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  2. scores: 105 votes
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Hope gap trailer deutsch. Hope gap rating. Hope gap release date. Thank you William Nicholson for saving my Dinard Film Festival 2019. After viewing several so un-innovative "real stories" Red Joan, Fisherman's Friends) and "social realism" films (The Last Tree, VS - even though VS's world of rap battles was fascinating) I was getting really disappointed in British cinema.
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Hope gap year. Hope gap movie trailer. Rew hope gap annette bening. Hope gap british film festival. Hope gap trailer legendado. Hope gap movie review. Hope gap trailer 2019. Hope Gap Theatrical release poster Directed by William Nicholson Produced by Sarada McDermott David M. Thompson Screenplay by William Nicholson Based on The Retreat from Moscow by William Nicholson Starring Annette Bening Bill Nighy Josh O'Connor Aiysha Hart Ryan McKen Steven Pacey Nicholas Burns Music by Alex Heffes Cinematography Anna Valdez Hanks Edited by Pia Di Ciaula Production company Origin Pictures Protagonist Pictures Screen Yorkshire Lipsync Sampsonic Media Distributed by Curzon Artificial Eye Release date 6 September 2019 ( TIFF) 12 June 2020 (United Kingdom) Running time 100 minutes Country United Kingdom Language English Hope Gap is a British family drama film written and directed by William Nicholson. It stars Annette Bening, Bill Nighy, Josh O'Connor, Aiysha Hart, Ryan McKen, Steven Pacey and Nicholas Burns. It had its world premiere at the Toronto International Film Festival on 6 September 2019. It is scheduled to be released in the United Kingdom on 12 June 2020, by Curzon Artificial Eye. Premise [ edit] A family deals in the aftermath of the shock revelation that a husband plans to end his 29 year marriage to his wife. Cast [ edit] Annette Bening as Grace Bill Nighy as Edward Josh O'Connor as Jamie Aiysha Hart as Jess Ryan McKen as Dev Steven Pacey as Solicitor Nicholas Burns as Gary Rose Keegan as Receptionist Nicholas Blane as Priest Sally Rogers as Angela Production [ edit] The project was announced on October 31, 2017, with William Nicholson helming and writing the story, and Annette Bening and Bill Nighy cast to play the husband and wife at the centre of the film. [1] Pre-production began on June 11, 2018, with principal photography starting on July 10. [2] Filming occurred in Seaford, Sussex. [3] Release [ edit] In May 2019, Roadside Attractions and Screen Media Films acquired U. S. distribution rights to the film. [4] It had its world premiere at the Toronto International Film Festival on 6 September 2019. [5] [6] It is scheduled to be released in the United States on 6 March 2020. [7] It is scheduled to be released in the United Kingdom on 12 June 2020. [8] References [ edit] ^ Annette Bening & Bill Nighy To Star In William Nicholson’s ‘Hope Gap’ – AFM ^ Hope Gap begins... ^ Hollywood royalty has come to Seaford to film scenes for a new movie ^ N’Duka, Amanda (May 9, 2019). "Roadside Attractions, Screen Media Nab North American Rights To 'Hope Gap ' ". Deadline Hollywood. Retrieved May 9, 2019. ^ Lang, Brent (July 23, 2019). "Toronto Film Festival: 'Joker, ' 'Ford v Ferrari, ' 'Hustlers' Among Big Premieres". Variety. Retrieved July 23, 2019. ^ "Hope Gap". Toronto International Film Festival. The Numbers. Retrieved 10 December 2019. ^ "Hope Gap". Launching Films. Retrieved 4 November 2019. External links [ edit] Hope Gap on IMDb.

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Very enjoyable drama about an couple whose marriage is strained and break up and the effects on each and their grown son. Some humour but a serious film. Performances are first class and as usual Annette Bening is outstanding. John O'Connor (Gods Own Country) also is a stand out. A great three hander dealing with relationships in a real way without being banal. Great use of dialogue and poetry. A mature movie that s satisfying without being trite. Home apartment rentals.

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Synopsis: Cats is a movie starring Jennifer Hudson, Judi Dench, and Taylor Swift. A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life. directors: Tom Hooper. liked it: 20743 Vote. User rating: 2,9 / 10. Robbie Fairchild. Andrew Lloyd Webber. Cats free online slot. Cats free online gambling. Cats free online slot. I think that the dances and make up was awesome and I have always loved Cats! I have seen it in London and NY! James Corden made it all worth the while! The director added his own flair to it which is what they do best and did a great job on the movie.

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The songs and tunes are quite well known by now. The acting was hit-and-miss, depending upon who it was. The actress portraying "Victoria" did very well, even if some of the "always protesting Alphabet crowd" are aggrieved for being "too white" actress is mixed race. Macavity. Skimbelshanks. Mistoffelees. Munkustrap" all did very well too.
To the actor portraying "Bustopher Jones" well don't give up your day job selling Keurig coffee makers. As for Rebel Wilson as "Jennyanydots, Lord help us all; if you've seen her in any movie, she's ALWAYS the same character in all-UGH!
Judi "M" Dench as "Old Deuteronomy" and Ian McKellen as "Gandalf" oops "Gus the Theatre Cat" strange trying to hear them trying to sing. Taylor Swift, either you love her or you hate her. Jennifer Hudson as "Grizabella" sounded like a cat being strangled.
As for the CGI makeup on the actors, The Island of Doctor Moreau" has had some creatures escape from the H. G. Wells' story. The human-faced mouses and the dancing cockroaches were beyond the EWW-factor.
And as "Forrest Gump" would say, And that's all I'm going to say about that...

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See more awards » Learn more More Like This Adventure Comedy Family 2 3 4 5 6 7 8 9 10 5. 5 / 10 X A physician who can talk to animals embarks on an adventure to find a legendary island with a young apprentice and a crew of strange pets. Director: Stephen Gaghan Stars: Robert Downey Jr., Antonio Banderas, Michael Sheen Animation 7 / 10 Anna, Elsa, Kristoff, Olaf and Sven leave Arendelle to travel to an ancient, autumn-bound forest of an enchanted land. They set out to find the origin of Elsa's powers in order to save their kingdom. Directors: Chris Buck, Jennifer Lee Kristen Bell, Idina Menzel, Josh Gad Fantasy A kind-hearted street urchin and a power-hungry Grand Vizier vie for a magic lamp that has the power to make their deepest wishes come true. Guy Ritchie Will Smith, Mena Massoud, Naomi Scott Action 6. 8 / 10 In Jumanji: The Next Level, the gang is back but the game has changed. As they return to rescue one of their own, the players will have to brave parts unknown from arid deserts to snowy mountains, to escape the world's most dangerous game. Jake Kasdan Dwayne Johnson, Jack Black, Kevin Hart The surviving members of the resistance face the First Order once again, and the legendary conflict between the Jedi and the Sith reaches its peak bringing the Skywalker saga to its end. J. J. Abrams Carrie Fisher, Mark Hamill, Adam Driver Drama Horror 6. 1 / 10 A crew of aquatic researchers work to get to safety after an earthquake devastates their subterranean laboratory. But the crew has more than the ocean seabed to fear. William Eubank Kristen Stewart, Vincent Cassel, T. Miller Crime 6. 3 / 10 Inspired by the viral New York Magazine article, Hustlers follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients. Lorene Scafaria Constance Wu, Jennifer Lopez, Julia Stiles Short Music 7. 2 / 10 After Catastrophe is betrayed, she teams up with female crime-fighters to take back what is hers and get her revenge from Arsyn. David Gould, Joseph Kahn Taylor Swift, Selena Gomez, Kendrick Lamar Romance 8 / 10 Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women each determined to live life on their own terms. Greta Gerwig Saoirse Ronan, Emma Watson, Florence Pugh 4. 3 / 10 Two friends with very different ideals start a beauty company together. One is more practical while the other wants to earn her fortune and live a lavish lifestyle. Miguel Arteta Rose Byrne, Salma Hayek, Lisa Kudrow 8. 3 / 10 Taylor Swift takes the stage and proves she doesn't care about her bad reputation. Paul Dugdale Matt Billingslea, Camila Cabello Musical 7. 6 / 10 "Jellicle" cats join for a Jellicle ball where they rejoice with their leader, Old Deuteronomy. One cat will be chosen to go to the "Heavyside Layer" and be reborn. The cats introduce themselves. David Mallet Elaine Paige, John Mills, Ken Page Edit Storyline A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life. Plot Summary Plot Synopsis Taglines: You will believe See more » Details Release Date: 20 December 2019 (USA) Box Office Budget: $95, 000, 000 (estimated) Opening Weekend USA: $6, 619, 870, 22 December 2019 Cumulative Worldwide Gross: $74, 125, 250 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia Dame Judi Dench was cast in the original 1981 London stage production in the dual roles of Jennyanydots and Grizabella. However, shortly before the opening of the original production, she suffered an injury that forced her to withdraw from the show, to be replaced at the last minute by Elaine Paige. See more » Goofs Almost at the end, Judi Dentch's hand is visible due to a CGI mistake. See more » Quotes Old Deuteronomy: Come. We're about to begin. Crazy Credits The Universal Pictures, Working Title Films and Amblin Entertainment logos are seen at the beginning of the film itself, but never appear in the film's trailers/TV spots. See more » Alternate Versions An edited cut, with the use of Digital Cinema Package, will include improved VFX effects that will be downloaded onto a satellite server. Hard drives copies will be released at indie cinemas on Christmas Eve. See more » Soundtracks Beautiful Ghosts Written by Taylor Swift and Andrew Lloyd Webber Performed by Taylor Swift Produced by Greg Wells Orchestra arrangement by David Campbell [Plays during end titles] See more » Frequently Asked Questions See more ».

