Nine (2009 live-action film)
Nine is a 2009 romantic musical drama film directed and produced by Rob Marshall and written by Michael Tolkin and Anthony Minghella. The film is an adaptation of the 1982 musical of the same name, which in turn is based on Federico Fellini's semi-autobiographical 1963 film 8½. In addition to songs from the stage musical, all written by Maury Yeston, the film has three original songs written by Yeston; the ensemble principal cast consists of Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Kate Hudson, Nicole Kidman, Sophia Loren. The film premiered in London, opened the 6th annual Dubai International Film Festival on December 9, 2009 and was released in the United States on December 18, 2009, in New York City and Los Angeles, with a wide release on December 25, 2009. Though a critical and commercial failure, Nine was nominated for four Academy Awards: Best Supporting Actress, Best Art Direction, Best Costume Design and Best Original Song. Guido Contini is a gifted Italian filmmaker in 1965 at the famous Cinecittà movie studios in Rome.
At the age of fifty he has developed writer's block and surrealistically summons all of the women in his life and dead, to help him recapture inspiration, as dozens of female dancers and the film's leading ladies appear in his mind: Claudia Jenssen, his star actress. He avoids any clear answers when questioned by reporters about his new movie, because he doesn't have an idea for one. Guido creates an elaborate fantasy, where he explains that he wishes to have the naiveté of youth yet the wisdom of age. Escaping to a Spa Hotel on the Italian coast, he receives a phone call from Carla, his mistress seducing him as he listens on the other end, she arrives at the spa, expecting to share his suite, but is upset to learn that she's staying in a shabby pensione by the train station. Meanwhile, Guido meets with Lilli, his costume designer, begs for inspiration, confessing he has no script. Lilli urges him to use his film to entertain, inspired by the Folies Bergère, where she'learnt her art'. Guido remembers Saraghina, a prostitute who danced for him and his boyhood schoolmates on a beach, teaching them the joy of life's sensual and sexual pleasures.
Young Guido is caught by his school teachers/priests and punished by his principal while his ashamed mother reluctantly watches. Back at the Spa, at dinner, he's surprised to see his wife Luisa, he wishes her a happy birthday. Luisa unhappy, sings of the life of compromise she's made, abandoning her acting career to be at Guido's side in supporting his art, she notices Carla entering the restaurant and storms out Guido following. Luisa ignores him and leaves and, when he returns to the restaurant and sees Carla, he is furious. Guido demands Carla to leave. Unable to pacify Luisa in their hotel room, Guido seeks out Stephanie in the hotel's bar, who describes her love for his movies though from the point of view of an ignorant fashion editor, she takes him to her room but, watching her undress, Guido realizes how much he cares for and needs his wife and seems to come to his senses. Returning to Luisa he promises; as she embraces him, the phone rings and he's called away to help Carla, who has overdosed on pills in a suicide attempt.
It becomes impossible for Guido to juggle all the contradictions in his life. He stays with Carla until her husband Luigi arrives returns to the hotel to find that Luisa has abandoned him, the crew has returned to Rome to begin filming. Distraught, he has a vision of his mother singing him a lullaby. In Rome, he phones Luisa from the studio and begs her to come to view screen tests the next evening; when his leading lady, Claudia and senses there is no written script and Guido go for a drive. Guido confesses that there is indeed no script, she asks him what he wants the film to be about and his description resembles his own ordeal: a man lost and in love with so many women. Claudia explains that she loves him but he seems to be a man who does not know how to love; when Guido returns to review the screen tests, Luisa arrives and is devastated to see a clip of an actress in a scene drawn from a private memory she and Guido shared years ago. It is the last straw for her. In an angry and imaginary public striptease she leaves Guido for good.
