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“Rest, great soul”: Dame Angela Lansbury exits to the "theatre in the sky"

Dame Angela Lansbury, known for her roles on TV, stage and film, has died aged 96 just days before her birthday. Her family broke the news in a statement on Tuesday. “The children of Dame Angela Lansbury are sad to announce that their mother died peacefully in her sleep at home in Los Angeles at 1.30am today, Tuesday, October 11, 2022, just five days shy of her 97th birthday,” they said in a statement. The Murder, She Wrote star was one of the most decorated actors in stage history, winning five Tony Awards for her performances on Broadway and a lifetime achievement award. Lansbury scored one for her best-known work on Broadway, where she starred as the piemaker Nellie Lovett in Sweeney Todd: The Demon Barber of Fleet Street, winning the Tony for best musical actress in 1979. Her other three Tony awards for best actress in a musical were for her roles in Mame (1966), Dear World (1969) and Gypsy (1975). She earned Academy Award nominations for her work in film as a supporting actress in Gaslight (1945), The Picture of Dorian Gray (1946), and again in 1962 for The Manchurian Candidate. The star displayed her singing talents off-Broadway when she voiced the character of Mrs Potts in the 1991 animated movie Beauty and the Beast. For the film’s 25th anniversary in 2016, Lansbury took to the stage in New York and brought the house down with a rendition of the movie’s titular tune. But her widespread fame came when she took on the role of a mystery writer and amateur sleuth in Murder, She Wrote. Running for 12 seasons from 1984 to 1996, the series was loosely based on Agatha Christie’s Miss Marple stories and followed Jessica Fletcher, a widowed mystery writer living in the village of Cabot Cove, Maine. Lansbury earned 12 Emmy award nominations for Murder, She Wrote, making her the record-holder for the most Emmy nominations for lead actress in a drama series. While the show became a hit, Lansbury said she found the first season exhausting. "I was shocked when I learned that had to work 12-15 hours a day, relentlessly, day in, day out," she recalled. "I had to lay down the law at one point and say, 'Look, I can't do these shows in seven days; it will have to be eight days.’” But, she was pleased that her role as Fletcher had become an inspiration for older women. "Women in motion pictures have always had a difficult time being role models for other women," she observed. "They've always been considered glamorous in their jobs." After the news broke of her passing, tributes have poured in across social media as fans and Hollywood stars remember the legendary actress. <blockquote class="twitter-tweet"> Angela Lansbury, who graced the stage for decades winning five Tony awards and brought the sleuthing Jessica Fletcher into our living rooms for a dozen years, has passed. A tale old as time, our beloved Mrs. Potts will sing lullabies to us now from the stars. Rest, great soul. — George Takei (@GeorgeTakei) <a href="https://twitter.com/GeorgeTakei/status/1579922852761198592?ref_src=twsrc%5Etfw">October 11, 2022</a></blockquote> “Angela Lansbury, who graced the stage for decades winning five Tony awards and brought the sleuthing Jessica Fletcher into our living rooms for a dozen years, has passed. A tale as old as time, our beloved Mrs Potts will sing lullabies to us now from the stars. Rest, great soul,” George Takei tweeted. <blockquote class="twitter-tweet"> Dame Angela Lansbury has fallen asleep and gone to the ‘theatre in the Sky.’ She epitomised grace and exhibited a gifted natural talent. One of the world’s greatest actors. I had the privilege of meeting her. — David_Suchet (@David_Suchet) <a href="https://twitter.com/David_Suchet/status/1579961581672497155?ref_src=twsrc%5Etfw">October 11, 2022</a></blockquote> “Dame Angela Lansbury has fallen asleep and gone to the ‘theatre in the Sky’. She epitomised grace and exhibited a gifted natural talent. One of the world’s greatest actors. I had the privilege of meeting her,” Poirot star David Suchet wrote. <blockquote class="twitter-tweet"> Tale as old as time True as it can be In memory of Angela Lansbury, we offer this cosmic rose plucked by our Spitzer Space Telescope. <a href="https://t.co/V1N0QynRDJ">https://t.co/V1N0QynRDJ</a> <a href="https://t.co/zPduniVBsl">pic.twitter.com/zPduniVBsl</a> — NASA (@NASA) <a href="https://twitter.com/NASA/status/1579939011606769664?ref_src=twsrc%5Etfw">October 11, 2022</a></blockquote> Even NASA paid tribute to Lansbury, offering a “cosmic rose” to the star. Lansbury is survived by her two children, Diedre Angela Shaw, 69, and Anthony Pullen Shaw, 70. Image: Getty Images

