#howard koch | Explore Tumblr Posts and Blogs

citizenscreen · 5 months

Text

Playwright/screenwriter Howard Koch was born on December 12, 1901 #botd

#howard koch #old hollywood

9 notes · View notes

thebestestwinner · 10 months

Text

See pinned post for the full bracket!

#best best adapted screenplay tournament #oscars #academy awards #best adapted screenplay #casablanca #philip g. epstein #julius j. epstein #howard koch #the godfather #francis ford coppola #mario puzo #poll #bracket tournament #polls #brackets

3 notes · View notes

booksandwords · 11 months

Text

The War of the Worlds by H.G. Wells

Read time: 🎧 1:02 hours 🎧 Rating: 5/5

The quote: My wife, my colleagues, my students, my books, my observatory, my. . . my world. . . where are they? Did they ever exist? Am I Richard Pierson? What day is it? Do days exist without calendars? Does time pass when there are no human hands left to wind the clocks? — Professor Pierson

I grew up listening to Jeff Wayne's musical version of the War of the Worlds, which I recommend btw. So I was well aware of the story. Even though I've never seen a film. But this is how I think War of the World should be enjoyed. I know Wells wrote the short story in 1987 but to me, it is Orson Welles' 1938 production is what made it infamous. This particular version is War of the Wards as read by the cast of Star Trek. It was performed and recorded for Halloween by the L.A. Theatre Works in 2009. how I wish I'd been there when they recorded it.

Some random comments and a couple of quotes.

Gates McFadden is fantastic as the reporter Carla Phillips she has the voice for it. Her tone is perfection.

Leonard Nimoy is the astronomer Professor Pierson. His initial sense of scepticism comes through brilliantly, it must for a pure scientist. The transition he goes through is so effective as times get dark, as the new reality sets in.

Armin Shimerman as an announcer is a joy, his voice is iconic. But he will always Quark to me.

Brent Spiner does crazy well as the Stranger.

While I point out these specific actors, they are great and well suited to their roles. Everyone presents the right amount of urgency or sadness or near desperation.

Later when their bodies were examined in the laboratories, it was found that they were killed by the putrefactive and disease bacteria against which their systems were unprepared. . . slain, after all man’s defenses had failed, by the humblest thing that God in His wisdom put upon this earth. — Professor Pierson

Dim and wonderful is the vision I have conjured up in my mind of life spreading slowly from this little seed bed of the solar system throughout the inanimate vastness of sidereal space. But that is a remote dream. — Professor Pierson

It was all John de Lancie's idea. Because of course, it was.

The interview afterwards is well worth listening to. The one I heard came with Gates McFadden whom I didn't know prefers to stage act rather than film act. It's that feedback the interplay between performer and audience. There is a discussion of how she about changing how role from the male original to the female.

On the LATW listing for the title there is an interview with Leonard Nimoy. Here you can also get the audiobook for free on Spotify.

Wellesnet has a copy of the original 1938 script. Because it's essentially what they are recording rather than H.G. Wells original work. Freedom Forum has a version of the orginal 1988 broadcast on their YouTube channel.

The cast

John de Lancie as Show Host

Meagen Fay as Bag Lady/Others

Jerry Hardin as Wilmuth/Others

Gates McFadden as Phillips/Others

Leonard Nimoy as Pierson/Others

Dwight Schultz as Announcer/Others

Armin Shimerman as Announcer/Others

Brent Spiner as Stranger/Others

Tom Virtue as Captain/Others

Wil Wheaton as Commander/Others

#war of the worlds #star trek tng #la theatre works #book review #audiobook #read 2022 #h.g. wells #howard koch #star trek the next generation #spotify #booklr

5 notes · View notes

whileiamdying · 1 year

Text

Review: Casablanca

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.

by Jeremiah Kipp December 13, 2008

Photo: Film Forum

y the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Score:

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson Director: Michael Curtiz Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch Distributor: Warner Bros. Running Time: 102 min Rating: NR Year: 1942 Buy: Video, Soundtrack

#Humphrey Bogart #Ingrid Bergman #Paul Henreid #Claude Rains #Conrad Veidt #Sydney Greenstreet #Peter Lorre #Dooley Wilson #Michael Curtiz #Michael Curtiz Screenwriter: Julius J. Epstein #Philip G. Epstein #Howard Koch #Warner Bros.#Jeremiah Kipp #Casablanca #Slant Magazine

3 notes · View notes

bkenber · 1 year

Text

'Casablanca' Movie and 4K/Blu-ray Review

‘Casablanca’ Movie and 4K/Blu-ray Review

The following review was written by Ultimate Rabbit correspondent, Tony Farinella. “Casablanca” is a film which conjures up an immediate reaction from film fans whenever they hear the title. It’s right up there with “Citizen Kane” as one of those films which film buffs and historians consider one of the greatest movies ever made. There are many reasons for this, but the biggest reason is the…

View On WordPress

1 note · View note

weirdlookindog · 3 months

Text

Mike Lane in Frankenstein 1970 (1958)

#frankenstein 1970 #mike lane #1958 #1950s horror #1950s movies #howard w. koch #horror

203 notes · View notes

gatutor · 10 months

Text

John Holland-Mamie Van Doren "The girl in black stockings" 1957, de Howard W. Koch.