Utterly abandoned by all those whom he has selfishly exploited, Guido comes to terms with the truth, realizing that he's lost everything and everyone and has nothing with which to make a movie. Admitting that there never was a movie, he has the set destroyed before leaving Rome. Two years Guido is in a café in Anguillara with Lilli and sees an advertisement for a play starring Luisa, he asks about Lilli tells him that she's not going be to be the middle-man for them. When she asks if he will make a movie again, Guido answers that the only thing he would want to make would be a movie about a man trying to win back his wife; as he speaks, he is on a film set, making that film. Surrounded now by his actors and his boyhood n
Patton is a 1970 American epic biographical war film about U. S. General George S. Patton during World War II, it stars George C. Scott, Karl Malden, Michael Bates and Karl Michael Vogler, it was directed by Franklin J. Schaffner from a script by Francis Ford Coppola and Edmund H. North, who based their screenplay on the biography Patton: Ordeal and Triumph by Ladislas Farago and Omar Bradley's memoir A Soldier's Story; the film was shot in 65 mm Dimension 150 by cinematographer Fred J. Koenekamp and has a music score by Jerry Goldsmith. Patton won seven Academy Awards, including Best Director and Best Original Screenplay. Scott declined to accept the award; the opening monologue, delivered by George C. Scott as General Patton with an enormous American flag behind him, remains an iconic and quoted image in film; the film was successful, in 2003, Patton was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant".
The Academy Film Archive preserved Patton in 2003. General George S. Patton addresses an unseen audience of American troops to raise their morale, focusing in particular on the value placed on winning by American society. Following the humiliating American defeat at the Battle of the Kasserine Pass in 1943, Patton is placed in charge of the American II Corps in North Africa. Upon his arrival, he starts enforcing discipline among his troops. Patton is summoned to a meeting with Air Marshal Coningham of the Royal Air Force, where he claims that the American defeat was caused by lack of air cover. Coningham promises Patton that he will see no more German aircraft – but seconds the compound is strafed by Luftwaffe planes. Patton defeats a German attack at the Battle of El Guettar. Patton is bitterly disappointed to learn that Erwin Rommel, commander of the German-Italian Panzer Army, was on medical leave, but Codman reassures him that: "If you've defeated Rommel's plan, you've defeated Rommel." After success in the North Africa campaign and Bernard Montgomery come up with competing plans for the Allied invasion of Sicily.
Patton's proposal to land his Seventh Army in the northwest of the island with Montgomery in the southeast impresses their superior General Alexander, but General Eisenhower rejects it in favor of Montgomery's more cautious plan, which places Patton's army in the southeast, covering Montgomery's flank. While the landing is successful, the Allied forces become bogged down, causing Patton to defy orders and advance northwest to Palermo, to the port of Messina in the northeast, narrowly beating Montgomery to the prize, although several thousand German and Italian troops are able to flee the island. Patton insists that his feud with Montgomery is due to the latter's determination to be the "war hero," and to deny the Americans any chance of glory. However, his actions do not sit well with his subordinates Lucian Truscott. While on a visit to a field hospital, Patton notices a shell-shocked soldier crying. Calling him a coward, Patton slaps the soldier and threatens to shoot him, before demanding his immediate return to the front line.
Patton is relieved of command and, by order of Eisenhower, forced to apologize to the soldier, others present, to his entire command. As a result, he is sidelined during the D-Day landings in 1944, being placed in command of the decoy phantom First United States Army Group in southeast England. German General Alfred Jodl is convinced. After begging his former subordinate Bradley for a command before the war ends, Patton is placed under him in command of the Third Army and performs brilliantly by advancing through France, but his tanks are brought to a standstill when they run out of fuel – the supplies being allocated to Montgomery's bold Operation Market Garden, much to his fury. During the Battle of the Bulge, Patton brilliantly relieves the town of Bastogne and smashes through the Siegfried Line and into Germany. At a war drive in Knutsford, General Patton remarks that the United States and the United Kingdom would dominate the post-war world, viewed as an insult to the Soviet Union. After Germany capitulates, Patton directly insults a Russian general at a dinner.