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Sean Connery: his five best Bond movies rated

Obituaries for <a href="https://theconversation.com/sean-connery-bond-james-bond-but-so-much-more-149238">Sean Connery</a> all over the world remind us of what a versatile actor he was, starring in films as diverse as Alfred Hitchcock’s 1964 <a href="https://www.imdb.com/title/tt0058329/?ref_=fn_al_tt_1">Marnie</a> and Brian de Palma’s 1987 <a href="https://www.imdb.com/title/tt0094226/">The Untouchables</a>. But it is the character of James Bond, <a href="https://www.independent.co.uk/arts-entertainment/films/news/sean-connery-death-cause-james-bond-007-michael-caine-hated-b1478316.html">which he allegedly came to hate</a>, that film fans will inevitably associate with the rugged features of the Scottish actor who first played the role in Dr. No in 1962. Connery’s Bond embodied the postwar ideal of masculinity, a complex mix of old-fashioned charm and tough virility, loyalty to “Queen and Country”, and relaxed sexual mores. <a href="http://jamesbondmemes.blogspot.com/2012/04/women-want-to-be-with-him-men-want-to.html">Raymond Mortimer</a> wrote at the time, in his review of Fleming’s On Her Majesty’s Secret Service (1963): “James Bond is what every man would like to be, and what every woman would like between her sheets.” Like his literary incarnation, the cinematic Bond launched by Connery caused disdain and thrilled audiences of both sexes in equal measures. Reviewing Goldfinger, film critic <a href="https://books.google.co.uk/books?id=oXxZAAAAMAAJ&q=%E2%80%98The+constantly+lurking+viciousness,+and+the+glamorisation+of+violence+%E2%80%A6+the+carefully+timed+peaks+of+titillation+and+the+skilfully+contrived+sensationalism%E2%80%99&dq=%E2%80%98The+constantly+lurking+viciousness,+and+the+glamorisation+of+violence+%E2%80%A6+the+carefully+timed+peaks+of+titillation+and+the+skilfully+contrived+sensationalism%E2%80%99&hl=en&sa=X&ved=2ahUKEwieiu6wjOHsAhUlQUEAHey1C34Q6AEwAHoECAAQAg">Nina Hibbin</a> remained unimpressed by the Bond formula of “constantly lurking viciousness, and the glamorisation of violence … the carefully timed peaks of titillation and the skilfully contrived sensationalism”. Meantime, the late <a href="https://www.theguardian.com/film/2020/apr/06/honor-blackman-obituary">Honor Blackman</a>, who played alongside him in <a href="https://www.imdb.com/title/tt0058150/">Goldfinger</a>, described working with Connery as “<a href="https://books.google.co.uk/books?id=dbijDwAAQBAJ&pg=PT13&dq=romping+about+on+international+locations+with+the+sexiest+man+ever+seen+on+screen&hl=en&sa=X&ved=2ahUKEwiBn_zsiuHsAhVVilwKHe6NAYQQ6AEwAHoECAYQAg#v=onepage&q=romping%20about%20on%20international%20locations%20with%20the%20sexiest%20man%20ever%20seen%20on%20screen&f=false">romping about on international locations with the sexiest man ever seen on screen</a>”. Connery’s Bond may get his Savile Row suit dirty, but he never loses his cool. Ruthless with his enemies, he’s not afraid of hurting many a female villain who threatens the success of his missions. He’s also, of course, an irresistible lover, able to seduce even those, like Pussy Galore, who claim “immunity” to his charms. But is there more to Connery’s Bond than backward machismo and dubious race politics? Here are my top five Connery Bond films, and why you may want to watch them again: 1. Goldfinger (Guy Hamilton, 1964) A beautiful woman whose spectacular death, and gold-painted lifeless body – remains, for better or worse, one of the most iconic images in the history of the franchise. A squad of female pilots is led by the talented Pussy Galore, whose name is an ironic reference to her