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Thunder beneath us. Claude Joséphine Rose " Claudia " Cardinale (born 15 April 1938) is an Italian Tunisian film actress who appeared in some of the most acclaimed European films of the 1960s and 1970s, mainly Italian or French, but also in many English-language films. Born and raised in La Goulette, a neighbourhood of Tunis, Cardinale won the "Most Beautiful Italian Girl in Tunisia" competition in 1957, the prize being a trip to Italy, which quickly led to film contracts, due above all to the involvement of Franco Cristaldi, who acted as her mentor for a number of years and later married her. After making her debut in a minor role with Omar Sharif in Goha (1958), Cardinale became one of the best-known actresses in Italy after roles in films such as Rocco and His Brothers (1960), Girl with a Suitcase (1961), Cartouche (1962), The Leopard (1963), and Fellini 's 8½ (1963). [a] From 1963, Cardinale became known in the United States and Britain following her role in The Pink Panther opposite David Niven. For several years, she appeared in Hollywood films such as Blindfold (1965), Lost Command (1966), The Professionals (1966), The Hell with Heroes (1968), and the Sergio Leone epic Western Once Upon a Time in the West (1968), a joint US-Italian production, in which she was praised for her role as a former prostitute opposite Jason Robards, Charles Bronson, and Henry Fonda. Jaded with the Hollywood film industry and not wanting to become a cliché, Cardinale returned to Italian and French cinema, and garnered the David di Donatello for Best Actress award for her roles in Il giorno della civetta (1968) and as a prostitute alongside Alberto Sordi in A Girl in Australia (1971). In 1974, Cardinale met director Pasquale Squitieri, who would become her husband, and she frequently featured in his films, including I guappi (1974), Corleone (1978) and Claretta (1984), the last of which won her the Nastro d'Argento Award for Best Actress. In 1982, she starred in Werner Herzog 's Fitzcarraldo as the love interest of Klaus Kinski, who raises the funds to buy a steamship in Peru. In 2010, Cardinale received the Best Actress Award at the 47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student in Signora Enrica. Outspoken on women's rights causes over the years, Cardinale has been a UNESCO goodwill ambassador for the Defense of Women's Rights since March 2000. In February 2011, the Los Angeles Times Magazine named Cardinale among the 50 most beautiful women in film history. Early life [ edit] Claudia Cardinale was born Claude Joséphine Rose Cardinale in La Goulette, a neighborhood of Tunis, French protectorate of Tunisia, on 15 April 1938. [4] [5] Her mother, Yolande Greco, was born in Tunisia to Sicilian emigrants from Trapani. [6] Her maternal grandparents had a small shipbuilding firm in Trapani, but later settled in La Goulette, where a large Italian community existed. Her father, Francesco Cardinale, was a railway worker, born in Gela, Sicily. [6] Her native languages were French, Tunisian Arabic, and the Sicilian language of her parents. She did not learn to speak Italian until she had already begun to be cast for Italian films. [7] Cardinale was educated at the Saint-Joseph-de-l'Apparition school of Carthage, which she attended along with her younger sister Blanche. [8] She then studied at the Paul Cambon School, where she graduated with the intention of becoming a teacher. [9] As a teenager, she was described as "silent, weird, and wild", and like other girls of her generation, was fascinated by Brigitte Bardot, who came to prominence in the 1956 film And God Created Woman, directed by Roger Vadim. [10] Career [ edit] 1950s [ edit] Cardinale's first film work was participating, along with classmates, in a short film by French director René Vautier, Anneaux d'or, successfully presented at the Berlin Film Festival. The film made her a minor local celebrity, [11] and led to her being spotted by Jacques Baratier, who offered her a minor role in Goha. She accepted it reluctantly after Baratier explained he wanted a Tunisian actress rather than an Italian to star in the main role opposite the Egyptian actor Omar Sharif. The appearance nonetheless marked her feature-film debut. [12] The turning point came in 1957 during the Italian Cinema Week in Tunis, when she won a competition for the "Most Beautiful Italian Girl in Tunisia", [13] with a trip to the Venice Film Festival as first prize. After being spotted by several film producers at the event, she was invited to study at the Experimental Cinematography Center in Rome under Tina Lattanzi. She attended briefly as, despite her extremely photogenic looks, she had trouble with her acting assignments (partly owing to her difficulties with the Italian language). [14] She left at the end of her first term and decided to return home, earning herself a cover story in the popular weekly Epoca triggered by her unexpected decision to turn her back on a career as a film star. [15] [b] Back in Tunis, however, Cardinale discovered unexpectedly that she was pregnant, the result of what she later described as a "terrible" relationship with a Frenchman, some 10 years her senior, which began when she was only 17 and lasted for about a year. On this discovery, he wanted her to have an abortion, but she decided to keep the child. [19] She solved her problems by signing a seven-year exclusive contract with Franco Cristaldi 's production company Vides. [20] [21] [c] Cristaldi largely managed her early career, and she was married to him from 1966 until 1975. [22] Under the new contract, in 1958, Cardinale was given a minor role with leading Italian actors Vittorio Gassman, Totò, Marcello Mastroianni, and Renato Salvatori in Mario Monicelli 's internationally successful criminal comedy Big Deal on Madonna Street ( I soliti ignoti). [23] She portrayed Carmelita, a Sicilian girl virtually imprisoned in her home by her overpowering brother. The comedy was a huge success, making Cardinale instantly recognizable. Some newspapers were already referring to her as "la fidanzata d'Italia" (Italy's sweetheart). [24] Later that year, she had a leading role opposite Yvonne Monlaur in Claudio Gora 's romantic comedy Three Strangers in Rome. [25] Although she worked well into her seventh month, Cardinale's pregnancy was kept a tight secret. Tormented by thoughts of suicide, she fell into a state of depression. [26] When she thought she could no longer hide her condition, she asked Cristaldi to terminate her contract. Understanding her predicament, he sent her to London for the birth, far away from the press. He simply explained that she had gone to England to learn English for a film. [27] Cristaldi told Cardinale not to reveal her condition as she would be betraying the public and it would put an end to her career. So as to maintain the secret, he drew up a detailed American-style contract covering every little detail of her life, depriving her of any possibility of acting on her own behalf. [28] Cardinale explained: "I was no longer master of my own body or thoughts. Even talking with a friend about anything that could make me look different from my public image was risky, as if it had been publicized, I would have been in trouble. Everything was in the hands of Vides". [29] For seven years, Cardinale kept her secret, not only from the public, but also from her own son, Patrick, who grew up in the family with her parents and sister more or less as a brother [30] until the day Enzo Biagi, a journalist, discovered the truth. After Cardinale decided to tell him everything, he published her story in Oggi and L'Europeo. [31] In 1959, she appeared opposite Salvatori in the mafia film Vento del sud, and played the wife of Maurizio Arena in Luigi Zampa 's Il magistrato. [32] Cardinale also starred opposite Pietro Germi in his crime film The Facts of Murder, an important assignment for her in mastering the craft of acting while learning to feel at ease in front of the camera. [33] Cardinale considered it to have been her first real test as an actress. [34] She then played the role of Maria in Ralph Thomas 's British film Upstairs and Downstairs, which starred Michael Craig and Anne Heywood. [35] In her early roles, she was usually dubbed, as producers considered her voice too hoarse. [36] 1960s [ edit] In 1960, Cardinale starred opposite Marcello Mastroianni in Mauro Bolognini 's Golden Leopard -winning drama film Il bell'Antonio. [37] The film marked the start of a fruitful partnership. Cardinale stated that her films with Bolognini were among the most joyful of her career, considering him to be "a great director, a man of rare professional capability, great taste and culture. Beyond that, for me personally, a sensitive and sincere friend. " [38] In Bolognini's films, thanks to her aesthetic femininity, Cardinale took roles of manipulative women who lead men to perdition. During the filming of Il bell'Antonio, her co-star Marcello Mastroianni fell in love with her, but she rejected him, as she did not take his love seriously, considering him to be one of those actors who cannot help but fall in love with their co-stars. [39] Mastroianni insisted that his feelings were genuine, even after many years. [40] The genuine empathy between the two actors proved to be ideal for reproducing the tension between the characters in the film. Cardinale next portrayed Pauline Bonaparte in Abel Gance 's French film Napoleone ad Austerlitz, [41] and after appearing opposite Gassman and Salvatori in the sequel to Big Deal on Madonna Street, Audace colpo dei soliti ignoti, she portrayed Ginetta, the fiancée of Spiros Focás, alongside Salvatori and Alain Delon in Luchino Visconti 's critically acclaimed Rocco and His Brothers. [42] However, her leading performance in Francesco Maselli 's Silver Spoon Set gained her most attention during this period. [23] Francesco Freda felt the film paved her way "to great success", noting the "sweetness of her smile" which struck a chord with the public. [43] In 1961, Cardinale portrayed a sultry nightclub singer and young mother in Valerio Zurlini 's Girl with a Suitcase. As a result of her own experience of early motherhood, Cardinale naturally conveyed the concerns of a teenaged mother, identifying fully with the character of Aida. [44] Such was her psychological involvement that she needed several months to overcome her apprehensions and prepare for the part. [45] Zurlini chose her for such a difficult role against everyone's advice, as she was not yet considered a "real" actress, nor was she (yet) one of the most celebrated Italian beauties. [46] However, he was very close and supportive of Cardinale during the production, and a true friendship developed between the two, based on a deep mutual understanding. Cardinale remarked: "Zurlini was one of those who really love women: he had an almost feminine sensitivity. He could understand me at a glance. He taught me everything, without ever making demands on me.... He was really very fond of me. " [44] Cardinale was warmly praised by the critics for her performance in Girl with a Suitcase, Dennis Schwartz considering her to have been at her "charming best". [47] Later in 1961, Cardinale starred as a prostitute opposite Jean-Paul Belmondo in Bolognini's La Viaccia. Both Girl with a Suitcase and La Viaccia were presented at the 1961 Cannes Film Festival. At the time, Cardinale was not considered comparable to the two divas of Italian cinema, Sophia Loren and Gina Lollobrigida, but several newspapers and magazines including Paris Match began to consider her to be a credible young rival to Brigitte Bardot. [48] Cardinale's 1961 appearances also included Henri Verneuil 's French comedy Les Lions sont lâchés, [49] and Auguste in which she had a cameo role. The following year, Cardinale starred opposite Jean-Paul Belmondo as Vénus in the 18th-century set adventure Cartouche, which made her a major star in France. [50] She also played Angiolina, the romantic interest of Anthony Franciosa in Bolognini's Senilità, a character which film writer Jacek Klinowski describes as "a spirited and strikingly beautiful twenty-year-old". [51] In 1962, Cardinale was interviewed by the writer Alberto Moravia, who focused exclusively on her sexuality and body image in film, treating her as an object. Cardinale remarked to him: "I used my body as a mask, as a representation of myself". [52] The interview was published in Esquire under the title "The Next Goddess of Love". Cardinale was amused to discover that the interview had inspired the writer to publish La dea dell'amore ("Goddess of Love") the following year, in which one of the characters, with her fine physical appearance and natural curves, closely resembled Cardinale. [52] Just a few years later, she played a similar character in a film based on another novel by Moravia, Time of Indifference. [53] The finest and most prolific year of her career was 1963, when she appeared in a number of leading productions. [54] She starred alongside Burt Lancaster in Visconti 's The Leopard (1963) ( Il Gattopardo), portraying a village girl who married a progressive young aristocrat (Alain Delon), and played a film actress cast by a director (Marcello Mastroianni) in Federico Fellini 's 8½. Both films were critically acclaimed and are often cited by critics and scholars as among the greatest films ever made. [55] [56] She participated in the two films during exactly the same period, frequently moving from one to the other and experiencing the strictly planned approach of Visconti which contrasted strongly with Fellini's much more relaxed style and his almost total reliance on improvisation. [57] Cardinale remembered Visconti's set as having an almost religious atmosphere, everything focused on the film, far removed the outside world. Visconti needed silence for his work while Fellini preferred noise and confusion. [58] Prior to this period, Cardinale's own voice had not been used in her Italian films, as it was considered too hoarse, and owing to her French accent, insufficiently Italian. [59] [60] Not until 8½ was she allowed to use her own voice. [59] [61] Cardinale explained: "When I arrived for my first movie, I couldn't speak a word. I thought I was on the moon. I couldn't understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice. " [57] With her portrayal of Angelica in The Leopard and her brief appearance as herself in 8½, Cardinale achieved the definitive status of a top-ranking star. [62] The same year, Cardinale portrayed a prostitute in La ragazza di Bube or Bebo's Girl, [63] in which she also used her own voice. For her performance in the film, she received her first Nastro d'Argento for Best Actress in 1965. [64] Cardinale acted in her first American film (although it was produced in Italy) when she played Princess Dala, a wealthy aristocratic woman who is the love and jewellery interest of David Niven in the Cortina d'Ampezzo -set The Pink Panther. Cardinale's voice in the film was dubbed by Gale Garnett, who went uncredited. [65] Niven raved about working with the actress, telling her, "After spaghetti, you're Italy's happiest invention. " [66] Cardinale with Burt Lancaster and Alain Delon in The Leopard (1963) In 1964, Cardinale starred alongside Rod Steiger and Shelley Winters in Francesco Maselli 's Italian-made Time of Indifference. Thereafter, she spent three years in the United States, where she starred in several Hollywood films. She told of how she benefited from the arrangement, explaining it was an American initiative at a time when they invited all the successful European actresses to perform in their pictures, hoping to create a monopoly. Many suffered from the experience, but she was able to hold her own: "I took care of my own interests, blankly refusing to sign an exclusive contract with Universal Studios. I only signed for individual films. In the end, everything worked out fine for me. [67] She first starred in the Henry Hathaway 's Hollywood picture Circus World (1964) opposite John Wayne and Rita Hayworth, playing the daughter of Hayworth, who performs with her as a mother-daughter circus act. [68] By the end of the decade, she had returned to making films primarily in Italy, accepting a pay cut, turning her back on Hollywood stardom. Cardinale has further said, "I don't like the star system. I'm a normal person. I like to live in Europe. I mean, I've been going to Hollywood many, many times, but I didn't want to sign a contract. " [69] Filmwriter David Simpson notes that as a result, "Cardinale never achieved the same level of fame as Loren and Gina Lollobrigida", although she appeared in a higher number of decent films. [70] In 1964, she also played the lead role in The Magnificent Cuckold, based on the Belgian play Le Cocu magnifique. [71] She was at the height of her sensuality at the time, but later the film only brought back unpleasant memories for her as she experienced little empathy with the producer Antonio Pietrangeli, while the male star Ugo Tognazzi tried to seduce her. [72] In 1965, Cardinale appeared in Visconti's Vaghe stelle dell'Orsa, known as Sandra (Of a Thousand Delights) in the US and Of These Thousand Pleasures in the UK, playing a Holocaust survivor who may have had an incestuous relationship with her brother. [73] Later that year, she starred opposite Rock Hudson in Universal Pictures 's Blindfold, the last film to be directed by Philip Dunne. Filming began on 22 February 1965 on location in Ocala, Florida. [74] Diane Bond doubled for Cardinale in the film. [75] Cardinale became good friends with Hudson, who proved to be very protective of her, knowing her discomfort outside of Italy. While in Hollywood, Cardinale also became friends with Barbra Streisand, Elliott Gould, and Steve McQueen, but she never managed to feel at home there. [76] By 1966, Cardinale was being cited as the most popular film star in Italy, even more than Mastroianni and Loren. [60] Life stated that "the Cardinale appeal is a blend of solid simplicity and radiant sensuality. It moves men all over the world to imagine her both as an exciting mistress and wife. " [60] However, following her success in Hollywood, she began to express concerns about the direction of her career. In a July 1966 interview with Life, she confessed her fear of being over-glamourized and exploited, like Sophia Loren, and although she had several further U. S. films lined up, stated: "If I have to give up the money, I give it up. I do not want to become a cliché. " [60] In 1966, a photograph of Cardinale was featured in the original gatefold artwork to Bob Dylan 's album Blonde on Blonde (1966), but it was used without Cardinale's permission and removed from later pressings. [77] That year, she starred in Mark Robson 's war picture Lost Command for Columbia Pictures opposite Anthony Quinn, Alain Delon, and George Segal. Quinn expressed his love of working with Cardinale, stating that although he adored Cardinale and Loren equally, "I relate easier to Claudia, Sophia creates an impression of something larger than life, something unobtainable. But Claudia – she's not easy, still she's within reach". [60] She also played a Mexican marquessa in Richard Brooks ' Western The Professionals, uniting her on screen once again with Burt Lancaster in what she considered to be her best American film. [78] The following year, she appeared in Una rosa per tutti ( A Rose for Everyone) and in Alexander Mackendrick 's sex farce Don't Make Waves opposite Tony Curtis. Although occasional funny moments were noted, Don't Make Waves was generally panned by the critics and the lack of chemistry with co-star Curtis was highlighted. [79] Leonard Maltin, though, described the film as "a gem". [80] At the beginning of 1967, Cristaldi joined her in the United States. While the two were staying in Atlanta, he surprised her by taking her to their wedding ceremony which he had arranged without her knowledge. She went ahead with the ceremony, but was concerned about sacrificing the rights she had to her child Patrick. She also realized she was increasingly unable to make decisions about her own life. [81] The marriage was never made official in Italy. [82] In 1968, Cardinale featured opposite Franco Nero in The Day of the Owl, in a David di Donatello for Best Actress -winning performance. She reunited with Rock Hudson in the Italian-made criminal comedy A Fine Pair under director Francesco Maselli. She also appeared alongside Rod Taylor in The Hell with Heroes and starred in one of her best-known roles as former prostitute Jill McBain in Sergio Leone 's epic Western Once Upon a Time in the West. [83] Such was the power of her performance as the whore that Leone's biographer Robert C. Cumbow described her as "permanently engraved in cinematic history" and noted how suited to the role she was: "Her sex-goddess appearance combines with her more mystical iconographic associations to ease the progress of Jill from tart to town builder, from harlot to earth mother, from sinner to symbol of America—the apotheosis of the harlot with a heart of gold. " [84] In 1969, Cardinale starred opposite Nino Manfredi in Luigi Magni 's Nell'anno del Signore, based on the actual story of the capital execution of two carbonari in papal Rome. This was followed by a role as a telephone operator in Certo certissimo... anzi probabile, and as a nurse opposite Sean Connery and Peter Finch in Mikhail Kalatozov 's The Red Tent, based on the story of the mission to rescue Umberto Nobile and the other survivors of the crash of the Airship Italia. [85] 1970s [ edit] Cardinale with Alberto Sordi in A Girl in Australia (1971), which earned her the David di Donatello for Best Actress In 1970, Cardinale starred opposite Peter McEnery and Eli Wallach in Jerzy Skolimowski 's comedy film The Adventures of Gerard, based on The Exploits of Brigadier Gerard by Arthur Conan Doyle. [86] In 1971, she formed