Patton makes an offhand remark comparing the Nazi Party to American political parties. Patton's outspokenness loses him his command once again, though he is kept on to see to the rebuilding of Germany, where a runaway oxcart narrowly misses him. Patton is seen walking Willie, his bull terrier, across the German countryside. Patton's voice is heard relating that a returning hero of ancient Rome was honored with a "triumph," a victory parade in which "a slave stood behind the conqueror, holding a golden crown, whispering in his ear a warning: that all glory... is fleeting." Attempts to make a film about the life of Patton had been ongoing for over fifteen years, commencing in 1953. The Patton family was approached by the producers for help in making the film; the filmmakers desired access to Patton's diaries, as well as input from family members. However, the producers contacted the family the day after Beatrice Ayer Patton, the general's widow, was buried, the family refused to provide any assistance to the film's producers.
In the end, screenwriters Francis Ford Coppola and Edmund H. North wrote the script based on Ladislas Farago's biography Patto
Javier Mariscal is a Spanish artist and designer whose work has spanned a wide range of mediums, ranging from painting and sculpture to interior design and landscaping. He was born in February 1950 in the city of Valencia, into a family of eleven brothers and sisters porque his parents are players. Since 1970, he has been working in Barcelona. Mariscal's language is a great deal of expressiveness, he started studying at Colegio El Pilar in Valencia. After that he studied design at the Elisava School in Barcelona, but he soon left to learn directly in his environment and follow his own creative impulses, his first steps were in underground comics, a task that he soon combined with illustration, graphic design and interior design. In 1979, he designed a work that would make him popular; the following year, he opened the first bar in Valencia designed by Mariscal, together with Fernando Salas, the Duplex, for which he designed one of his most famous pieces, the Duplex stool, an authentic icon of the 1980s.
In 1981, his work as a furniture designer led him to participate in the exhibition Memphis, an International Style, in Milan. In 1987, he gave an exhibition at the Centre Georges Pompidou in Paris and participated in the Documenta de Kassel. Throughout the 1980s, he designed several textile collections for Marieta and Tráfico de Modas and exhibited at the Vinçon salon in Barcelona. In 1989, Cobi was chosen as the mascot for the Barcelona 1992 Olympic Games; the mascot was the centre of great controversy because of its vanguard image, although time has shown its creator to have been right, now Cobi is recognised as the most profitable mascot in the history of the modern games. He created the cartoon series The Cobi Troupe, he opened the Estudio Mariscal in 1989 and has collaborated in several projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. His most notable works include the visual identities for the Swedish social democratic party, Socialdemokraterna.
In 1995, Twipsy was chosen as the mascot for the Expo 2000 in Hannover. The success of this mascot led to the Twipsy series, in which the star is a virtual space messenger and the action is set in Internet. Twipsy was sold to over one hundred countries. In 1995, he designed the Amorosos Furniture collection for the Italian manufacturer Moroso, which includes one of his most successful pieces of furniture, the Alexandra armchair, in which the organic shapes and the use he makes of colour communicate the vital, extroverted style that characterises Mariscal's objects. In 1995, with lots of schoolchildren in the Land of Valencia created a collective mural sculpture during protest days for the use of the Valencian language in the education; the mural is now located in the Teacher's Faculty of the University of Valencia and open to the public free of charge. In 2001, he designed the much sought after diary room chair used in Channel 4's second instalment of Big Brother. In 2002, his multidisciplinary career culminated with the integral design of the Gran Hotel Domine Bilbao, nestling between the Guggenheim Museum in Bilbao and the ria, the creative concept of, based on reflecting the history of design of the 20th century.
Mariscal designed things from the uniforms to the façade, including the graphic image and its website. He did the interior design of the GHDB with Fernando Salas, who collaborated in Calle 54 Club, a project in which Fernando Trueba forms part and which provides Madrid with a live space where the most prestigious Latin jazz musicians perform, such as Bebo Valdés and Paquito D'Rivera. Madrid is the home of Hotel Puerta América, belonging to the Silken Group, a project in which the best architecture and design studios of the moment participated. Estudio Mariscal and Fernando Salas were responsible for the interior design of the eleventh floor. Another sample of his interdisciplinary vocation is the audiovisual show Colors, which premiered in Barcelona in 1999 and starred the robot Dimitri, another of Mariscal's creatures; the script of Colors has been adapted for the frequent conferences on design he gives all over the world which, rather than conferences are entertaining pocket shows marked with humour and tenderness.