sexuality. Goldfinger is a criminal genius, whose plan to make the US gold reserves radioactive in order to increase the value of his own is nothing short of brilliant, and whose laser beam poses a literal threat to <a href="https://books.google.co.uk/books/about/The_James_Bond_Phenomenon.html?id=x9-1QY5boUsC&printsec=frontcover&source=kp_read_button&redir_esc=y#v=onepage&q=laser&f=false">Bond’s virility</a>. A Korean henchman in a lethal bowler hat is a parody of the quintessential Englishness, which trilby-wearing Connery – a proud Scotsman – also “performs”. These manifestations of ambivalent gender and race politics, more recently picked up in Anthony Horowitz’s sequel Bond novel, <a href="https://www.theguardian.com/books/2015/may/28/new-james-bond-novel-trigger-mortis-pussy-galore-anthony-horowitz">Trigger Mortis</a>, make it, if anything, even more relevant to watch today. 2. Dr No (Terence Young, 1962) Set in Ian Fleming’s beloved Jamaica, hints of Sinophobia lurk in the figure of Dr. No, whose Chinese ethnicity is conveyed through the Asian style of the clothes he wears. The first cinematic “Bond Girl” makes a memorable entrance wearing an equally memorable <a href="https://www.tatler.com/article/ursula-andress-dr-no-honey-ryder-bikini-auction-los-angeles">white bikini</a>. But the fact that Honey Ryder also wears a knife around her waist suggests that she’s more than eye-candy. We’re also told she has used a black widow spider to kill an abusive landlord in the past. Just like Dr. No threatens the authority of white British Bond, so Honey represents a challenge to the patriarchal order he represents. She is a new kind of woman, as <a href="https://www.youtube.com/watch?v=H2hC8Frhicg&list=PLGiXHXUUO-jMHt4O8nAslNZ5UBHd_cZZ7&index=10">Andress claims</a>, physically strong and ready to take part in the action. 3. From Russia with Love (Terence Young, 1963) The romantic settings – Istanbul, the Orient Express train journey – and the beautiful co-star, Daniela Bianchi, who plays defecting Soviet spy Tania Romanova, may fool us into thinking that this may be a Cold War “Romeo and Juliet” love story. Tania is, however, less interested in Bond and more attracted to the other tempting luxuries of the West that he may help her achieve. The poisoned blade concealed in the toe of villain Rosa Klebb’s shoe, provides another unforgettable moment in the film franchise, and one that insinuates further doubts about Bond’s invulnerable masculinity. And while at the end of Fleming’s novel, Bond is left for dead, in the film, it is Tania’s quick thinking and good aim that saves his life. 4. Thunderball (Terence Young, 1965) Still, according to <a href="https://www.forbes.com/sites/travisbean/2020/04/18/all-26-james-bond-films-ranked-at-the-box-office/">Forbes</a>, the highest grossing film of the franchise, Thunderball sees Bond in action in the Bahamas, a place which would remain close to Connery’s heart until his death in Nassau on October 31 2020. As the action unfolds around the beautiful island setting, and its treacherous coastline, Bond’s life is threatened by SPECTRE operative Emilio Largo (Adolfo Celi), and especially Fiona Volpe (Luciana Paluzzi), one of the many phenomenal female drivers in the film franchise – and a woman who is confident enough to ridicule his alleged sexual prowess. But it is the leading Bond Girl, Domino Derval (Claudine Auger), who, again, saves Bond’s life by shooting a harpoon at Largo. 5. You Only Live Twice (Lewis Gilbert, 1967) We may raise an eyebrow at Bond’s dubious transformation into a Japanese man, the patriarchal attitudes towards women presented as traditional of Japan, not helped by the lukewarm performance by Mie Hama, who plays what has been described as “<a href="https://books.google.co.uk/books?id=auaECgAAQBAJ&printsec=frontcover&dq=lisa+funnel+lotus+blossom&hl=en&sa=X&ved=2ahUKEwjHgOmKkOHsAhUJZcAKHf8ZAowQ6AEwAXoECAYQAg#v=onepage&q=lotus&f=false">servile Lotus Blossom</a>” Kissy Suzuki, but there is enough charisma between the other female roles in the film, Aki (Akiko Wakabayashi) and Helga Brandt (Karin Dor), to make up for Kissy’s submissiveness. Both die, the latter in a spectacularly sadistic execution in a piranha