Ridley Scott: A Critical Filmography
Language: English
Pages: 189
ISBN: 0786458666
Format: PDF / Kindle (mobi) / ePub
Ridley Scott, the director of such seminal films as Blade Runner, Alien and Thelma & Louise, is one of the most important directors of the last fifty years. Unlike many directors, Scott has been remarkably transparent about his craft, offering the audience glimpses into his creative process. This book explores Scott's oeuvre in depth, devoting a chapter to his 22 primary works, from his first effort, Boy and Bicycle (1962), through Robin Hood (2010). Topics discussed include the critical reception of the films, and the ways in which Scott's works function as cinematic mediators on issues such as religion, women's rights and history.
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and Louise (ad) 84 Hartnett, Josh 110, 113, 163 Harvest 141 Hathaway, Henry 93 Hauer, Rutger 47, 162 Have You Seen...? 82 Hawks, Howard 37, 50, 66, 73, 80 Heart of Darkness 31, 32 176 Hecht, Ben 37 Helgeland, Brian 156, 158, 164 Hemmings, David 163 Henderson, Brian 81 Hepburn, Audrey 155 Hepburn, Katharine 39 Herbert, Frank 46 Higgins, John Michael 163 High Noon 55 Higham, Charles 132 Highmore, Freddie 138, 164 Hill, George Roy 127 Hill, Walter 36, 161 History of the Art of War 105 Hitchcock,
126 Three Women 79 Thumbs Down (painting) 105 Thunderball 25 Thurman, Uma 155 Tidy, Frank 35, 161 Tilesi, Chiara 164 Tinker, Tailor, Soldier, Spy (novel) 151 Titanic (film, 1997) 93, 104, 153 Tobolowsky, Stephen 162 Tom Jones (film) 34 Tomkins, Leslie 163 Top Gun 96 Total Recall 46 Toulouse-Lautrec, Henri de 12 Tourneur, Maurice 31 Towhy, David 94 Training Day 147, 148 Traitor 151 Travers, Peter 96, 147, 152 Treves, Dr. Frederick 118 Tristan and Isolde (film, 2006) 36 Tristan and Isolde (projected
cop. At the time, Bolotin was working on another project and had Warren Lewis take over writing the screenplay. The project sold to Michael Douglas immediately. In 1990, after the success of The Jewel of the Nile, Fatal Attraction and Wall Street, Douglas was in a position to produce and star in nearly any movie of his choosing. At that time, Japan seemed on the verge of supplanting the United States as the world’s greatest economic power. For Douglas, the film appeared to be a darker version of
with a cute rascal (Pitt) who tells her that he is a convenience store robber and demonstrates how he plies his trade. Quite unbelievably, she leaves what one writer calls this “moral mutant” alone in the motel room to steal Louise’s getaway money. Instead of turning themselves in to a sympathetic detective who wants to help them, they continue on the run. Thelma robs a convenience store. They punish “a foulmouthed pervert” by spectacularly blowing up his gasoline-filled semi and lock a handsome
protagonist, is a pagan, but his vision of life after death will hardly offend anyone. Paganism is, of course, a catch-all term for a large number of religious beliefs. Since all the varieties of paganism are now dead, or underground, Gladiator is perhaps both historically and politically correct and can play anywhere throughout the world without controversy. A second difference between Gladiator and earlier sword-and-sandal films is the level of violence. Earlier epics, up to and including