In 2005, he made several objects for the children's collection, Me Too, by Magis, a fruitful collaboration, still under way. Some of his most recent works, which he continues to combine with his artistic task, are the image of the Spanish financial institution, Bancaja. In 2006, he participated in ARCO with the sculpture, Crash!, a homage to the optimist design of the 1950s and a way of telling us that that confidence in the future has exploded because now we need to think about how to make a future possible. In 2009, from 1 July until 1 November, a major UK retrospective of Mariscal's work is being shown at the London Design Museum, in which visitors enter through a tunnel showing 640 examples of the designer's style from 1970 to the present day, including his typefaces, he will be creating a mural for the outside of the Design Museum itself. Mariscal drew and co-directed, with Academy Award-winning director Fernando Trueba, the 2010 Spanish-British animated feature-length film Chico and Rita.
The film celebrates the music and culture of Cuba and depicts a love story set against backdrops of Havana, Ne
Kramer vs. Kramer
Kramer vs. Kramer is a 1979 American family legal drama film written and directed by Robert Benton, based on Avery Corman's novel; the film stars Meryl Streep, Jane Alexander and Justin Henry. It tells the story of a couple's divorce, its impact on their young son, the subsequent evolution of their relationship and views on parenting; the film explores themes of major social issues such as the psychology and fallout of divorce, gender roles, women's rights, fathers' rights, work versus home, the single parent experience. Kramer vs. Kramer was theatrically released on December 1979 by Columbia Pictures, it was a major critical and commercial success, grossing $106.3 million on a $8 million budget, becoming the highest-grossing film of 1979 and received a leading nine nominations at the 52nd Academy Awards, winning five: Best Picture, Best Director, Best Actor, Best Supporting Actress, Best Adapted Screenplay. Ted Kramer is a workaholic advertising executive who has just been assigned a new and important account.
Ted arrives home and shares the good news with his wife Joanna only to find. Saying that she needs to find herself, she leaves Ted to raise their son Billy by himself. Ted and Billy resent one another as Ted no longer has time to carry his increased workload, Billy misses his mother's love and attention. After months of unrest and Billy learn to cope and bond as father and son. Ted befriends his neighbor Margaret, who had counseled Joanna to leave Ted if she was that unhappy. Margaret is a fellow single parent, she and Ted become kindred spirits. One day, as the two sit in the park watching their children play, Billy falls off the jungle gym cutting his face. Ted sprints several blocks through oncoming traffic carrying Billy to the hospital, where he comforts his son during treatment. Fifteen months after she walked out, Joanna returns to New York to claim Billy, a custody battle ensues. During the custody hearing, both Ted and Joanna are unprepared for the brutal character assassinations that their lawyers unleash on the other.
Margaret is forced to testify that she had advised an unhappy Joanna to leave Ted, though she attempts to tell Joanna on the stand that her husband has profoundly changed. The damaging facts that Ted was fired because of his conflicting parental responsibilities which forced him to take a lower-paying job come out in court, as do the details of Billy's accident, his original salary was noted as "$33,000 dollars a year", whereas he was forced to admit that his new salary was only "$28,200", after Joanna has told the court that her "present salary" as a sportswear designer is "$31,000 a year". The court awards custody to Joanna, a decision based on the assumption that a child is best raised by his mother. Ted discusses appealing the case, but his lawyer warns that Billy himself would have to take the stand in the resulting trial. Ted cannot bear the thought of submitting his child to such an ordeal, decides not to contest custody. On the morning that Billy is to move in with Joanna and Billy make breakfast together, mirroring the meal that Ted tried to cook the first morning after Joanna left.