a duo with Brigitte Bardot in the French Western-comedy The Legend of Frenchie King, and appeared as a prostitute opposite Alberto Sordi in Luigi Zampa's comedy A Girl in Australia. The film, shot on location in February and March 1971, earned Cardinale a Best Actress award at the David di Donatello Awards the following year. [87] In 1972, Cardinale appeared in Marco Ferreri 's L'udienza, which was screened at the 22nd Berlin International Film Festival. She also featured in La Scoumoune with Jean-Paul Belmondo and Michel Constantin. [88] After a role as a Russian aristocrat opposite Oliver Reed in One Russian Summer (1973), set in prerevolutionary Russia, Cardinale starred opposite Franco Nero in I guappi (1974), a historical drama film with " poliziotteschi " and " noir " elements. [89] Cardinale and the director Pasquale Squitieri met for the first time on set, and he soon became her husband. [90] In 1975, Cardinale played the daughter of a political exile ( Adolfo Celi) in Mauro Bolognini Libera, My Love, a character who becomes "increasingly incensed by the fascist government of Italy and makes a number of bold and very personal gestures against it". [91] Later that year she appeared in the comedies The Immortal Bachelor with Vittorio Gassman and Qui comincia l'avventura with Monica Vitti. Vitti's biographer noted how Cardinale and Vitti stood out as the female duo in a predominantly masculine cast. [92] In 1976, Cardinale appeared in the sex comedy Il comune senso del pudore, which was directed and written by Alberto Sordi, who also co-starred. [93] The following year, she had a biblical role as the adulteress in the Jesus of Nazareth miniseries, which featured Robert Powell as Jesus, Anne Bancroft as Mary Magdalene, and Ernest Borgnine as Cornelius the Centurion. [94] Cardinale starred in her husband's Il prefetto di ferro, which tells the story of Cesare Mori ( Giuliano Gemma), an Italian prefect that before and during the Fascist period was best known as "the Iron Prefect". The film shared the 1978 David di Donatello for Best Film award with In nome del Papa Re. [95] In 1978, Cardinale appeared in Damiano Damiani 's political thriller, Goodbye & Amen – L'uomo della CIA, and again featured alongside Gemma in her husband's gangster picture, Corleone, set in 1950s Sicily. [96] After a role in another Squitieri film in 1978, L'arma, Cardinale portrayed Eleana, a Greek "gutsy brothel madame" and the girlfriend of Telly Savalas in George P. Cosmatos 's adventure war film, Escape to Athena (1979). [97] The film, shot on location in Rhodes, was poorly received; it holds a 32% "rotten" rating on Rotten Tomatoes as of July 2015. [98] 1980s [ edit] After a role in Si salvi chi vuole (1980), and a smaller part in Peter Zinner 's The Salamander opposite Franco Nero, Anthony Quinn, and Christopher Lee, [99] Cardinale played the love interest of Marcello Mastroianni in Liliana Cavani 's war picture The Skin, a film which also reunited her with Burt Lancaster. [100] The Skin was entered into the 1981 Cannes Film Festival. [101] In 1982, Cardinale appeared in Werner Herzog's Fitzcarraldo, playing a successful brothel owner who funds Klaus Kinski's purchase of an old steamship in South America. The film, inspired by the story of Peruvian rubber baron Carlos Fermín Fitzcarrald was shot on location in Brazil and Peru. The film was critically acclaimed, with Vincent Canby of The New York Times calling it "a fine, quirky, fascinating movie" and a "stunning spectacle", comparing the dynamic between Kinski and Cardinale to Katharine Hepburn and Humphrey Bogart in John Huston 's The African Queen. He pointed out that although Cardinale's screen time in the film was unfortunately not substantial, she set its comic tone; he praised the way she managed to turn Kinski, renowned for his volatile temperament and portrayals of megalomaniacs and criminals into a "genuinely charming screen presence", adding a new dimension to his acting career. [102] Later that year, Cardinale played opposite Pierre Mondy in the sex farce Le Cadeau, a role which biographers Lancia and Minelli claim was played with a "mature charm and expressiveness". [103] In 1983, Cardinale had a role in the Waris Hussein miniseries Princess Daisy, and featured alongside Lino Ventura and Bernard Giraudeau in the French-Canadian film Le Ruffian. [104] In 1984, she played the love interest of Marcello Mastroianni in a Marco Bellocchio production of Henry IV, based on the Luigi Pirandello play of the same name. It was entered into the 1984 Cannes Film Festival. [105] Squitieri's Claretta (1984), featuring Cardinale and Gemma, was entered into the competition at the 41st Venice International Film Festival. Cardinale's powerful performance as Claretta Petacci garnered her the Nastro d'Argento for Best Actress. [106] In 1985, Cardinale starred opposite Ben Gazzara and Lina Sastri in Alberto Bevilacqua 's La donna delle meraviglie. [107] It entered the competition at the 1985 Venice International Film Festival. [108] In 1986, Cardinale was involved in the making of two films for television. In Comencini's La storia (from Elsa Morante 's novel), Cardinale portrayed a widow raising a son during World War II. In her husband's Naso di Cane, a miniseries, Enrico Lancia and Roberto Poppi praised her for her "light comic touch". [109] In 1987, Cardinale starred opposite Peter Coyote, Greta Scacchi, and Jamie Lee Curtis in Diane Kurys 's film A Man in Love ( Un homme amoureux), Kurys's first English-language feature. It was entered into the 1987 Cannes Film Festival. [110] Cardinale's performance as Scacchi's cancer-stricken mother was praised by critics, with Desson Howe of The Washington Post highlighting the "warm and radiant" elements that she brought to the role, [111] and Hal Hinson, also of The Post, comparing Scacchi to having "the same kind of sensuality that Cardinale brought to her earlier roles". [112] After a role in the comedy, Blu elettrico (1988), Cardinale portrayed Yolande de Polastron, a favourite of Marie Antionette 's, in the two-part film La Révolution française in 1989. Made to celebrate the bicentennial anniversary of the French Revolution, the 360-minute Robert Enrico and Richard T. Heffron film was an international production, boasting a cast which included Klaus Maria Brandauer, Jane Seymour and Peter Ustinov. [113] 1990s [ edit] In 1990, Cardinale starred opposite Bruno Cremer in Cristaldi's Atto di dolore, and appeared in the Morocco-set Soviet-Italian production, La battaglia dei tre tamburi di fuoco. [114] In 1991, Cardinale featured alongside Richard Berry and Omar Sharif in Henri Verneuil 's Mayrig (meaning "mother"), a film about the struggles of an Armenian family that emigrates to Marseilles in France from Turkey after the Armenian Genocide of 1915. Such was the success of the film that Verneuil made a sequel the following year, 588, rue Paradis, also featuring the cast. Cardinale was praised by critics for her role as the mother; the Armenian General Benevolent Union of America noted the "flawless performance of these intrepid actors, especially of Claudia Cardinale". [115] In 1993, Cardinale won the Leone d'oro alla carriera award at the Venice Film Festival, in which she was honoured along with Roman Polanski, Robert De Niro, and Steven Spielberg. Cardinale agreed to reunite with Blake Edwards, Herbert Lom, and Burt Kwouk to celebrate the 30th anniversary of The Pink Panther by making Son of the Pink Panther. It was Edward's last film, but was a critical and commercial failure, with critics despairing at the "painfully unfunny script" and the performance of Roberto Benigni as Clouseau, which earned him the Razzie Award for Worst New Star. As of July 2015, it has a rating of just 6% on Rotten Tomatoes based on 34 reviews. [116] In 1994, Cardinale had a role in Charlotte Dubreuil 's Elles ne pensent qu'à ça..., and the following year appeared in the French TV serial 10-07: L'affaire Zeus. [117] In 1997, Cardinale featured in the British-Italian television drama miniseries Nostromo, directed by Alastair Reid and produced by Fernando Ghia of Pixit Productions, a co-production with Radiotelevisione Italiana, Televisión Española, and WGBH Boston. [118] It is described as "an adaptation of Joseph Conrad 's epic story Nostromo of political upheaval, greed, and romance in turn-of-the-20th-century South America. " [119] Cardinale and the cast were nominated for an ALMA Award for Outstanding Latino/a Cast in a Made-for-Television Movie or Mini-Series. Later in 1997, Cardinale appeared in the films Sous les pieds des femmes and her husband's Stupor Mundi, in which she portrayed Constance of Aragon. [120] In 1998, Cardinale portrayed the mother of Lola Naymark in the French picture Riches, belles, etc., a wealthy baroness who leaves her hotel to her daughter to care for during her absence. [121] The following year, Cardinale played the peasant mother of two children who are members of Carmine Crocco 's ( Enrico Lo Verso 's) army during the Garibaldi era, in Cristaldi's historical film Li chiamarono... briganti!. Poorly received, the film was boycotted, and the producers have since refused to assign the broadcasting rights. [122] 2000 to present [ edit] Cardinale at the Women's World Awards in 2009 In 2000, Cardinale embarked on her stage career, starring in Maurizio Scaparro 's stage production of La Venexiana, adapted by René de Ceccatty, at the Théâtre du Rond-Point in Paris. [123] She also appeared in her husband's television film, Élisabeth - Ils sont tous nos enfants. Two years later, Cardinale went on a theatrical tour of Italy, performing in Luigi Pirandello 's Come tu mi vuoi, which Squitieri directed. She appeared as what Roger Ebert described as a "faded countess" opposite Jeremy Irons in Claude Lelouch 's thriller film And Now... Ladies and Gentlemen, [124] portraying a character who spends her time in Fez, Morocco, with handsome gigolos. [125] The film was screened out of competition at the 2002 Cannes Film Festival. [126] And Now... Ladies and Gentlemen received mixed reviews; A. O. Scott of The New York Times dismissed it as "sublimely silly", but praised the "impeccable CinemaScope compositions" and the "lush, suave score" by Michel Legrand. [125] In 2005, Cardinale appeared in a Philippe Adrien stage production of Tennessee Williams 's Sweet Bird of Youth, and in the 2006/2007 season also featured in another Williams play, The Glass Menagerie, directed by Andrea Liberovici, in which she played the character of Amanda. [127] In 2007, Cardinale appeared in the Aline Issermann comedy film Cherche fiancé tous frais payés, opposite Alexandra Lamy and Bruno Salomone, [128] in a role which Patrick Besson described as "atrocious". [129] After a role in the TV movie Hold-up à l'italienne (2008), the following year Cardinale starred in the critically acclaimed The String, playing a Tunisian mother who has a tempestuous relationship with her French-educated gay son. [130] Michael D. Klemm of reflected on how the film broke many of the taboos with interracial sexuality and homosexuality. He praised Cardinale's "terrific" acting and portrayal of the "overbearing" mother, likening one scene, where she "brings home a nice girl for Malik (Antonin Stahly) to meet", to Harold and Maude (1971). [131] In 2010, Cardinale received the Golden Orange Best Actress Award at the 47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student in Signora Enrica. [132] The Turkish-Italian co-production was shot in locations in Istanbul and Rimini. [133] In 2012, Cardinale featured opposite Jeanne Moreau and Michael Lonsdale in the final feature film to be directed by Portuguese director Manoel de Oliveira, Gebo and the Shadow. Critically acclaimed, it has a rare 100% rating on Rotten Tomatoes, [134] and was shown at the 69th Venice International Film Festival. [135] The Hollywood Reporter described it as the "ensemble of superb older performers who comprise the remainder of the dramatis personae". [136] In 2013, Cardinale starred alongside supporting actresses Patricia Black and Chloé Cunha in Nadia Szold 's Joy de V., [137] and had a role in Ernst Gossner 's war drama The Silent Mountain, a love story set in the Dolomite Mountains at the outbreak of World War I between Italy and Austria-Hungary in 1915. Gossner described her as "a terrific spirit on the set", and noted that Cardinale told the production team "legendary stories" about Marcello Mastroianni. [138] In 2014, Cardinale portrayed a "sympathetic Italian chaperone" viscountess in the British period drama film Effie Gray, which was written by Emma Thompson and featured Dakota Fanning in the lead role. [139] While promoting Effie Gray, in an interview Cardinale said: "I still continue to work, it's 142 movies now. Usually when you are old you don't work any more, but I still work, which is good.... I've been very lucky because I've had many fantastic directors with me, Fellini, Visconti, Blake Edwards, lots and lots... ". [140] On 11 October 2018 she received the Tabernas de Cine award in the Almería Western Film Festival. [141] Personal life [ edit] Claudia Cardinale met the Italian film producer Franco Cristaldi in 1958. [21] According to Cardinale, the couple had a marriage party but did not marry, [142] and they became increasingly detached. Cristaldi later married Zeudi Araya and had no further contractual relationships with Cardinale. [143] Cardinale lived with Pasquale Squitieri, an Italian film director, for 42 years, from 1975 until Squitieri died on February 18, 2017, aged 78. Cardinale has two children: Patrick, who was born illegitimately when she was 19 and later adopted by Cristaldi, [144] and Claudia, [145] whom she had with Squitieri. Cardinale is fluent in Sicilian, Arabic, French, Italian, English, and Spanish. [146] Her niece Francesca is also an actress. [147] Cardinale is a political liberal who has supported feminist causes over the years. Although she lives in Paris, Cardinale is fiercely outspoken about being identified as an Italian. She has been a UNESCO goodwill ambassador for the Defence of Women's Rights since March 2000, [148] and was a goodwill ambassador for the UNESCO World Water Day for 2006. [149] Cardinale published an autobiography with Anne Mori, Io Claudia, Tu Claudia, in 1995. [7] She has been a regular attendee of the Academy Awards. Her awards have included an honorary Golden Lion at the 1993 Venice Film Festival, and an Honorary Golden Bear at the 2002 Berlin Film Festival. The Los Angeles Times Magazine, in a February 2011 online feature, named Cardinale among the 50 most beautiful women in film history. [150] [151] Cardinale said of her acting, "I never felt scandal and confession were necessary to be an actress. I've never revealed my self or even my body in films. Mystery is very important. " [152] In a 2014 interview, she revealed her secret of success: "If you want to practice this craft, you have to have inner strength. Otherwise, you’ll lose your idea of who you are. Every film I make entails becoming a different woman. And in front of a camera, no less! But when I’m finished, I’m me again. " [66] See also [ edit] References [ edit] Notes [ edit] ^ Rocco and His Brothers, The Leopard and 8½ in particular are frequently ranked by directors and critics as among the greatest films ever made. [1] [2] [3] ^ The beauty contest was meant to raise money for charity; Cardinale's mother was on the charity committee. She says she was pushed on stage by someone while she was helping with the arrangements and was declared the winner. [16] At the time, Cardinale had her teacher's certificate and hoped to teach in a Tunisian desert town. [17] Since Cardinale wanted to become a teacher, she was not interested in the many film contracts offered her during her visit to Venice. 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Retrieved 11 September 2018. ^ ^ Cardinale & Mori 1995, p. 59. ^ "Film Star Reveals Secret of Baby Son". The Sun Herald. 16 April 1967. ^ "Interview with Claudia Cardinale". Italy Magazine. 10 April 2012. Archived from the original on 4 August 2015. Retrieved 5 July 2015. ^ "Claudia Cardinale: Biography". Internet Movie Database. Archived from the original on 20 November 2015. Retrieved 18 July 2015. ^ "Rosato Conquers Forte Dei Marmi". Rosato. Archived from the original on 7 August 2016. Retrieved 21 June 2016. ^ "Claudia Cardinale". UNESCO. Retrieved 16 March 2014. ^ "Claudia Cardinale participates in ETF Conference 'Skills for Progress' and the International Scientific Conference on Desertification and Drylands Research". 22 June 2006. Archived from the original on 4 March 2016. Retrieved 18 July 2015. ^ Georges, Cary; Leiba, Freddie (February 2011). "The 50 Most Beautiful Women in Film". Los Angeles Times Magazine. Archived from the original on 14 May 2011. Retrieved 10 June 2011. (subscription required) ^ "Isabelle Adjani tops Time Magazine's beautiful women list". Mid Day. 9 February 2011. Archived from the original on 22 July 2015. Retrieved 22 July 2015. ^ Mosiello & Reynolds 2009, p. 227. Sources [ edit] Audiard, Michel; Château, René (1995). Audiard par Audiard (in French). Editions R. Chateau. Besson, Patrick (5 February 2014). Premières séances: Mon tour du monde du cinéma. Fayard. ISBN 978-2-213-68378-2. Bondanella, Peter E. (January 2001). Italian Cinema: From Neorealism to the Present. Continuum. ISBN 978-0-8264-1247-8. Borin, Fabrizio; Mele, Carla (1999). Federico Fellini. Gremese. ISBN 978-88-7301-356-3. Brando, Marco (2008). Lo strano caso di Federico II di Svevia: un mito medievale nella cultura di massa (in Italian). Palomar. ISBN 978-88-7600-286-1. Brunetta, Gian Piero (1993). Storia del cinema italiano. Volume quarto: Dal miracolo economico agli anni novanta 1960–1993 (in Italian). Editori Riuniti. ISBN 88-359-3788-4. Cardinale, Claudia; Mori, Anna Maria (1995). Io, Claudia. Tu, Claudia (in Italian). Frassinelli. ISBN 978-88-7684-337-2. Cardinale, Claudia; Georget, Danièle (2006). Le stelle della mia vita (in Italian). Casale Monferrato, Edizioni Piemme. ISBN 88-384-8646-8. Cinecittà Holding (2005). Italiana: il cinema attraversa l'Italia. Electa. Clancy-Smith, Julia Ann (2011). Mediterraneans: North Africa and Europe in an Age of Migration, C. 1800–1900 (in Italian). University of California Press. ISBN 978-0-520-25923-2. Colli, Laura Delli; Lancia, Enrico (1987). Monica Vitti: filmografia e ricerche. Gremese Editore. ISBN 978-88-7605-268-2. Cones, John W. (2012). Patterns of Bias in Hollywood Movies. Algora Publishing. ISBN 978-0-87586-958-2. Cumbow, Robert C. (2008). The Films of Sergio Leone. Rowman & Littlefield. ISBN 978-0-8108-6041-4. Dewey, Donald (18 February 2014). Lee J. Cobb: Characters of an Actor. Rowman & Littlefield Publishers. ISBN 978-0-8108-8772-5. Dixon, Wheeler W. (2001). Collected Interviews: Voices from Twentieth-century Cinema. SIU Press. ISBN 978-0-8093-2407-1. Easterbrook, Ian K. ; MacLean, Susan Waterman (1996). Canada and Canadians in Feature Films: A Filmography, 1928–1990. Canadian Film Project, University of Guelph. ISBN 978-0-88955-415-3. Fava, Claudio G. (2003). Alberto Sordi. ISBN 978-88-8440-257-8. Freda, Francesco (2006). 50 anni allo specchio senza guardarsi: il cinema nel diario di un truccatore (in Italian). ISBN 978-88-8440-400-8. Gnudi, Ario (2008). Anelli di fumo (in Italian). Edizioni Pendragon. ISBN 978-88-8342-657-5. Goble, Alan (1 January 1999). The Complete Index to Literary Sources in Film. Walter de Gruyter. ISBN 978-3-11-095194-3. Gronemann, Claudia; Pasquier, Wilfried (2013). Scènes des genres au Maghreb: Masculinités, critique queer et espaces du féminin/masculin (in French). Rodopi. ISBN 978-94-012-0878-9. Hansen-Miller, Dr David (28 January 2013). Civilized Violence: Subjectivity, Gender and Popular Cinema. Ashgate Publishing, Ltd. ISBN 978-1-4094-9466-9. Julius, Marshall (1996). Action! : The Action Movie A-Z. Batsford. ISBN 978-0-7134-7851-8. Klinowski, Jacek; Garbicz, Adam (2012). Feature Cinema in the 20th Century: Volume Two: 1951–1963: a Comprehensive Guide. Planet RGB Limited. ISBN 978-1-62407-565-0. Lancia, Enrico; Poppi, Roberto (2003). Attrici. ISBN 978-88-8440-214-1. Lancia, Enrico; Minelli, Fabio (2009). Claudia Cardinale (in Italian). Gremese. Lisanti, Tom (1 January 2003). Drive-in Dream Girls: A Galaxy of B-movie Starlets of the Sixties. McFarland. ISBN 978-0-7864-1575-5. Malone, Aubrey (20 September 2013). The Defiant One: A Biography of Tony Curtis. ISBN 978-0-7864-7595-7. Moliterno, Gino (11 September 2002). Encyclopedia of Contemporary Italian Culture. Routledge. ISBN 978-1-134-75877-7. Maltin, Leonard (2013). Leonard Maltin's 2014 Movie Guide. Penguin. ISBN 1-101-60955-9. Moliterno, Gino (29 September 2008). Historical Dictionary of Italian Cinema. Scarecrow Press. ISBN 978-0-8108-6254-8. Moore, Gene M. (1997). Conrad on Film. Cambridge University Press. ISBN 978-0-521-55448-0. Mosiello, Laura; Reynolds, Susan (2009). The Portable Italian Mamma: Guilt, Pasta, and When Are You Giving Me Grandchildren?. Adams Media. p. 227. ISBN 1-4405-2039-9. Müller, Jürgen (2004). Movies of the 60s. Taschen. ISBN 978-3-8228-2799-4. Ringgold, Gene (1980). The films of Rita Hayworth: the legend and career of a love goddess. Citadel Press. ISBN 978-0-8065-0574-9. Simpson, David; Madesani, Angela (2008). David Simpson. Studio La cittá. Sleeman, Elizabeth (2001). The International Who's Who of Women 2002. Psychology Press. ISBN 978-1-85743-122-3. Toffel, Neile McQueen (2006). My Husband, My Friend: A Memoir. AuthorHouse. ISBN 978-1-4259-1818-7. Zambrana, M. (2002). Nature Boy: The Unauthorized Biography of Dean Stockwell. iUniverse. ISBN 978-0-595-21829-5. Ziccardi, Giovanni (2010). Il diritto al cinema. Cent'anni di courtroom drama e melodrammi giudiziari (in Italian). Giuffrè Editore. External links [ edit] Claudia Cardinale, at BFI Film & TV Database Claudia Cardinale at AllMovie Claudia Cardinale on IMDb Photographs and literature.

