical theatre pastiche is an indispensable tool for evoking the sounds of a particular era for which a show is set. For the 1971 musical Follies, a show about a reunion of performers from a musical revue set between the World Wars, Stephen Sondheim wrote over a dozen songs in the style of Broadway songwriters of the 1920s and 1930s. Sondheim imitates not only the music of composers such as Cole Porter, Irving Berlin, Jerome Kern, George Gershwin but the lyrics of writers such as Ira Gershwin, Dorothy Fields, Otto Harbach, Oscar Hammerstein II. For example, Sondheim notes that the torch song "Losing My Mind" sung in the show contains "near-stenciled rhythms and harmonies" from the Gershwins' "The Man I Love" and lyrics written in the style of Dorothy Fields. Examples of musical pastiche appear in other Sondheim shows including Gypsy, Saturday Night and Anyone Can Whistle. Pastiche can be a cinematic device whereby filmmakers pay homage to another filmmaker's style and use of cinematography, including camera angles and mise en scène.
A film's writer may offer a pastiche based on the works of other writers. Italian director Sergio Leone`s Once Upon a Time in the West is a pastiche of earlier American Westerns. Another major filmmaker, Quentin Tarantino uses various plots and themes from many lesser-known films to create his films, among them from the films of Sergio Leone, in effect creating a pastiche of a pastiche. Tarantino has stated that "I steal from every single movie made." Director Todd Haynes' 2002 film Far From Heaven was a conscious attempt to replicate a typical Douglas Sirk melodrama - in particular All That Heaven Allows. The film works as a reverential and unironic tribute to Sirk's filmmaking, lovingly re-creating the stylized mise-en-scene, costumes and lighting of Sirkian melodrama. In cinema, the inf
Nicole Mary Kidman is an Australian-American actress and producer. She began her acting career in Australia with the 1983 films Bush BMX Bandits, her breakthrough came in 1989 with the thriller Dead Calm and the television miniseries Bangkok Hilton. In 1990, she made her Hollywood debut opposite Tom Cruise, she went on to achieve wider recognition with leading roles in Far and Away, Batman Forever, To Die For, Eyes Wide Shut. She received two consecutive nominations for the Academy Award for Best Actress for playing a courtesan in the musical Moulin Rouge! and the writer Virginia Woolf in the drama film The Hours. Kidman has since starred in such films as The Others, Cold Mountain, Birth, The Paperboy, Paddington, The Beguiled, Boy Erased, Destroyer, she has received two additional nominations for an Academy Award for. In 2012, she received her first Primetime Emmy Award nomination for Outstanding Lead Actress in a Miniseries or a Movie for her role in the HBO film Hemingway & Gellhorn and returned to television in 2017, co-producing and starring in the HBO drama series Big Little Lies, winning the Primetime Emmy Award for Outstanding Lead Actress as well as Outstanding Limited Series.
In 2018, she played Queen Atlanna in the superhero film Aquaman, which emerged as her highest grossing release. Kidman is the recipient of multiple awards, including an Academy Award, two Primetime Emmy Awards, five Golden Globe Awards, the Silver Bear for Best Actress, she has been a Goodwill ambassador for UNICEF since 1994 and for UNIFEM since 2006. In 2006, Kidman was appointed Companion of the Order of Australia and was the highest-paid actress in the motion picture industry for that year; as a result of being born to Australian parents in Hawaii, Kidman has dual citizenship of Australia and the United States. Kidman owns the production company Blossom Films. Following her divorce from actor Tom Cruise, Kidman has been married to singer Keith Urban since 2006. Kidman was born 20 June 1967 in Honolulu, while her Australian parents were temporarily in the United States on student visas, her mother, Janelle Ann, is a nursing instructor who edited her husband's books and was a member of the Women's Electoral Lobby.
Her father was Antony Kidman, a biochemist, clinical psychologist and author, who died of a heart attack in Singapore aged 75. Kidman's ancestry includes Irish and English heritage. Being born in Hawaii, she was given the Hawaiian name "Hōkūlani"; the inspiration for the name came from a baby elephant born around the same time at the Honolulu Zoo, but the name is a used Hawaiian name for girls, Hokulani meaning "Heavenly Star". At the time of Kidman's birth, her father was a graduate student at the University of Hawaiʻi at Mānoa, he became a visiting fellow at the National Institute of Mental Health of the United States. Opposed to the war in Vietnam, Kidman's parents participated in anti-war protests while living in Washington, D. C; the family returned to Australia when Kidman was four and her mother now lives on Sydney's North Shore. Kidman has Antonia Kidman, a journalist and TV presenter. Kidman attended Lane Cove Public School and North Sydney Girls' High School, she was enrolled in ballet at three and showed her natural talent for acting in her primary and high school years.