They share a tender hug. Joanna calls on the intercom; when he arrives she tells Ted how much she loves and wants Billy, but she knows that his true home is with Ted, therefore will not take custody of him. She asks Ted if she can go up and see Billy, Ted says that would be fine; as they are about to enter the elevator together, Ted tells Joanna that he will stay downstairs to allow Joanna to see Billy in private. After she enters the elevator, Joanna wipes tears from her face and asks her former husband "How do I look?" As the elevator doors start to close on Joanna, Ted answers, "You look terrific." Dustin Hoffman as Ted Kramer Meryl Streep as Joanna Kramer Justin Henry as Billy Kramer Jane Alexander as Margaret Phelps Petra King as Petie Phelps Melissa Morell as Kim Phelps Howard Duff as John Shaunessy George Coe as Jim O'Connor JoBeth Williams as Phyllis Bernard Howland Chamberlain as Judge Atkins Dan Tyra as Court Clerk Kate Jackson was offered the role played by Meryl Streep but was forced to turn it down.
At the time, Jackson was appearing in the TV series Charlie's Angels, producer Aaron Spelling told her that they were unable to rearrange the shooting schedule to give her time off to do the film. The part was offered to various other actresses including Faye Dunaway, Jane Fonda and Ali MacGraw, all of whom turned it down. Streep was cast as Phyllis, but she was able to force her way into auditioning for Joanna in front of Hoffman and Jaffe, she found the character in the novel and script unsympathetic, insisted on approaching Joanna from a more sympathetic point of view. Hoffman believed that the recent loss of her fiancé, John Cazale, only months earlier, gave Streep an emotional edge and "still-fresh pain" to draw on for the performance. Streep was only contracted to work 12 days on the film. Gail Strickland was first cast as Ted's neighbor Margaret, but departed after a week of filming and was replaced by Jane Alexander; the truth was that Strickland was so intimidated by Hoffman while filming their scenes together that she developed a nervous stammer which made her lines unintelligible.
Strickland herself disputes this account, saying that s
Varvara Jmoudsky, better known as Barbara Karinska or Karinska, was costumer of the New York City Ballet, the first costume designer to win the Capezio Dance Award, for costumes "of visual beauty for the spectator and complete delight for the dancer". Along with Dorothy Jeakins, she won the 1948 Oscar for color costume design for Joan of Arc, was nominated in 1952 for the Samuel Goldwyn musical Hans Christian Andersen, starring Danny Kaye, she divided her time between homes in Manhattan, Sandisfield and Domrémy-la-Pucelle, the birthplace of Joan of Arc. For the stage, she designed the costumes for George Balanchine's production of Tchaikovsky's The Nutcracker, among others. Barbara Karinska was born Varvara Andreevna Jmoudsky in Kharkov, now Ukraine, the Russian Empire, in 1886, to a successful textile manufacturer, she was the eldest female of the ten Jmoudsky siblings. Ukrainian embroidery was an art form filled with detailed shades and colors of varying texture of stitches – some tiny and fine and others broad and rough.
This was Karinska's artistic medium as a child. She studied law at the University of Kharkov and, in 1908, married Alexander Moïssenko, the son of another wealthy Kharkov industrialist. Moïssenko died in 1909 several months before the birth of their daughter Irina. In 1910, Varvara's older brother Anatoly, owner of the moderately Socialist Kharkov newspaper UTRO, went through divorce proceedings that resulted in Varvara winning custody of his two-year-old son, Vladimir Anatolevich Jmoudsky. Vladimir and Irina were raised as sister. Varvara soon remarried a prominent lawyer, N. S. Karinsky, being from Moscow, was residing in Kharkov. With his law practice burgeoning, the Karinsky family of four moved to Moscow in 1916, to a spacious apartment that Varvara had purchased. Karinsky continued to practice criminal and political law and gained fame and prestige throughout the Russian Empire. Varvara, became engrossed in the arts and hosted her famous salon every night after the theater or ballet, she developed her own form of painting applying pieces of colored silk gauze to photographs and drawings.