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Genres=Biography / Story=Bombshell is a movie starring Charlize Theron, Nicole Kidman, and Margot Robbie. A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network / country=Canada, USA / Director=Jay Roach / / release year=2019. Bombshell Theatrical release poster Directed by Jay Roach Produced by Aaron L. Glibert Jay Roach Robert Graf Michelle Graham Charles Randolph Margaret Riley Charlize Theron AJ Dix Beth Kono Written by Charles Randolph Starring Nicole Kidman Margot Robbie John Lithgow Kate McKinnon Connie Britton Malcolm McDowell Allison Janney Music by Theodore Shapiro Cinematography Barry Ackroyd Edited by Jon Poll Production companies Bron Studios Annapurna Pictures Denver + Delilah Productions Gramsci Lighthouse Management & Media Creative Wealth Media Distributed by Lionsgate Release date December 13, 2019 (United States) Running time 108 minutes [1] Country United States Language English Budget $32 million [2] Box office $58 million [3] [4] Bombshell is a 2019 American biographical drama film directed by Jay Roach and written by Charles Randolph. The film stars Charlize Theron, Nicole Kidman, and Margot Robbie, and is based upon the accounts of the women at Fox News who set out to expose CEO Roger Ailes for sexual harassment. Actors John Lithgow, Kate McKinnon, Connie Britton, Malcolm McDowell, and Allison Janney appear in supporting roles. The project was first announced in May 2017 following Ailes's death, with Roach confirmed as director the following year. Much of the cast joined that summer and filming began in October 2018 in Los Angeles. It entered into a limited release in the United States on December 13, 2019, before a wide release on December 20, by Lionsgate. Bombshell received generally favorable reviews, with critics praising the performances of the cast (particularly of Theron, Kidman, Robbie, and Lithgow) and the makeup and hairstyling but some criticizing its screenplay and inaccuracies. At the 92nd Academy Awards, it earned three nominations: Best Actress (Theron), Best Supporting Actress (Robbie), and Best Makeup and Hairstyling, winning the latter. The film also received two nominations at the 77th Golden Globe Awards (for Theron and Robbie), four at the 26th Screen Actors Guild Awards (Theron, Robbie, and Kidman, as well as Outstanding Performance by a Cast in a Motion Picture) and three at the 73rd British Academy Film Awards (Theron, Robbie, and Best Makeup and Hair). Plot [ edit] Roger Ailes heads Fox News, the real-life cable television network. The film focuses on newscasters Megyn Kelly, Gretchen Carlson and composite character Kayla Pospisil. Kelly is one of the network's most popular newscasters and is to co-moderate the 2016 Republican debate. The day of the debate, sick and throwing up, she nevertheless questions Donald Trump on comments he has made about women. In retaliation, he tweets insults about her, and others follow suit. One paparazzo stalks Kelly's family outside her home to photograph her children, prompting Kelly's husband, Douglas, to kick the intruder out. Fox then hires a security detail for Kelly. Ailes fears someone poisoned her the day of the debate. Carlson is removed as co-anchor of the popular Fox and Friends and is transferred to a less popular show. Inundated by sexist comments on and off the air, she meets with lawyers who tell her how Rudi Bakhtiar was fired after refusing Ailes's sexual advances. They plan to file a harassment suit against Ailes but tell Carlson she will need evidence and testimony from other women. Pospisil is Fox's newest hire, working with Carlson, but soon accepts a job on The O'Reilly Factor. Bill O'Reilly fires her on her first day, and she gets drunk and sleeps with fellow staffer Jess Carr. When they wake up, Pospisil says she is not a lesbian and is shocked to see Carr's Hillary Clinton poster. Asked why a liberal lesbian would work for Fox, Carr says she applied for many jobs, but Fox was the network that hired her, and now no one else will. Pospisil is later invited to Ailes' office, where he makes her lift her skirt to show him her underwear. She tells Carr, who says she cannot get involved. Carlson reveals on air that she supports the assault weapons ban, prompting Ailes to summon her. She is fired and not given a clear reason why. She decides to sue Ailes. He meets with his wife, Beth, and attorneys Susan Estrich and Rudy Giuliani, denying the allegations. All female staffers are asked to stand with Fox. Most do, but Kelly does not comment. When the suit is filed, no other women come forward, dashing Carlson's expectations. Viewers turn on her. Kelly finds other women, including Pospisil, who were sexually harassed by Ailes or O'Reilly. Pospisil says she obeyed Ailes to protect her career but now wants to come forward. Kelly speaks up and learns that 22 other women will too. Estrich tells Ailes that Carlson has recorded conversations that will win the case. Ailes meets with Fox co-creator Rupert Murdoch, who tells him he will be fired. Ailes asks to break that news, but Murdoch refuses. When Murdoch says he is taking over Fox, Carr refuses to speak up. Pospisil, knowing she will be fired, quits instead. Meanwhile, Carlson gets $20 million in damages and an apology from Fox but cannot speak about her case. She tells viewers that she does not care if they like her, only that they believe her. Cast [ edit] Charlize Theron as Megyn Kelly Nicole Kidman as Gretchen Carlson Margot Robbie as Kayla Pospisil (a composite character) John Lithgow as Roger Ailes Connie Britton as Beth Ailes Rob Delaney as Gil Norman Mark Duplass as Douglas Brunt Liv Hewson as Lily Balin Allison Janney as Susan Estrich Brigette Lundy-Paine as Julia Clarke Malcolm McDowell as Rupert Murdoch Kate McKinnon as Jess Carr Katie Aselton as Alicia Nazanin Boniadi as Rudi Bakhtiar Andy Buckley as Gerson Zweifac Michael Buie as Bret Baier P. J. Byrne as Neil Cavuto D'Arcy Carden as Rebekah Bree Condon as Kimberly Guilfoyle Kevin Dorff as Bill O'Reilly Alice Eve as Ainsley Earhardt Spencer Garrett as Sean Hannity Ashley Greene as Abby Huntsman Tricia Helfer as Alisyn Camerota Marc Evan Jackson as Chris Wallace Brian d'Arcy James as Brian Wilson Richard Kind as Rudy Giuliani [5] Amy Landecker as Dianne Brandi Ben Lawson as Lachlan Murdoch Josh Lawson as James Murdoch Jennifer Morrison as Juliet Huddy Mark Moses as Bill Shine Ahna O'Reilly as Julie Roginsky Tony Plana as Geraldo Rivera Lisa Canning as Harris Faulkner Elisabeth Röhm as Martha MacCallum Stephen Root as Neil Mullen John Rothman as Martin Hyman Brooke Smith as Irena Briganti Holland Taylor as Faye [6] Alanna Ubach as Jeanine Pirro Robin Weigert as Nancy Smith Madeline Zima as Edie Anne Ramsay as Greta Van Susteren Lennon Parham as Beth’s Employee Jon Gabrus as Sound Man Production [ edit] Development [ edit] On May 18, 2017, shortly after the death of former Fox News founder Roger Ailes, it was announced that Annapurna Pictures was in the early stages of developing a film centered on the allegations made against Ailes by female employees, including Megyn Kelly and Gretchen Carlson. Charles Randolph was expected to write the film's screenplay. [7] On May 22, 2018, it was announced that Jay Roach had been hired to direct the film. [8] On August 1, 2018, it was announced that Roach, Randolph, Beth Kono, AJ Dix, and Margaret Riley would act as the film's producers and that Denver and Delilah Productions would serve as the film's production company. [9] On October 9, 2018, it was announced that Annapurna Pictures had dropped out of producing the film, reportedly due to concerns over the film's growing budget. At the time of the announcement, it was confirmed that Bron Studios was staying on and that producers were looking at Focus Features, Participant Media, and Amblin Entertainment to help finance the film. [10] The following week, Lionsgate began negotiating to join the production after Focus Features and Amblin Entertainment passed on the project. [11] By the end of the month, Lionsgate was reported to be closing a deal to distribute the film. [12] In December 2018, it was reported that Theodore Shapiro would compose the film's score and that Barry Ackroyd would serve as the film's cinematographer. [13] [14] The film was given the working title Fair and Balanced, before being announced as Bombshell in August 2019. [15] Kelly later stated that she had no involvement with the film. [16] Casting [ edit] Alongside the directing and writing announcements, it was reported that Charlize Theron had entered negotiations to portray Kelly in the film. [8] On August 1, 2018, it was reported that Nicole Kidman had begun negotiations to star as Carlson and that Margot Robbie was in talks to play a composite associate producer at the network, with Theron confirmed to star. [9] [17] Later that month, it was announced that John Lithgow had been cast as Roger Ailes. [18] In September 2018, it was reported that Allison Janney had been cast as lawyer Susan Estrich and that Kate McKinnon had been cast to play a fictional producer. [19] [20] In October 2018, it was announced that Malcolm McDowell, Mark Duplass, and Alice Eve had been cast as Rupert Murdoch, Douglas Brunt, and Ainsley Earhardt, respectively. [21] [12] In November 2018, it was reported that Brigette Lundy-Paine and Liv Hewson had been cast as two fictional characters [22] and that Alanna Ubach, [23] Elisabeth Röhm, Spencer Garrett, Connie Britton, Ashley Greene, Brooke Smith, Michael Buie, Nazanin Boniadi, and Bree Condon had been cast as Jeanine Pirro, Martha MacCallum, Sean Hannity, Beth Ailes, Abby Huntsman, Irena Brigante, Bret Baier, Rudi Bakhtiar, and Kimberly Guilfoyle, respectively. [24] [25] [26] [27] [28] [29] In December 2018, it was announced that Rob Delaney had joined the cast of the film in an undisclosed role and that Ahna O'Reilly had been cast as Julie Roginsky. [30] [31] In June 2019, Robin Weigert announced she had joined the cast of the film. [32] Filming [ edit] Principal photography for the film began on October 22, 2018, in Los Angeles, California. [33] [34] Release [ edit] The film was scheduled for release on December 20, 2019. [35] However, it was pushed up to December 13, 2019, in a limited release, opening wide on December 20. [36] Reception [ edit] Box office [ edit] As of March 6, 2020, Bombshell has grossed $31. 8 million in the United States and Canada, and $25. 3 million in other territories, for a worldwide total of $57 million. [3] [4] In its limited opening weekend the film made $312, 100 from four theaters for a per-venue average of $78, 025, the fifth best of 2019. [37] The film went wide at 1, 480 theaters the following weekend and, despite being projected to gross around $10 million, finished sixth with $5. 1 million. The audience was 58% female, with 60% being between 18-34 years old. [38] The following weekend the film made $4. 7 million (a total of $8. 3 million over the five-day Christmas frame), falling to ninth. [39] The film's box office results were seen as a disappointment, with The Hill saying that the presence of other projects about Ailes, such as the documentary Divide and Conquer: The Story of Roger Ailes and the Showtime series The Loudest Voice, had lowered the demand for a film on the subject. [40] Forbes also noted that audiences likely do not want to "shell out movie theater money and time to watch a film about women being treated terribly by powerful men... especially (generally speaking) women". [41] Critical response [ edit] On Rotten Tomatoes the film has an approval rating of 70% based on 298 reviews, with an average rating of 6. 72/10. The website's critics consensus reads: " Bombshell benefits from a terrific cast and a worthy subject, but its impact is muffled by a frustrating inability to go deeper than the sensationalistic surface. " [42] On Metacritic the film has a weighted average score of 64 out of 100, based on reviews from 46 critics, indicating "generally favorable reviews". [43] Audiences polled by PostTrak gave the film an average 4 out of 5 stars, with 70% saying they would definitely recommend it. [38] Variety's Owen Gleiberman gave the film a positive review and wrote: "Bombshell is a scalding and powerful movie about what selling, in America, has become. The film is about selling sex, selling a candidate, selling yourself, selling the truth. And about how at Fox News all those things came together. " [44] Todd McCarthy of The Hollywood Reporter wrote: "The actors throw themselves into their roles with terrific zeal, enlivened by the often blunt dialogue and the issues at stake. " [45] Moira Macdonald of The Seattle Times wrote that the movie "went wrong" much of it due to Charles Randolph’s "cutesy screenplay... which unfolds at a cartoony pace more suitable to a dark comedy. " [46] Megyn Kelly felt the film "took liberties" with her story and specifically denied that she told Murdoch the question she was going to ask Donald Trump in advance of the debate or that Ailes liked the question. "The notion that Roger liked the Donald Trump 'woman' question because it created controversy and a TV moment was not true. Roger did not like the question — at all — and was very angry at me for asking it. At one point [he] actually said to me, 'No more female empowerment stuff'. " [47] Reactions from the depicted [ edit] In January 2020, Kelly posted a 30-minute video on her YouTube channel of a roundtable discussion, including her, Huddy, Bakhtiar, Brunt and former Fox News producer Julie Zann and their reactions and opinions after viewing a screening of the film. The panel confirmed many details depicted, including having to do the "spin" to show off their bodies to Ailes in private; Zann tearfully noted that reality was "worse than that" and the filmmakers "let Roger off easy". [48] [49] [16] Kelly took particular issue with the scene where Robbie's character blames Kelly for not speaking up, calling the scene victim blaming and noting that the scene was "written by a man"; however, she also noted that the scene belongs in the film as a reminder to herself that she could have done more to help other victims. [48] Accolades [ edit] See also [ edit] New Yorkers in journalism The Loudest Voice – a miniseries based on the life of Ailes, which also depicts the events leading up to his departure from Fox News. References [ edit] ^ "Bombshell". Lionsgate. Archived from the original on October 12, 2019. Retrieved October 12, 2019. ^ Keegan, Rebecca (December 5, 2019). "Making of 'Bombshell': How Charlize Theron, Nicole Kidman and Margot Robbie Re-Created the "Pervasive Paranoia" of Roger Ailes's Fox News". The Hollywood Reporter. Archived from the original on December 8, 2019. Retrieved December 11, 2019. ^ a b "Bombshell (2019)". Box Office Mojo. IMDb. Archived from the original on December 20, 2019. Retrieved March 5, 2020. ^ a b "Bombshell (2019)". The Numbers. Archived from the original on December 19, 2019. Retrieved March 6, 2020. ^ Walsh, Kate (October 14, 2019). "Charlize Theron's Bombshell Transformation Wows at First Los Angeles Screening". Vanity Fair. Archived from the original on October 16, 2019. Retrieved October 14, 2019. ^ Mendoza, Manuel (October 9, 2019). "How actress Holland Taylor's 'visionary' moment created 'Ann, ' now headed to Dallas Theater Center". The Dallas Morning News. Archived from the original on October 15, 2019. Retrieved October 15, 2019. ^ Lang, Brent (May 18, 2017). "Roger Ailes Will Be the Subject of Competing Film and TV Projects". Variety. Archived from the original on August 19, 2018. Retrieved August 1, 2018. ^ a b Hipes, Patrick (May 22, 2018). "Charlize Theron To Play Megyn Kelly In Fox News Movie At Annapurna". Deadline Hollywood. Archived from the original on July 23, 2018. Retrieved August 1, 2018. ^ a b Kroll, Justin (August 1, 2018). "Nicole Kidman to Play Gretchen Carlson in Fox News Movie (EXCLUSIVE)". Archived from the original on August 2, 2018. Retrieved August 1, 2018. ^ D'Alessandro, Anthony (October 9, 2018). "Roger Ailes Movie No Longer In Works At Annapurna; Others Circling To Resuscitate Project". Archived from the original on October 9, 2018. Retrieved October 9, 2018. ^ D'Alessandro, Anthony (October 15, 2018). "Lionsgate In Talks For Jay Roach's Roger Ailes Project In Wake Of Annapurna Pulling Plug & Focus Features Passing". Archived from the original on October 16, 2018. Retrieved October 15, 2018. ^ a b D'Alessandro, Anthony (October 25, 2018). "Mark Duplass & Alice Eve Join Jay Roach's Roger Ailes Movie". Archived from the original on October 28, 2018. Retrieved October 25, 2018. ^ Mavity, Will (December 14, 2018). "Interview With "Destroyer" Composer, Theodore Shapiro". Next Best Picture. Archived from the original on December 17, 2018. Retrieved December 16, 2018. ^ Lester, Margot Carmichael (November 29, 2018). "Generation Next". ICG Magazine. Archived from the original on April 2, 2019. Retrieved December 16, 2018. ^ Evangelista, Chris (August 20, 2019). "It's the Fox News movie which was previously untitled, ". @cevangelista413. Retrieved August 21, 2019. ^ a b "Megyn Kelly on Instagram: "My husband @dougbrunt and I recently took our three kids to see the movie "Frozen 2. " As we walked into the theatre, our 6-year-old stopped… " ". Instagram. ^ Galuppo, Mia; Kit, Borys (August 1, 2018). "Margot Robbie Joins Nicole Kidman, Charlize Theron in Fox News Movie (Exclusive)". Retrieved August 1, 2018. ^ Brent, Lang; Kroll, Justin (August 22, 2018). "John Lithgow to Play Roger Ailes in Fox News Movie (EXCLUSIVE)". Archived from the original on August 22, 2018. Retrieved August 22, 2018. ^ Wiseman, Andreas (September 20, 2018). "Allison Janney To Play Attorney Susan Estrich In Annapurna's Movie About The Roger Ailes Fox News Harassment Scandal". Archived from the original on September 21, 2018. Retrieved September 20, 2018. ^ Wiseman, Andreas (September 24, 2018). "Kate McKinnon Joins Annapurna's Fox News Sexual Harassment Drama". Archived from the original on September 25, 2018. Retrieved September 24, 2018. ^ Kroll, Justin (October 8, 2018). "Malcolm McDowell to Play Rupert Murdoch in Fox News Movie (EXCLUSIVE)". Archived from the original on October 8, 2018. Retrieved October 8, 2018. ^ D'Alessandro, Anthony (November 8, 2018). "Jay Roach's Roger Ailes-Fox News Movie Adds Brigette Lundy-Paine & Liv Hewson". Archived from the original on November 9, 2018. Retrieved November 8, 2018. ^ D'Alessandro, Anthony (November 14, 2018). "Alanna Ubach To Play Fox News' Jeanine Pirro In Jay Roach's Untitled Roger Ailes Feature". Archived from the original on November 14, 2018. Retrieved November 14, 2018. ^ D'Alessandro, Anthony (November 15, 2018). "Elisabeth Röhm To Play Fox News Host Martha MacCallum; Spencer Garrett Is Sean Hannity: Jay Roach's Roger Ailes Movie". Archived from the original on November 16, 2018. Retrieved November 15, 2018. ^ Galuppo, Mia (November 16, 2018). "Connie Britton to Play Roger Ailes' Wife in Fox News Drama (Exclusive)". Archived from the original on November 17, 2018. Retrieved November 16, 2018. ^ Ramos, Dino-Ray (November 19, 2018). "Ashley Greene To Play Former 'Fox & Friends' Host Abby Huntsman In Roger Ailes Film". Archived from the original on November 20, 2018. 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Archived from the original on December 11, 2018. Retrieved December 10, 2018. ^ "Exclusive: Robin Weigert, Jeffrey Nordling, Crystal Fox & P. Byrne Talk 'Big Little Lies' Season 2 [Video]". The Knockturnal. June 6, 2019. Archived from the original on August 21, 2019. Retrieved June 10, 2019. ^ Dupre, Elyse (October 26, 2018). "See Charlize Theron as Megyn Kelly in First Look at Roger Ailes Movie". E! News. Archived from the original on October 29, 2018. Retrieved October 30, 2018. ^ Siegel, Tatiana (October 30, 2018). "Showtime's Megyn Kelly Character "Has Yet to Be Cast" in Roger Ailes Series". Archived from the original on October 31, 2018. Retrieved October 30, 2018. ^ "Lionsgate Sets Holiday Release Date for Charlize Theron's Roger Ailes Scandal Film". TheWrap. March 6, 2019. Archived from the original on August 22, 2019. Retrieved March 6, 2019. ^ McNary, Dave (October 29, 2019). "Film News Roundup: Patrick Schwarzenegger Joins Amy Poehler's Drama 'Moxie ' ". 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Retrieved January 10, 2020. ^ Houston Film Critics Society Editors (January 2, 2020). "The 2019 Houston Film Critics Society (HFCS) Winners". Retrieved January 3, 2020. ^ Cline, Rich (December 17, 2019). "THE SOUVENIR LEADS NOMINEES FOR CRITICS' CIRCLE FILM AWARDS". London Film Critics' Circle. Retrieved December 17, 2019. ^ " ' Bombshell' and 'Rocketman' Lead Make-Up Artists & Hair Stylists Guild Nominations". November 11, 2019. Archived from the original on December 6, 2019. Retrieved December 8, 2019. ^ Lambe, Stacy (November 21, 2019). "Charlize Theron to Receive Palm Springs International Film Festival Honor for 'Bombshell ' ". ET Online. Archived from the original on January 15, 2020. Retrieved January 15, 2020. ^ San Francisco Bay Area Film Critics Circle Editors (December 13, 2019). "SFBAFCC 2019 AWARDS". San Francisco Bay Area Film Critics Circle. Retrieved December 14, 2019. ^ Peterson, Karen M. (December 3, 2019). "24th Satellite Awards Announce Nominations, 'Ford v Ferrari' Leads the Way • AwardsCircuit | Entertainment, Predictions, Reviews". Archived from the original on December 4, 2019. Retrieved December 12, 2019. ^ "SAG Awards: The Complete Winners List". January 19, 2020. Archived from the original on January 20, 2020. Retrieved January 19, 2020. ^ Neglia, Matt (December 15, 2019). "The 2019 St. Louis Film Critics Association (StLFCA) Winners". Retrieved December 16, 2019. ^ Neglia, Matt (December 9, 2019). "The 2019 Women Film Critics Circle (WFCC) Winners". Archived from the original on December 11, 2019. Retrieved December 11, 2019. External links [ edit] Official website Bombshell on IMDb.