pool. But Helga also very nearly mutilates Bond with a surgical scalpel and chucks a lipstick bomb at him before parachuting herself out of the plane she has been flying. A “bombshell” she may be, but not on the terms set by the men who try to control her. Most of us will cringe, today, at the bottom-slapping, the “man-talk” and the colonial attitudes that we see in the early Bond movies. But Connery’s Bond is more nuanced than we think and his white British masculinity is rarely left unchallenged. He was a Bond for his time. Written by <a href="https://theconversation.com/profiles/monica-germana-415866">Monica Germanà</a>, University of Westminster. Republished with permission of <a href="https://theconversation.com/sean-connery-his-five-best-bond-movies-rated-149240">The Conversation.</a>

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Psycho turns 60 – Hitchcock’s famous fright film broke all the rules

November 1959. Film director <a href="https://www.imdb.com/name/nm0000033/?ref_=nv_sr_srsg_0">Alfred Hitchcock</a> is at his commercial and critical peak after the successes of <a href="https://www.imdb.com/title/tt0052357/?ref_=nm_knf_i2">Vertigo</a> (1958) and <a href="https://www.imdb.com/title/tt0053125/?ref_=nm_knf_i3">North by Northwest</a> (1959). So what does he do next? A black-and-white made-for-TV movie hastily shot, with no big-name actors and a leading actress who takes a shower, and … well, we’ll come to that. <a href="https://www.imdb.com/title/tt0054215/?ref_=nm_knf_i1">Psycho</a> (1960) remains Hitchcock’s most celebrated film. But it is really two films, glued together by the most iconic scene in cinema history. Part one is a run-of-the-mill morality tale. Marion Crane (Janet Leigh) steals $40,000 from her Phoenix employee, and goes on the run. Guilt-stricken, she pulls into a deserted motel and chats with the owner, Norman Bates (Anthony Perkins). He seems friendly enough – he makes her sandwiches and talks fondly about his mother – and Marion resolves to return the money. Part two is a whodunnit. Marion’s sister (Vera Miles) and her lover (John Gavin) investigate her disappearance, and trace her steps back to the motel. Soon, they begin to have suspicions about Norman. ‘She just goes … a little mad sometimes.’ Thriller with a twist A few years earlier, Hitchcock had watched Henri-Georges Clouzot’s 1955 psychological masterpiece <a href="https://www.imdb.com/title/tt0046911/?ref_=nv_sr_srsg_0">Les Diaboliques</a> and sought out a similar project – a horrific thriller with a twist ending. He read <a href="https://www.goodreads.com/book/show/156427.Psycho">Robert Bloch’s novel Psycho</a> – itself inspired by the real-life <a href="https://www.biography.com/crime-figure/ed-gein">Wisconsin killer Ed Gein</a> – and optioned the film rights. Audiences saw things in Psycho that had never been shown before on screen. A toilet flushing. A murderer who goes unpunished. A post-coital Leigh, lying on a bed, dressed only in white underwear, while Gavin stands topless over her. All of Hitchcock’s trademark obsessions are on show: voyeurism, the dominant matriarchal figure, the blonde heroine, the untrustworthy cop. Over his career, Hitchcock had always flouted Hollywood’s <a href="https://www.npr.org/templates/story/story.php?storyId=93301189">Production Code</a>, those rigid rules that had been in place since the 1930s that prohibited onscreen nudity, sex and violence. Nowhere is Hitchcock’s brazen censor-defying clearer than in Psycho’s “shower scene”. Marion steps into the shower, a shadowy figure rips back the curtain, and cinema’s most visceral scene unspools, brutally, before our very eyes. Hitchcock, the master of suspense, never actually shows knife slicing flesh. Everything is implied, through liberal doses of chocolate sauce, hacked watermelons, Bernard Herrmann’s screeching violins, and Leigh’s blood-curdling screams. In one 60-second scene, Hitchcock shatters all the rules. It’s the most famous of all bait and switches: you expect one thing, but get another. Up to that point, no film had killed off its lead character so early in the story (nowadays, such an audacious twist shows up everywhere, from The Lion King to Games of Thrones). As