#Mamie Van Doren #John Holland #Howard W. Koch

107 notes · View notes

oldshowbiz · 1 year

Photo

Mamie Van Doren was always hot AF

#mamie van doren #b movie #bel air productions #howard w. koch

30 notes · View notes

demifiendrsa · 2 years

Video

youtube

The King of Fighters XV｜Team South Town trailer

The King of Fighters XV downloadable content characters Geese Howard, Billy Kane, and Ryuji Yamazaki—Team South Town—will launch on May 17, 2022.

Team South Town screenshots

Additionally, SNK will release a free update for the game that adds tracks from The King of Fighters Neowave to in-game “DJ Station.” Further additional tracks are planned for release in the future as well.

46 notes · View notes

speakingparts · 1 year

Photo

CRIMES OF THE FUTURE

[2022, DAVID CRONENBERG]

“ Let us create a map that will guide us into the heart of darkness. “

----

AMY TAUBIN: What a fantastic film.

DAVID CRONENBERG: Thank you. We should stop right there, quit while we’re ahead.

FULL INTERVIEW

---

STILLS by the amazing FILMGRAB

#david cronenberg #film #canadian film #cinema #movies #crimes of the future #Douglas Koch #Viggo Mortensen #Léa Seydoux #Kristen Stewart #Don McKellar #Lihi Kornowski #Howard Shore #Carol Spier

7 notes · View notes

adscinema · 2 years

Video

youtube

Crimes of the Future - David Cronenberg (2022)

Trailer / https://neonrated.com

#crimes of the future #david cronenberg #2022 #2020s #cannes film festival #science fiction #neon #canada #trailer #video #viggo mortensen #lea seydoux #kristen stewart #don mckellar #howard shore #douglas koch #welket bungué #scott speedman

11 notes · View notes

thebestestwinner · 10 months

Text

See pinned post for the full bracket!

#best best adapted screenplay tournament #oscars #best adapted screenplay #academy awards #amadeus #peter shaffer #casablanca #philip g. epstein #julius j. epstein #howard koch #joan alison #murray burnett #poll #bracket tournament #polls #brackets

1 note · View note

schlock-luster-video · 2 years

Text

On July 20, 1958 Frankenstein 1970 debuted in the United States.

Here's some new Boris Karloff art!

3 notes · View notes

whileiamdying · 1 year

Text

Review: Michael Curtiz’s Casablanca Gets 80th Anniversary 4K UHD Blu-ray Edition

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

by Jeremiah Kipp & Derek Smith November 10, 2022

By the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Image/Sound

Warner Bros. has always rolled out the red carpet for Casablanca before on home video, so it’s no surprise that this 4K UHD release is top-notch. The image quality on their 2012 Blu-ray was already fantastic, but this new transfer gives a noticeable boost in contrast, particularly in the moodier interior scenes in Rick’s Café Américain, where the blacks are now deeper and the varying shades of gray are more clearly defined. There’s also tighter grain levels, which means that there’s new depth and dimensionality to the image. The audio is also flawless, with a well-balanced and robust mix that greatly benefits Max Steiner’s legendary score.

Extras

The extras on this two-disc special edition, all ported over from Warner’s 2012 release, are included on a separate Blu-ray disc in order to maximize the bit rate of the film on the 4K disc. Most noteworthy are the two nicely complementary audio commentaries, one by film critic Roger Ebert and the other by film historian Rudy Behlmer. Ebert and Behlmer each discuss Casablanca’s historical context, behind-the-scenes drama, and the actors’ backgrounds, as well as provide expert critical analysis, and without undue redundancy.

Also included are a pair of feature-length documentaries on Michael Curtiz and Humphrey Bogart that provide in-depth overviews of their respective careers and struggles with the studio system. In another, shorter documentary, Casablanca’s rocky production is the focus. Also stressed is the fact that this was just one of 50 films that Warner Bros. released in 1942, and that no one at the studio or any of its stars expected it to be so acclaimed.

The remaining extras are more bite-sized, including a brief intro to the film by Lauren Bacall, a slick puff piece called “A Tribute to Casablanca,” deleted scenes, outtakes, and an interview with Bacall and Bogart’s son Stephen Bogart and Ingrid Bergman’s daughter Pia Lindstrom, who discuss the enduring legacy of the film. Lastly, there are audio-only features of the scoring stage sessions and a 1947 Vox Pop radio broadcast and a handful of Looney Tunes shorts.

Overall

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

Score:

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson Director: Michael Curtiz Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch Distributor: Warner Bros. Home Entertainment Running Time: 102 min Rating: NR Year: 1942 Release Date: November 8, 2022 Buy: Video

#Casablanca #Slant Magazine #Jeremiah Kipp #Derek Smith #Humphrey Bogart #Ingrid Bergman #Paul Henreid #Claude Rains #Conrad Veidt #Sydney Greenstreet #Peter Lorre #Dooley Wilson #Michael Curtiz #Philip G. Epstein #Howard Koch #Warner Bros. Home Entertainment #4K UHD #Julius J. Epstein

2 notes · View notes

candle-1-1-shine · 6 days

Text

Today's Thought

"You can be a good neighbour only if you have good neighbours"

Howard E. Koch

#thought #today thought #the neighbourhood #good #life thoughts #Howard E. Koch

0 notes

troncelliti · 9 months

Text

youtube

1 note · View note