Bombshell tanning lotion. When are the people going to violently revolt against this tyrant. Super hot she is. What's wrong with eating a whole Meat Lovers pizza by yourself? I feel personally attacked... Bombshell meaning. I cant wait for this movie. Did she get a boyfriend yet. Democracy will die in America today. The gutless senate only think of themselves. They have ruined American standing in the world. Trump is a laughing stock around the world. All leaders know how to get anything from the US just flatter the the US president. SAD SAD SAD. What a joke America is that these people think trump is good. The world knows otherwise. We are witnessing the downfall of this silly America.

There’s a degree of irony in the fact that Bombshell, the movie about the fall of Fox News boss and serial sexual harasser Roger Ailes, was awarded an Oscar for make-up and hairstyling. One of the themes that runs through the movie is the objectification of Fox’s female employees, so giving the movie an award for the way its female stars look on screen feels a little jarring. It’s certainly a superb cast and a stellar set of performances, starring three of Hollywood’s most bankable female stars, Nicole Kidman, Charlize Theron and Margot Robbie. Kidman and Theron respectively play two of Fox News’s most recognisable former news anchors: Gretchen Carlson, the former Miss America and Stanford graduate; and Megyn Kelly, a former attorney whose nightly programme, The Kelly File, vied with that of Bill O’Reilly for popularity during its run from 2013 to 2017. The film centres on Carlson’s 2016 sexual harassment lawsuit against Ailes, then chairman and CEO of Fox News. Margot Robbie plays the fictitious Kayla – a composite character comprised of other women who laid complaints at Fox. Styled along the lines of conservative political commentator Tomi Lahren as a young Trump-supporting evangelical, Kayla nonetheless embarks on a somewhat improbable friendly sexual encounter with Jess Carr – another composite Fox character who is a closet liberal and closet lesbian, played by Kate McKinnon. On the issue of sexual harassment, Bombshell shows how a culture of misogyny becomes embedded in workplace practices, where senior male figures abuse positions of power. Promises of promotion and threats of job loss or demotion are used to coerce and frighten women into accepting unwanted sexual advances. This culture of abuse comes from the outlandish and almost pitiable figure of Ailes (played by John Lithgow) whose motto is “to get ahead, you gotta give a little head”. John Lithgow as Fox News boss Roger Ailes. Lionsgate The film also speaks to the ways in which women who stay silent about their own experience of harassment can unwillingly or unwittingly perpetuate that culture by failing to call perpetrators to account. In one scene, Robbie’s fictional character Kayla chastises Kelly for failing to report Ailes, asking “did you think what your silence would mean? ”. The film shows how reporting such violations as a lone individual is extremely difficult. Without – and sometimes even with – the weight of supporting testimony, they are often doomed to fail. Uncomfortable objectification Certainly, the culture of misogyny at Fox under Ailes is depicted as deep and entrenched. In one of the film’s quasi-documentary sequences, we learn that Ailes “pioneered” the visual objectification of female news anchors through an obsessive focus of cameras on their legs. There follows a deeply uncomfortable scene where Ailes invites Kayla to his office, and as he salivates, asks her to raise her dress inch by inch, until we see a shot of her crotch. As a viewer, I began to ask how this lingering shot of Robbie’s crotch about a third of the way into the movie, really served the interest of the film’s broader themes. The scriptwriter Charles Randolph has said the film was written for men and that this scene was a way to “put a few men like me into the rooms where harassment happens”. In another film, this shot might have been an attempt to place the viewer directly in the position of Ailes, to ask them to question their own complicity in the objectification of women. But Bombshell is not this film. From the outset, the film’s relationship to feminism is confused. In an early scene, Megyn Kelly declares “I’m not a feminist, I’m a lawyer” while her assistant declares, “God, I’d love to be slut-shamed”, turning a concept that was designed to highlight how women and girls are criticised and punished for their appearance or behaviour, into something desirable. While not all people react in the same way to sexual harassment, it can have devastating long-term emotional and professional consequences for women — something that the film’s triumphant coda regarding the multi-million-dollar settlement does not make explicit. The first #MeToo movie? Bombshell has been described as the “first” #MeToo film, and the “definitive” film about the #MeToo movement – and there is much to admire about a group of women who take on a workplace riddled with sexual harassment, and win. Yet the film appears to view the women’s political ideologies and their fight against sexism as separate issues. The ideological individualism of Kelly and Carlson means they don’t see their struggle for freedom from sexual harassment as embedded in the fight for other rights. Margot Robbie and Kate McKinnon as composite characters Kayla Pospisil and Jess Carr in Bombshell. Kelly, while critiquing what she calls Trump’s “ War on Women ”, does not appear to see how her work for Fox has made her a soldier in the network’s war – not just on women, but on racial and ethnic minorities, LGBT people, immigrants and other vulnerable populations as well. The film also sees no contradiction in having Rupert Murdoch, whose newspaper and media empire has been notorious for its use of titillating pictures of women, arrive at the end of the film as a kind of deus ex machina, appearing suddenly at the end of the film, sons in tow, to fire Ailes and restore order to the Fox offices. Hollywood’s misogyny problem Ailes is an easy target: he is dead and can’t be libelled, and the workplace he presided over at Fox was an exceptionally egregious example of a misogynistic work environment: Bill O'Reilly, a major Fox anchor since 1996, has also been the subject of numerous sexual harassment claims. But Hollywood has its own misogyny problem to confront. This is still an industry where between 2007 and 2016 only 4. 2% of the 900 top-grossing films were made by women and only 0. 49% by women from racial and ethnic minority groups. The proverbial elephant in the Hollywood green room is Harvey Weinstein, whose trial on five counts including rape, criminal sexual acts and predatory sexual assault continues. As Ronan Farrow’s recent book Catch and Kill has shown, Weinstein used his leverage in the journalism and entertainment industries to try to cover up Farrow’s investigation. The question remains as to whether Hollywood will take on its own “ monster ”. That’s a #MeToo story that may prove more difficult to tell, and more difficult still to be told with women both in front of and behind the camera.