Her first subjects were ballet scenes. After much tearing apart and redoing, she exhibited about 12 of her works in a prominent Moscow gallery and was quite successful both financially and critically. Czar Nicholas II abdicated in March 1917, to the provisional government, first headed by Prince Lvov and by Alexander Kerensky. N. S. Karinsky was appointed by Lvov as Attorney General and Presiding Justice of the Court of Appeals of the District of St. Petersburg; as Civil War followed the Bolshevik Revolution of October 1917, The Ministry of the Interior of the White Occupied Southern Territories assigned to N. S. Karinsky the governorship of several southern provinces. Varvara and Vladimir spent the years of the civil war moving between Kharkov and Crimea. With the fall of Crimea to the Red forces, in 1920, Karinsky was a marked man, yet he stayed at his post until the end helping others to escape. Unable to find his family, several of Varvara's sisters and brothers forced him to leave Crimea with them by ship, assuring him that Varvara would soon follow.
But Varvara had decided to remain in the "New Russia" and filed a “postcard divorce”, legitimate and popular during those years of upheaval. In 1923 N. S. Karinsky made his way to New York where, unable to speak English, he undertook a variety of menial jobs, including driving a taxi. Nicholas Karinsky never lost his good nature or optimistic philosophy of life, he continued his intellectual pursuits editing for the Russian American press and authored a number of articles and monographs. When Varvara arrived to New York in 1939, she and Nicholas Karinsky had many friends in common, yet it appears that neither sought the other's company. Meanwhile, in 1921, Varvara made her way back to Moscow where she met and married Vladimir Mamontov, son of one of Moscow's wealthiest pre-revolutionary industrialists. Having lost everything, Mamontov remained with nothing except his charm, beautiful piano playing and the delusion that someday his late father's fortune would be returned to him. Lenin’s New Economic Policy provided for limited capitalism to help finance his new regime exhausted and debilitated by three years of civil war.
Karinska went way beyond Lenin’s limits. She opened a Tea Salon that became the meeting place of Moscow artists and government officials every afternoon at five o’clock. In the same complex she founded an haute-couture and a millinery atelier to dress the wives of the Soviet elite, she opened an antique store and an embroidery school where she taught the needle arts to the proletariat. Karinska’s reasons for leaving Russia are multifold. First there was the death of the uncertainty of what was to come. Karinska devised a plan to save Mamontov. Supported by Anatoly Lunacharsky, Minister of Education and long time friend of her father, she proposed to take a large number of embroideries made by her students to exhibit in Western European cities as a “good will” gesture to demonstrate
Ride the Pink Horse
Ride the Pink Horse is a 1947 film noir crime film produced by Universal Studios. It was directed by the actor Robert Montgomery from a screenplay by Ben Hecht and Charles Lederer, based on a novel of the same name by Dorothy B. Hughes; the drama features Montgomery as the main character. Thomas Gomez was nominated for a Best Supporting Actor Oscar for his performance. An army veteran known only as Gagin travels to San Pablo, a rural New Mexican town, to avenge the death of his old war time buddy; as a man devoid of identity, some of the villagers refer to Gagin as "the man with no place." Lucky Gagin arrives on a bus in San Pablo, a small rural town in New Mexico during its annual fiesta. He plans to confront and blackmail a mobster named Frank Hugo as retribution for the death of his best friend Shorty, he unpacks a Colt.45 pistol from his luggage, sticks it in his waistband, places a check which incriminates Hugo in locker 250, hides the locker key behind a framed map in the bus depot waiting room using a piece of chewing gum.
Because of the fiesta, Gagin cannot find a room at the hotel by the bus station. He is directed to the non-tourist side of the town. At the merry-go-round there, he meets Pila who takes him to the La Fonda Hotel and gives him a "charm of Ishtam" that she says will protect him. At the hotel, Gagin uses a ruse to find out that Frank Hugo is in room 315. Gagin comes, into the hotel room, proceeds to knock out Jonathan, Hugo's private secretary. Marjorie Lundeen, a sophisticated female acquaintance of Hugo's, comes in and uses her wiles trying to learn more about him; when the telephone rings, Gagin impersonates a bell boy. Speaking with Hugo, he learns. Gagin leaves the room and in the hotel lobby, he is accosted by FBI agent Bill Retz. In his conversation with Gagin, Retz recounts the plot so far. Retz tells Gagin to lay off with his plot for revenge on Frank Hugo. Still looking for a room, Gagin ends up at the Cantina de las Tres Violetas, where Pila is inexplicably sitting outside. Going inside, Gagin finds himself to be the only non-Hispanic in the bar.