She says that she was first inspired to become an actress upon seeing Margaret Hamilton's performance as the Wicked Witch of the West in The Wizard of Oz. Kidman has revealed that she was timid as a child, saying, "I am shy – shy – I had a stutter as a kid, which I got over, but I still regress into that shyness. So I don't like walking into a crowded restaurant by myself. At Philip Street, Kidman studied alongside Naomi Watts, she attended the Australian Theatre for Young People. Here she took up drama and performing in her teens, finding acting to be a refuge. Owing to her fair skin and red hair, the Australian sun forced the young Kidman to rehearse in halls of the theatre. A regular at the Phillip Street Theatre, she received both encouragement and praise to pursue acting full-time. In 1983, aged 16, Kidman made her film debut in a remake of the Australian holiday season favourite Bush Christmas. By the end of 1983, she had a supporting role in the television series Five Mile Creek. In 1984, her mother was diagnosed with breast cancer, which caused Kidman to halt her acting work temporarily while she studied massage so she could help her mother with physical therapy.
She began gaining popularity in the mid-1980s after appearing in several film roles, including BMX Bandits, Watch the Shadows Dance, the romantic comedy Windrider, which earned Kidman attention due to her racy scenes. During the decade, she appeared in several Australian productions, including the soap opera A Country Practice and the 1987 miniseries Vietnam, she made guest appearances on Australian television programs and TV movies. In 1988, Kidman appeared based on the play of the same name; the Australian film earned her an Australian Film Institute award for Best Supporting Actress. Kidman next starred with Sam Neill in Dead Calm as Rae Ingram; the thriller brought Kidman to international recognition.
Caddie is an Australian film biopic directed by Donald Crombie and produced by Anthony Buckley. Released on 1 April 1976, it is representative of the Australian film renaissance which occurred during that decade. Set in Sydney during the 1920s and 1930s, including the Great Depression, it portrays the life of a young middle class woman struggling to raise two children after her marriage breaks up. Based on Caddie, the Story of a Barmaid, a fictitious autobiography of Catherine Beatrice "Caddie" Edmonds, it made Helen Morse a local star and earned Jacki Weaver and Melissa Jaffer each an Australian Film Institute Award. In 1925 Sydney, Caddie leaves her adulterous and brutish husband and takes her two children and Terry, with her. Forced to work as a barmaid in a pub she struggles to survive. A brief affair with Ted ends badly when his involvement with another woman comes to light, but she falls in love with a Greek immigrant, Peter. Peter has to return to Greece to face family obligations–he is married to another woman.
Caddie goes to work as a barmaid. Peter sends letters from Caddie has to evade police as she works for an SP bookie. Peter asks her to come to Athens but she decides to stay. Helen Morse as Caddie Marsh Takis Emmanuel as Peter Jack Thompson as Ted Jacki Weaver as Josie Melissa Jaffer as Leslie Ron Blanchard as Bill Drew Forsythe as Sonny Kirily Nolan as Esther Lynette Curran as Maudie June Salter as Mrs Marks John Ewart as Paddy Reilly John Gaden as Solicitor Jane Harders as Vikki Phillip Hinton as Jon Marsh Mary Mackay as Mater Lucky Grills as Pawnbroker Robyn Nevin as Black Eye Sean Hinton as Terry Marsh, aged 10 Marianne Howard as Anne Marsh, aged 7 The original autobiography was published in 1953; the real-life barmaid, Catherine Edmonds, got to know Dymphna Cusack while she was writing Come in Spinner and Cusack helped the book get published. The budget was raised from the Australian Film Development Corporation, the Australian Women's Weekly, the Nine television network, the Secretariat for International Woman's Year, Roadshow.