Bombshell salon. I really enjoyed this interview. Thank you. There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on January 9, 2020 Format: Blu-ray Bombshell, when you analyze it rather than falling for the emotions it wants you to, is not actually trying to educate or improve a culture of sexual harassment in the workplace. (That’s just my opinion, mind you. ) It seems on the surface like a necessary movie because of the badly needed Me Too Movement, which started with Harvey Weinstein’s downfall in late 2017 but had an earlier model of success in Gretchen Carlson’s lawsuit against Fox News chief Roger Ailes. The movie makes no attempt at objectivity, which I think is its major weakness. If it was going strictly by what people have said on the record, rather than using anonymous sources, the movie would have some merit. But the bulk of the encounters and exchanges in the movie are fictionalized, which the moviemakers say is okay because they’ve talked to lots of people who currently and formerly work at Fox—so just trust them to be accurate in the movie, they say. The character of “Kayla” played by Margot Robbie is part of my complaint. I was okay with the way the Gretchen Carlson (played by Nicole Kidman) lawsuit against Ailes was depicted, but Kayla is a fictional character who is initially an idealistic and naïve Fox loyalist, working there as her dream job, until Kate McKinnon’s lesbian character makes Kayla an instant lesbian (they meet at work, then next scene they’re together in bed) and Kayla becomes one of Ailes’ sexual conquests. Then she joins in the lawsuit. She doesn’t seem at all like a realistic character to me because she wouldn’t be so eager to become a lesbian if she was actually as dedicated to the religious conservatism as she originally is. Nor would she need her lesbian partner to help her understand that Ailes is doing the wrong thing to her. That subplot is just stupid. The excessive profanity in some parts of the movie felt to me like a distractor which seemed only intended for dramatic effect (like anger can only be expressed in a movie if you have lots of cussing), not like how the incidents would have happened. Roger Ailes seems accurately depicted by John Lithgow—who looks COMPLETELY DIFFERENT in this role. Charlize Theron did a very good job with prosthetics and vocal work on taking on the look and overall demeanor of Megyn Kelly, who was somewhat late in joining Gretchen’s cause against Ailes but nonetheless very credible. I think the movie’s most important point is that Gretchen Carlson, while getting an apology and payment from Fox News for wrongful termination due to her unwillingness to have an affair with Ailes, still cannot talk about specifics. It seems only a half-victory until those “nondisclosure” codes get changed. I have Megyn Kelly’s book Settle for More and consider it to be the best resource about that period of Trump’s ascendancy and Ailes’ downfall in 2015-2016. She gives specifics in that book about her complex history with Ailes, which are accurately described in conversations in the movie Bombshell. But if Bombshell is meant to be helpful for enlightening people about sexual harassment in the workplace, it hurts itself with a tone of vitriol throughout, such as Kate McKinnon’s fictional lesbian who works there saying—in a quote in the trailer which also is in the movie—“The world is a bad place, people are lazy morons, minorities are criminals, sex is sick but interesting. ” All the other Fox News people, in their one-or-two-sentence cameos by actors who are supposed to somewhat resemble them, are depicted as out of touch or overlooking Ailes’ misbehavior. The movie seems to be primarily just about hurting Fox News. It also brings up the unsubstantiated lawsuit by Andrea Mackris against Bill O’Reilly in which she said he harassed her and called her while using a vibrator on himself. His termination from Fox, unlike Ailes’, was not adjudicated properly; Gretchen had compiled audio evidence on Ailes’ harassment which never was released to the public but was taken to court and adjudicated by the Murdochs (the family which allowed Ailes to create Fox News). O’Reilly was terminated almost immediately after a New York Times article about payments to settle sexual harassment cases with several women, but due to his own nondisclosure agreements was not allowed to defend himself or correct what he says were inaccuracies in the article, and settlements do not equate to admissions of guilt. Settlements by payment and nondisclosure agreements are sometimes used to prevent public, long-term court cases that hurt the family of the accused, which is O’Reilly’s defense. The movie did a disservice by equating the Ailes case with the O’Reilly case. O’Reilly is only referred to and has an actor doing a couple lines as he has a conference, not a major part of the movie. But I feel the movie’s grouping of him with Ailes, and implication that “everyone” who worked at Fox knew Ailes was a dirty old man, were inaccurate. Even though Roger Ailes had a lot of Trump’s conspiracy theory mindset, I think it oversimplifies him by portraying him and the Fox News reportage as bigoted. If I were you, I would pass this one up, and instead read Megyn Kelly’s book Settle for More. Reviewed in the United States on December 23, 2019 Format: Prime Video Theater review. Possible spoilers. Director Jay Roach might not seem like the director for an expose like this given his resume (Austin Powers movies, Meet the Fockers, Dinner for Schmucks) but he pulls it off. Some of the credit would seem to go to writer Charles Randolph who was responsible for “The Big Short. ” This film has much of that style. That is narration, superimposed facts, etc. The film is focused on Roger Ailes (excellent John Lithgow in a fat suit and heavy facial makeup) who single handedly put Fox News on the television map. His marketing acumen may have been successful but he also left a bevy of female staffers humiliated at best and sexually assaulted at worst. There are 3 women at the center of the story. Gretchen Carlson (Nicole Kidman) is the first to bring Ailes’ misdeeds to light. She had gone from a rising star on the Fox morning show to a less visable host in a late afternoon time slot. Why? She had shunned Ailes’ sexual advances. She leaves the network fairly early in the movie and sues Ailes personally. In an award-worthy performance, Charlize Theron plays Megyn Kelly who remains at the network but is under scrutiny because of the 2016 presidential debate where she asks candidate Donald Trump about his treatment of women in the past. Ailes and indeed Fox were backers of Trump and were stunned by the question. Kelly suffered the consequences for a long time and later acknowledged Alies had come on to her earlier in her career. The third woman is Kayla Pospisil (Margo Robbie). Kayla is an amalgam of actual women at Fox over the years. She’s highly supportive of the network and Ailes from the beginning. She is also hungry for advancement and manages to get Ailes’ attention. In a scene that had most of the audience squirming in their seats, Ailes auditions Kayla by modeling in front of him. He urges her to keep hiking up her skirt in order to see her legs – “It’s a visual medium he suggests. ” All the women are great. Theron in particular captures not only the look of Kelly but the slightly arrogant and aloof physical persona. It’s an amazing transformation. If “Bombshell” can be criticized it would be because the film doesn’t go very deep into the workings of Fox. We get a surface view as the attention is on Ailes, less so on the network or his boss, Rupert Murdoch (Malcolm McDowell). In small but interesting roles, Kate McKinnon shows up as a closeted lesbian producer and confidant of Kayla’s. Connie Britton plays Ailes wife Beth, a supporter of her husband until a startling scene in the final act. Mark Duplass plays Kelly’s husband Doug Brunt and Allison Janney is Susan Estrich, Ailes lawyer. In spite of the content, this is a fast moving, highly entertaining and important film. Highly recommended. Reviewed in the United States on March 2, 2020 Format: Prime Video Verified Purchase I expected this movie to be an expose on Roger Ailes, and it was to a degree. But the movie went on to make all of the men at Fox News look completely exploitive of women, and/or mindless minions of the organization. It portrayed Megan Kelly as the only smart, legitimate journalist at Fox. One who everyone held in high esteem, with her entourage following her through the halls of Fox. And all the men lusting over her. And I mean ALL of the men. The movie also implied that avid viewers of Fox are witless followers of the "cult" that Ailes created, and conservatives are gullible and feebleminded. I was personally offended, and shut it off after about 30 minutes. Reviewed in the United States on February 28, 2020 Format: Prime Video Verified Purchase Slow, I say SLOW..... not worth the $15. 00 I spent Reviewed in the United States on February 29, 2020 Format: Prime Video Verified Purchase Found the movie captivating, and no one else is telling this story. I'm a conservative and a female and thinks this story needs to be told. This is not an anti-conservatives movie. It's an anti-sleaze bag movie. Reviewed in the United States on February 27, 2020 Format: Prime Video Verified Purchase I loved Nicole, Charlize and maggots performance, all did spectacular work. the makeup deptmt earned every bit of the golden Oscar, Charlize was turned into Megan Kelly's doppleganger. and to see Margot Robbie vulnerable was truly heart breaking, def a tear jerking scene or two came from her performance. all the women killed it, nailed it... cant forget the amazing job that roger ailes put in, perfection. A+ work in entertainment.