He pays for it with a twenty dollar bill. The barkeep can only make change for ten dollars and the situation is resolved by Pancho, who proposes that Gagin buy ten dollars worth of drinks for everyone in the bar. Gagin, having spent twenty dollars at the bar, accompanies Pancho back to his tiovivo where Pancho puts him up for the night. Pila ends up sleeping in one of the seats on the carousel. Retz shows up and warns Gagin of the toughs and tells him that if he could find Gagin, so will the toughs; the next morning, Gagin goes back to the hotel. Gagin tells Hugo that he proceeds to layout the blackmail, they agree to meet that evening at the Tip Top Cafe, where Hugo will pay Gagin the thirty thousand dollars for the incriminating check. Retz meets Gagin and "officially" asks for the evidence. Gagin takes Pila to lunch and they are interrupted by the arrival of Marjorie Lundeen, she lays out a scheme for how to shakedown Frank Hugo for more money, but Gagin does not go along with Marjorie's plan.
After the lunch, Gagin returns to the bus depot where he retrieves the check and follows the fiesta crowd to the Tip Top Cafe. He meets with Hugo, having dinner with his associates. Hugo tells Gagin. Marjorie invites Gagin to dance with her, in order to not be seen by Hugo, she walks Gagin outside to a dark alley. There, she tells him that there is someone else; the response to Gagin's query as to, coming is two toughs who jump him. In the ensuing fight, one of them stabs Gagin in the right shoulder with a knife. Retz finds the two toughs in the alley, one dead and one with a broken arm, confronts Hugo at the dining table. While the police search the area, Pila finds Gagin in the bushes, pulls the knife out of his back, together they make their way back to Pancho and the merry-go-round. Gagin gives the check to Pila. Two toughs come to the tiovivo. With Gagin hidden in one of the seats by Pila, children riding the carousel, the toughs proceed to beat Pancho, who does not divulge the presence of Gagin.
Gagin, whose health and mental state are failing, agrees to go with Pila back by bus to her village of San Melo. While they are waiting in the Tres Violetas, they are found by Lundeen; when Locke approaches the now passed out Gagin, Pila hits him with a bottle and they make their escape, leaving Marjorie to find Locke lying on the floor the cantina. Gagin makes his way back to the La Fonda Hotel, where Pila finds him outside room 315; the door is opened by one of Hugo's toughs and the duo is brought into the room,where Frank Hugo, Marjorie Lundeen and the two toughs are present. Hugo begins to question the now incoherent Gagin, he is beaten by one of the toughs, who proceed to beat Pila. Retz arrives, disarms the toughs, breaks Hugo's hearing aid, gets the check from Gagin. At a two dollar breakfast the next day with Retz, Gagin refuses to eat. Retz tells Gagin that he should say goodbye to Pila and Pancho, together they return to the merry go round. Gagin bids adieu to Pancho, uncomfortably, to Pila, to whom he returns the Ishtam charm.
As Retz and Gagin leave, somewhat of an outcast with her peers, is surrounded by them. She
Days of Heaven
Days of Heaven is a 1978 American romantic period drama film written and directed by Terrence Malick and starring Richard Gere, Brooke Adams, Sam Shepard, Linda Manz. Set in 1916, it tells the story of Bill and Abby, lovers who travel to the Texas Panhandle to harvest crops for a wealthy farmer. Bill encourages Abby to claim the fortune of the dying farmer by tricking him into a false marriage. Days of Heaven was Malick's second feature film, after the enthusiastically received Badlands, was produced on a budget of $3 million. Production was troublesome, with a tight shooting schedule in Canada in 1976 and significant budget constraints. Additionally, editing took Malick a lengthy two years, due to difficulty with achieving a general flow and assembly of the scenes; this was solved with an added, improvised narration by Linda Manz. The film was photographed by Néstor Almendros and Haskell Wexler. Days of Heaven received positive reviews on its original theatrical release, it was not a significant commercial success, but did win an Academy Award for Best Cinematography along with three nominations for the score, costume design and sound.