Leigh slides down the blinding white tiles, arm outstretched, a new kind of cinema is born: twisted, shocking, primal. Inventing the cinema event Hitchcock famously ordered cinemas to not let any latecomers into screenings of Psycho, to keep the element of surprise. Previously, cinema-goers could wander into a film midway through, watch the last half, and then stick around for the restart to catch up on what they had missed. When your leading lady is butchered 45 minutes in, the film makes little sense if you arrive late – hence Hitchcock’s decree. While the reviews at the time of its cinema release were lukewarm, cinema as an “event”, as a communal experience shared by hundreds of people in the dark, began. There were queues around the blocks in cities across America as word of mouth grew. Grossing US$32 million (equivalent to A$468 million today) off a budget of US$800,000 (A$12 million today), Psycho made Hitchcock a very wealthy man. Other elements contributed to Psycho’s enduring influence. Saul Bass’s opening credits, all intersecting lines and sans-serif titles, anticipate the film’s fixation with duality and overlap. Budget constraints meant that Bernard Herrmann could only rely on his orchestra’s string section. Even people who have never seen the film instantly recognise his score. And Anthony Perkins, typecast forever after as the nervous mother’s boy with a dark secret, crafts a performance that is both sweetly disarming and deeply unsettling. Psycho sequels Its reputation has only grown since 1960. Critics and audiences remain transfixed by Psycho’s storytelling verve and its queasy tonal shifts (murder mystery to black comedy to horror). <a href="https://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-1996/turner-prize-1996-artists-douglas-gordon">Douglas Gordon’s 1993 art installation 24 Psycho</a> slowed the film down to last a full day. Douglas Gordon’s 24 Psycho (1993) video installation pays homage to every frame of the film. Academics have had a field day too, from <a href="https://books.google.com.au/books?id=qx9dDwAAQBAJ&lpg=PA4&ots=3sAjXQ_r40&dq=Raymond%20Durgnat%20micro-analysis%20psycho&pg=PP1#v=onepage&q=Raymond%20Durgnat%20micro-analysis%20psycho&f=false">Raymond Durgnat’s lengthy micro-analysis</a> to <a href="https://egs.edu/biography/slavoj-zizek/">Slavoj Žižek</a>’s reading of Bates’s house as an illustration of Freud’s concept of the id, ego and superego. Three progressively sillier sequels were made, as well as a colour <a href="https://www.imdb.com/title/tt0155975/?ref_=vp_back">shot-for-shot remake </a>by Gus van Sant in 1998. Brian De Palma’s entire back catalogue pays homage to Hitchcock, with whole sections of <a href="https://www.imdb.com/title/tt0070698/?ref_=nm_flmg_dr_30">Sisters</a> (1972) to <a href="https://www.imdb.com/title/tt0080661/?ref_=nm_flmg_dr_24">Dressed to Kill</a> (1980) reworking Psycho’s delirious excesses. Psycho’s box office success undoubtedly contributed to Hollywood’s abiding fascination with true-crime stories, serial killers, and slasher films. More recently, the TV prequel series <a href="https://www.imdb.com/title/tt2188671/?ref_=nv_sr_srsg_0">Bates Motel</a> ran for four seasons, deepening Norman’s relationship with his mother and tracking his developing mental illness. That series provides a set up for the events at the Bates Motel. Sixty years on, the setting for Psycho continues to exert such a pulsating thrill, even as we watch from behind the sofa. Written by Ben McCann. Republished with permission of <a href="https://theconversation.com/psycho-turns-60-hitchcocks-famous-fright-film-broke-all-the-rules-140175">The Conversation.</a>

Entertainment

5 classic isolation movies recommended by a film scholar