Margot Robbie is just too gorgeous. Charlize Theron hemosa mujer. gorgeous simply the best. Everyones saying where they found the song ima just put this out there anyone remember shaun palmers pro snowboarding? i spent so much time on that shit lol. MARGOT LOOKS SO GOOD I ADORE HER. Margot: That's the sweetest thing I've ever seen Me: She is the sweetest thing I've ever seen. No matter what, Rick will always the worst wingman ever. Victor Garber seems to be in EVERYTHING these days. Rob Zombies brother is the lead singer. Bombshell cast. Why didnt she interview Megyn Kelly. She's seen in casual clothes (flashes picture of Margot in a Gucci shirt. Yup pretty casual. Bombshell fitness. Bombshell trailer song. Bombshell dresses. Tästä näet elokuvan näytökset ympäri Suomen. Valitse haluamasi näytös ja siirry teatterin sivuille! Tositapahtumiin perustuva elokuva BOMBSHELL – HILJAISUUDEN RIKKOJAT on hätkähdyttävä tarina maailmaa kuohuttaneesta skandaalista ja naisista, jotka kukistivat kaikkien aikojen vaikutusvaltaisimman mediaimperiumin johtajan. Elokuvan pääosissa nähdään Oscar-voittajat Charlize Theron ja Nicole Kidman sekä John Lithgow ja Margot Robbie. Muissa rooleissa ovat muun muassa Kate McKinnon, Connie Britton, Mark Duplass, Rob Delaney, Malcolm McDowell ja Allison Janney. Elokuvan on ohjannut Emmyllä palkittu Jay Roach ja sen on käsikirjoittanut Oscar-voittaja Charles Randolph. Elokuvateattereissa 7. 2. 2020 Ohjaus: Jay Roach Käsikirjoitus: Charles Randolph Näyttelijät: Margot Robbie, Charlize Theron, Nicole Kidman Genre: Draama Kesto: 109min Tuotantomaa: Kanada / Yhdysvallat Tuotantovuosi: 2019 Ikäraja John Lithgow stars as ‘Roger Ailes’ in BOMBSHELL. Photo Credit: Hilary Bronwyn Gayle. Margot Robbie as ‘Kayla Pospisil’ and Kate McKinnon as ‘Jess Carr’ in BOMBSHELL. Charlize Theron as ‘Megyn Kelly’ and Liv Hewson as ‘Lily Balin’ in BOMBSHELL. Nicole Kidman stars as ‘Gretchen Carlson’ in BOMBSHELL.