Shooting began in late 1975. Parts of the movie were filmed in and around Balmain with a number of scenes at the Kent Hotel and the Sir William Wallace Hotel. Other scenes were filmed in Edgecliff. Studio shots were taken at the Cinesound Studios in Rozelle; the writer and producer had both made films about early Australian cinema and were able to draw on this knowledge to help recreate Depression-era Sydney. The motion picture soundtrack by Patrick Flynn was produced for release on CD by Philip Powers from the original analog tapes by 1M1 Records. Helen Morse's performance was awarded with the Australian Film Institute's Best Actress award in 1976. Other AFI wins went for Best Actor in Best Actress in a Supporting Role. Australian Cinematographers Society awarded Peter James the Cinematographer of the Year award in 1977. San Sebastián International Film Festival gave the Best Actress award to Helen Morse and the Special Prize of the Jury to Donald Crombie. Caddie on IMDb Caddie at the Australian screen 1M1 Records website release of soundtrack by Patrick Flynn Caddie at Oz Movies Caddie at the National Film and Sound Archive
Palace Theatre, Sydney
The Palace Theatre was a theatre located on Pitt Street in the Sydney central business district. It was built in 1896 by businessman George Adams as a supplement to his Tattersall's Hotel next door; the theatre hosted live performances until the 1930s. It was switched back and forth between movies and live shows, until it closed in 1969; the building was demolished in 1970. The theatre's former lot is now covered by the Hilton Sydney. "Palace Theatre". Sydney Theatre History. Australian Catholic University. Retrieved 11 December 2016. Dimond, Jill & Kirkpatrick, Peter. Literary Sydney: A Walking Guide. University of Queensland Press. Pp. 19–20. ISBN 0-7022-3150-9
Australian New Wave
The Australian New Wave was an era of resurgence in worldwide popularity of Australian cinema in the United States. It lasted until the mid-late 1980s; the era marked the emergence of Ozploitation, a film genre characterised by the exploitation of colloquial Australian culture. The Australian film industry declined after World War II, coming to a virtual stop by the early 1960s; the Gorton and Whitlam Governments rescued the industry from its expected oblivion. The federal and several state governments established bodies to assist with the funding of film production and the training of film makers through the Australian Film Television and Radio School, which fostered a new generation of Australian filmmakers who were able to bring their visions to the screen; the 1970s saw a huge renaissance of the Australian film industry. Australia produced nearly 400 films between 1970 and 1985, more than had been made in the history of the Australian film industry. In contrast to pre-New Wave films, New Wave films are viewed as fresh and creative, possessing "a vitality, a love of open spaces and a propensity for sudden violence and languorous sexuality".
The "straight-ahead narrative style" of many Australian New Wave films reminded American audiences of "the Hollywood-maverick period of the late 1960s and early'70s that had just about run its course". Many filmmakers and actors launched international careers through their work in the Australian New Wave. Several films of the Australian New Wave are regarded as classics of world cinema and have been ranked among films considered the best. Published in 2004, The New York Times Guide to the Best 1,000 Movies Ever Made includes Walkabout, Mad Max, Breaker Morant, Mad Max 2, The Year of Living Dangerously and Dead Calm. In 2008, Empire magazine chose Mad Max 2 and The Year of Living Dangerously as two of the 500 Greatest Movies of All Time, ranking in at #280 and #161 respectively; the 2011 book 1001 Movies You Must See Before You Die features Walkabout, Picnic at Hanging Rock, The Last Wave, The Chant of Jimmie Blacksmith, My Brilliant Career, Mad Max and Gallipoli. Since its re-release in 2009, Wake in Fright has been assessed as one of, if not the greatest, Australian New Wave film.
The term "glitter cycle" refers to a subgenre of eccentric Australian comedies that came to prominence in the early 1990s, spurning a post-new wave revival of Australian film. These films are noted for their celebration of Australian popular culture, camp aesthetic, colourful makeup and costuming, musical performance pieces. Prominent glitter films include Strictly Ballroom, Muriel's Wedding, The Adventures of Priscilla, Queen of the Desert and Love Serenade. Other prominent post-new wave revival films of the 1990s include The Big Steal, Romper Stomper, Shine, Kiss or Kill, The Castle. In 2008, director Mark Hartley released Not Quite Hollywood: The Wild, Untold Story of Ozploitation!, a documentary film celebrating the romps of the Australian New Wave of 1970s and 1980s low-budget cinema and includes George Miller, Quentin Tarantino and Barry Humphries. Film Reference Encyclopedia - "Australian New Wave: The Comedies" New York Times - "Australia Prides Its'New Wave' of Films" article, 15 February 1981