As a film scholar, I am constantly being asked if I am enjoying the lockdown because it has given me more time to watch films. My answer is not simple. Yes, it is good to catch up on some films I missed at the cinema, or finally get around to rewatching <a href="https://www.youtube.com/watch?v=Q9nZFUgyclE">Berlin Alexanderplatz</a>. But, for someone like me, who finds social isolation very difficult, watching movies alone can be a painful reminder of what a communal activity cinema-going usually is, as this <a href="https://www.iser.essex.ac.uk/files/iser_working_papers/2005-14.pdf">research from Essex University</a> has found. So I have started to watch films that reassure me that I am not the only one feeling lonely and going stir crazy. Here, then, are five great films about being stuck indoors or in forced isolation. Some of these may not be for the faint-hearted, but they are all well worth watching. Rear Window (Alfred Hitchcock, 1954) <a href="https://variety.com/1954/film/reviews/rear-window-1200417736/">Rear Window</a> may be the definitive lockdown movie. The story is simple: Jimmy Stewart’s adventure-seeking photographer finds himself trapped in his apartment with a broken leg. He begins to semi-innocently spy on his neighbours until he becomes convinced that one of them may have murdered their wife. <iframe width="440" height="260" src="https://www.youtube.com/embed/6kCcZCMYw38?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> The film is both a mischievous examination of the voyeur in us all, and a cautionary tale about the devil making work for idle hands. It is also a testament to the power of imagination. We might not be able to have meals, complete with champagne, delivered to us by Grace Kelly, but we can make up stories about what that strange man across the street is up to. It will help pass the time. And you know he’s doing the same about you. The Exterminating Angel (Luis Buñuel, 1962) Buñuel’s <a href="https://www.rogerebert.com/reviews/the-exterminating-angel-1968">surrealist masterpiece</a> remains cinema’s definitive portrait of societal breakdown, and 90% of it takes place in one room. Following a lavish dinner party at one of their houses, a large group of aristocrats find themselves inexplicably unable to leave the drawing room. The longer they remain there together the more the thin veneer of civilisation cracks. <iframe width="440" height="260" src="https://www.youtube.com/embed/ERHL5nzEMmM?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> First the servants leave and the guests are reduced to using antique vases as toilets. Soon the food and water run out and precious medication is stolen. The elderly and frail start to die. Some respond by indulging their hedonistic desires, some resort to prayer and calls for sacrifice, others kill themselves in despair. This might sound unbearably bleak, but Buñuel plays it all for the most mordant kind of comedy. Six decades have not blunted the fangs on this one. This is Not a Film (Jafar Panahi, 2011) In late 2010, Jafar Panahi, one of Iran’s greatest filmmakers, was sentenced by his government to six years in prison and a 20-year ban on making films for allegedly conspiring to produce “propaganda against the Islamic Republic”. Awaiting the final verdict under house arrest, Panahi did what any good dissident would do: he made a film. <iframe width="440" height="260" src="https://www.youtube.com/embed/AgZy00svH08?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> Shot on an iPhone and a digital camcorder, <a href="https://www.nytimes.com/2012/02/29/movies/hes-jafar-panahi-but-this-is-not-a-film.html">This is Not a Film</a> shows Panahi going about his daily routine, speaking to his lawyers, acting out scenes from a film he expects to never make, talking about his previous work, and interacting with a few neighbours and workmen. The result is a powerful riposte to state censorship and a sly work of meta-cinema typical of its maker. But the film also has an incredible urgency about it. It is as if Panahi had to make the film simply to stay sane. A timely reminder that you don’t need expensive equipment or money to make great art, and that sometimes the best work comes out of crisis and restraint. Housebound (Gerard Johnstone, 2014) It is easy to see why Peter Jackson went <a href="https://www.hollywoodreporter.com/heat-vision/new-line-remake-new-zealand-772536">out of his way to champion</a> this low-budget effort by first-time writer-director Gerard Johnstone (the famed New Zealand director called it “bloody brilliant”). Like Jackson’s own early films, Housebound shoots for a difficult balance of irreverent comedy, suspense, and splatter, and somehow pulls it off. <iframe width="440" height="260" src="https://www.youtube.com/embed/ji8Tsuj3u0c?