Ozgur a young boy who lost his parents since childhood was heir to his grandfather's wealth but there is one condition that he has to live a while in a village otherwise it will be donated to a charity.ozgur will go to that village and he ran in to a girl named elif
Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after. Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development. Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career. A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag. Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival. In 2000, the United States Library of Congress deemed the film culturally significant and selected it for preservation in the National Film Registry.
1954年指挥大师富特文格勒在萨尔茨堡音乐节上,指挥维也纳爱乐乐团,上演莫扎特的经典歌剧《唐•乔万尼》,这个珍贵的录像堪称富特文格勒留存至今最完美的影像资料,来自当年奥地利导演保罗•齐纳尔的努力,不计工本,用彩色电影胶片拍摄整个歌剧的演出,由著名的意大利男低音西耶皮演唱剧名主角,瑞士女高音德拉.卡萨演唱艾尔薇拉,堪称一时之选。卡司如下: Otto Edelmann...Leporello - Bass Elisabeth Grümmer...Donna Anna - Soprano Cesare Siepi...Don Giovanni - Bariton Dezsõ Ernster...Commendatore - Bass Anton Dermota...Don Ottavio - Tenor Lisa della Casa...Donna Elvira - Soprano
From the stage of the Royal Shakespeare Theatre in Stratford-upon-Avon, hosts David Tennant and Catherine Tate are joined by Benedict Cumberbatch, Judi Dench, Ian McKellen, Dame Helen Mirren, Meera Syal, David Suchet, Rufus Wainwright, Tim Minchin, Gregory Porter, Joseph Fiennes, English National Opera, The Royal Ballet and Akala for a very special evening. Together they mark the life and work of William Shakespeare on the 400th anniversary of the playwright's death. This unique event takes place in the presence of their Royal Highnesses the Prince of Wales and the Duchess of Cornwall and celebrates Shakespeare's extraordinary legacy and his enduring influence on all performance art forms - from opera to jazz, dance to musicals.
Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
In every generation, a torch passes from father to son. And that timeless dynamic is the beating heart of Tommy's Honor - an intimate, powerfully moving tale of the real-life founders of the modern game of golf.
战争结束了,但留下的悲剧从来都不会就此断绝。在位于美国加州的一家伤兵医院里,卢克(强·沃特 Jon Voight 饰)痛苦的躺在病床上。战争彻底的夺走了他剩余人生里的幸福和自由,半身不遂的他注定再也享受不到生为一个正常人的快乐了。因为种种,卢克每天都生活在抑郁和愤怒之中。 莎莉(简·方达 Jane Fonda 饰)的丈夫鲍勃(布鲁斯·邓恩 Bruce Dern 饰)是一名军官。身为军官之妻,莎莉有义务对在战争中遭难的军人们进行安抚。就这样,莎莉邂逅了卢克,并且在时间的推移之中深深的爱上了他。为了给予卢克继续活下去的希望,她不惜用自己的身体去引诱卢克。