Malick won the Best Director Award at the Cannes Film Festival. Days of Heaven has since become one of the most acclaimed films of its decade, noted for its cinematography. In 2007, it was selected for preservation in the National Film Registry by the Library of Congress as being "culturally or aesthetically significant", it continues to appear in polls of the best films made, appeared at #49 on a BBC poll of the greatest American films. In 1916, Bill, a Chicago manual laborer, knocks down and kills a boss in the steel mill where he works, he flees to the Texas Panhandle with his young sister Linda. Bill and Abby pretend to be siblings to prevent gossip; the three hire on as part of a large group of seasonal workers with a shy farmer. Bill overhears a doctor telling the farmer he has only a year to live, although the nature of the illness isn't specified. After the farmer falls in love with Abby, Bill encourages her to marry him so they can inherit his money after he dies; the marriage takes place and Bill stays on the farm as Abby's "brother".
The farmer's foreman suspects their scheme. The farmer's health unexpectedly remains stable; the farmer discovers Bill's true relationship with Abby. At the same time, Abby has begun to fall in love with her husband. After a locust swarm and a fire destroy his wheat fields, the incensed farmer goes after Bill with a gun but Bill kills him with a screwdriver, fleeing with Abby and Linda; the foreman and the police pursue and find them. Bill is killed by the police. Abby leaves Linda at a boarding school. Abby leaves town on a train with soldiers departing for World War I. Linda runs away from school with a friend from the farm. Richard Gere as Bill Brooke Adams as Abby Sam Shepard as The Farmer Linda Manz as Linda Robert J. Wilke as farm foreman Stuart Margolin as mill foreman Timothy Scott as harvest hand Doug Kershaw as fiddler Richard Libertini as vaudeville leader Jacob Brackman introduced fellow producer Bert Schneider to Terrence Malick in 1975. On a trip to Cuba and Malick began conversations that would lead to the development of Days of Heaven.
Malick had failed to get Dustin Hoffman or Al Pacino to star in the film. Schneider agreed to produce the film, he and Malick cast young actors Richard Gere and Brooke Adams and actor/playwright Sam Shepard for the lead roles. Paramount Pictures CEO at the time Barry Diller wanted Schneider to produce films for him and agreed to finance Days of Heaven. At the time, the studio was heading in a new direction, they were hiring new production heads who had worked in network television and, according to former production chief Richard Sylbert, " product aimed at your knees". Despite the change in direction, Schneider was able to secure a deal with Paramount by guaranteeing the budget and taking personal responsibility for all overages. "Those were the kind of deals I liked to make... because I could have final cut and not talk to nobody about why we're gonna use this person instead of that person", Schneider said. Malick admired cinematographer Néstor Almendros' work on The Wild Child and wanted him to shoot Days of Heaven.
Almendros was impressed by Malick's knowledge of photography and willingness to use little studio lighting. The two men modeled the film's cinematography after silent films, which used natural light, they drew inspiration from painters such as Johannes Vermeer, Edward Hopper, Andrew Wyeth, as well as photo-reporters from the start of the 20th century. Production began in the late summer of 1976. Although the film was set in Texas, the exteriors were shot in Whiskey Gap, Alberta, a ghost town, a final scene was shot on the grounds of Heritage Park Historical Village, Calgary. Jack Fisk designed and built the mansion from plywood in the wheat fields and the smaller houses where the workers lived; the mansion was not a facade, as was the custom, but authentically recreated inside and out with period colors: brown and dark wood for the interiors. Patricia Norris designed and made the period costumes from used fabrics and old clothes to avoid the artificial look of studio-made costumes. According to Almendros, the production was not "rigidly prepared".
Daily call sheets were not detailed and the schedule cha