like who said the cinematography and lighting in this movie were allowed to go this hard?
Ransom! (1956)
KIROKAZE
Game of Thrones Daily
Misplaced Lens Cap
Show & Tell
Alisa U Zemlji Chuda
he wasn't even looking at me and he found me

⁂

★
styofa doing anything

Discoholic 🪩

Product Placement
PUT YOUR BEARD IN MY MOUTH

Origami Around
let's talk about Bridgerton tea, my ask is open
Sade Olutola
DEAR READER
wallacepolsom
taylor price
Cosimo Galluzzi
cherry valley forever

seen from United States

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@melvillefarr
like who said the cinematography and lighting in this movie were allowed to go this hard?
Ransom! (1956)
Ransom! (1956) starring Glenn Ford and Leslie Nielsen
Notable for being Nielsen's big screen debut
Anthony Hopkins & Mel Gibson in The Bounty (1984)
After seeing the film, Sir Dirk Bogarde wrote, "Oh dear! Oh dear! Oh dear!" (via IMDB)
Dirk Bogarde in The Damned (1969) dir. Luchino Visconti
"Oh, God. I've accepted a ruthless logic and I can never get away from it."
Dirk Bogarde in The Damned (1969). dir. Luchino Visconti
Dirk Bogade in The Damned (1969) Dir. Luchino Visconti
Dirk Bogarde in The Damned (1969)
One of Our Aircraft is Missing (1942) dir. Michael Powell and Emeric Pressburger, edited by David Lean, cinematography by Ronald Neame
One of Our Aircraft Is Missing (1942), set during World War II, was the fourth collaboration between the celebrated producing-writing-directing team of Michael Powell and Emeric Pressburger, and the first under the banner of their production company, "The Archers." The movie, made under the authority of the Ministry of Information as part of a series of films created to lift morale in the United Kingdom, had superior production values and is often considered one of the best British films of its day. (via TCM)
it’s not a real marriage unless you have this dynamic
Good (National Theatre Live) starring David Tennant, Elliot Levey, and Sharon Small
Tunes of Glory (1960) dir. Ronald Neame
Devotion (1931)
Dirk Bogarde in Modesty Blaise (1966) dir. Joseph Losey
no thoughts just Dirk Bogarde being very LGBTQIA+ in Modesty Blaise (Joseph Losey, 1966)
Behind the scenes of Modesty Blaise (1967)
Anthony Quinn & Laurence Olivier in The Shoes of the Fisherman
Dirk Bogarde's annotated screenplays from bfi:
Victim (1961), "His own copy is filled with subtle rewrites to the dialogue, giving a sense that the script was valued and respected. No random doodling here – instead we get Bogarde’s own ‘emotional graph’, a handwritten chart plotting key scenes with corresponding levels of intensity required. This helped Bogarde remain focused during a production in which scenes were shot out of story order."
The Sea Shall Not Have Them (1954), "Tempers frayed during the making of this Second World War survival drama. Bogarde had begun the project in genuine awe of co-star Michael Redgrave, and had expressed his happiness at the prospect of acting with him. But a curt rebuttal from the older man, “This is not acting; it is just reacting”, led to a frosty atmosphere. The situation was made more awkward by the plot’s requirement to film long hours crammed in a dinghy waiting for rescue in the North Sea. Dominating a whole page of Bogarde’s copy of the script are furious doodlings of seemingly random images."
Doctor in the House (1954), "Bogarde’s copy of the script has very little annotation, other than jottings on what he was wearing."
Ill Met by Moonlight (1957), "Ill Met by Moonlight was a pleasant enough experience for Bogarde, but director Michael Powell found the actor’s air of detachment exasperating – no more than a “picture postcard hero in fancy dress”. Indeed, Bogarde’s script has a suitably un-thumbed quality, and certainly no indication of Powell’s direction being noted down. Its only embellishments are two pages where dried flowers have been attached – one from an olive tree."
Song Without End (1960), "found Bogarde playing composer Franz Liszt in a Hollywood film with an enticing fee of $100,000 and the prospect of a career boost across the Atlantic. He embraced the gruelling three-week, 10-hour-day training at the piano and formed a deep and lasting rapport with his beautiful leading lady Capucine, yet the film was doomed. Bogarde described it as a “grinding and profoundly unhappy experience” and his script doesn’t seem to have been treated with any reverence. Pages of doodlings and phone numbers and notes suggest it was simply paper he had to hand."
Once a Jolly Swagman (1949), "Bogarde was oddly cast as a mud-splattered speedway rider whose wife threatens to leave him if he doesn’t give up the sport. It’s more of a romantic drama than its US release title Maniacs on Wheels would suggest. A sensuous female nude in pin-up pose dominates an early page of Bogarde’s copy of the script."
"Many of the scripts are annotated, or even rewritten, as Bogarde frequently tweaked poor dialogue. They’re populated with sketches of strange landscapes and figures – some skilfully drawn; others child-like doodles impatiently scribbled as a distraction. These are rarely connected to the scene itself. At other times, Bogarde appears to use his scripts simply as convenient scrap paper to jot down phone numbers or other things to remember."