My dream elavator ride. SYNOPSIS:
Inspired by the true and disturbing scandal of the man who created Fox News, Roger Ailes (John Lithgow) and the women who spoke out against his horrible acts.
I really like the way this film is shot. The sort of narrative/meta/4th-wall-breaking style of direction is an amusing way to tell a story. I can't speak on how accurate this film is as it even begins saying some of the film is dramatized as most of these type of stories should be in my opinion. Not to create more drama than there actually was, but in most cases it makes it a better feature film and the better a film is the more likely these stories are to be seen by more people. Contrary to what I just said, I've heard more negative about this film than positive, but I thought Bombshell was better than what most people thought. A couple scenes that left me speechless in disgust and you could just feel the tension in the filled auditorium. That's definitely a strong sign and the acting was stellar. Not in my top 10, but solid nonetheless. 6.5/10.
As I mentioned in my review summary, I love the style of direction this is. You can see clear inspiration from "The Big Short" and a little bit of "VICE." The pace kept the movie going and kept the same speed throughout the film. Quick shots of a variety of close-ups adds a bit of tension and really makes you feel the spotlight of whoever the newsroom is focused on. I have to give it up to Jay Roach on this one.
The dialogue was strong throughout and once again I'm not sure how accurate of a depiction the script is, but regardless it was a strong screenplay. The writing does what it was supposed to and told in a stylistic way that made it easy to stay engaged.
There's not much to say just because everyone in this is as good as you'd ever see them. I thought Kate McKinnon did a wonderful job in her small supporting role where she's more dramatic than I've ever seen her and for me the biggest standouts were Margot Robbie and Nicole Kidman. I thought John Lithgow was fabulous as well and especially in the scenes she shared with John Lithgow were hard to watch, but VERY well acted. Nicole Kidman gave me a very grounded and real performance. If you know me, you know how important that is for me. I know of all three women, Charlize Theron is getting the most buzz and she was great, but I feel Nicole Kidman is unfortunately being overlooked. Either way, great acting all around.

That palette looks soooooo nice but how much is it going to cost? Drugstore prices have been getting out of control lately. Hoping this won't be over 15 tops or I won't be purchasing it sadly.

Cut that producers leave it in for her embarrassment Me when my friends tell me to delete an embarrassing picture I have on them on my phone. I love Megyn. This should be titled, “Margo Robbie works hard”. YESSSSSSS THE TENSION OMG IM LIVING FOR THIS MOVIE. This Charlie Theron is a handsome lad, no homo. Great that CNN is covering the plight of women. How about doing continued coverage of Americas worst serial sex offender in history, Jeffery Epstein.

Mid way it turned to a teen movie trailer. around the time the music changed. Ok, this is a movie that's happening. 2019 rockin this before work m. Irony of journalists calling out content for being ”unfactual” 🤔 Journalists who have lived most of their careers by the mantra of ”never let the truth get in the way of a good story”. Bombshell blondes meme. There's a terrifying documentary about this called The Devil We Know. Bombshell bmx. IDK man, but this movie looks so low energy and the cast act like theyre bored, I might skip this one out Cameron, Lucy, Drews version was fun, high energy, and campy.

Bombshell movie showtimes.

Charlize Theron should win an award for this trailer

Bombshell film. Great video overall, good work Bombshell and Tirfour wow. though the remix video would have been great 😭. Lol propaganda film, of course.

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7.1 out of 10 stars - 322 votes