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> The story revolves around a 20-something tearaway named Kylie who placed under house arrest in her childhood home, which her mother casually insists is haunted. At first Kylie thinks her mother is just dotty, but when she is also confronted by mysteriously opening doors, disappearing objects and noises in the night, she begins to wonder. Essential viewing for people with old, noisy houses. Extra points for the probation officer who reveals himself to be an amateur ghost hunter, and the very plucky female protagonist whose response to encountering a creepy doll is to smash its face in. Crowhurst (Simon Rumley, 2017) Independent British filmmaker <a href="https://www.thetimes.co.uk/article/film-review-crowhurst-b9lrx9rbp">Simon Rumley’s retelling</a> of Donald Crowhurst’s <a href="https://www.independent.co.uk/news/uk/this-britain/drama-on-the-waves-the-life-and-death-of-donald-crowhurst-421934.html">disastrous attempt</a> to sail solo and non-stop around the world in 1968, which ended in his disappearance and probable suicide, offers a masterclass in low-budget filmmaking. A good deal of the movie consists of Crowhurst (played by the excellent Justin Salinger) alone on a very small trimaran. Rumley, however, puts the viewer squarely inside Crowhurst’s head as his loneliness, isolation and fear of failure slowly cause him to crack. <iframe width="440" height="260" src="https://www.youtube.com/embed/qgWC8bJTld4?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> This is not a movie for everyone. It is intense to say the least, and the more unhinged Crowhurst gets, the more self-consciously raw the filmmaking becomes. The fact that it was championed by Nicolas Roeg, the late, great maestro of mind-bending British cinema, will be the ultimate recommendation for those looking for something more adventurous. This list is hardly exhaustive. There are many more films about isolation to watch while in isolation: from <a href="https://www.theguardian.com/film/2017/dec/29/persona-review-ingmar-bergman-rerelease">Persona</a> to <a href="https://www.americamagazine.org/arts-culture/2020/04/11/1995-film-safe-has-new-meaning-during-our-coronavirus-isolation">Safe</a>, from <a href="https://www.chicagotribune.com/news/ct-xpm-1997-10-03-9710030449-story.html">Repulsion</a> to <a href="https://variety.com/2006/film/markets-festivals/right-at-your-door-1200519062/">Right at Your Door</a>. I just wanted to guide people to a few lesser-known films alongside a pair of classics that worth revisiting now more than ever. Stay safe and happy viewing.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/135705/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/brian-hoyle-475856">Brian Hoyle</a>, Senior Lecturer in Film Studies, <a href="https://theconversation.com/institutions/university-of-dundee-955">University of Dundee</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/five-classic-isolation-movies-recommended-by-a-film-scholar-135705">original article</a>.

Entertainment

Parasite: The global rise of South Korean film

The international success of Parasite, the black comedy thriller by Bong Joon-ho, has been rather spectacular. It started with a slew of early season awards, including the prestigious <a href="https://www.theguardian.com/film/2019/may/25/bong-joon-hos-parasite-wins-palme-dor-at-cannes-film-festival">Palme d'Or</a> (by unanimous vote) at Cannes. It has now won <a href="https://variety.com/2020/film/asia/korea-celebrates-parasite-golden-globes-win-1203457949/">Best Motion Picture – Foreign Language at the Golden Globes</a>, multiple <a href="http://www.bafta.org/film/awards/ee-british-academy-film-awards-nominees-winners-2020">nominations at the Baftas</a>, and <a href="https://oscar.go.com/news/nominations/oscar-nominations-2020-list-nominees-by-category">six Oscar nominations</a>, including in some of the most distinguished categories (film, director and screen play). If it wins an Oscar, it would be the first Korean film to do so and a testament to the rising popularity and success of the Korean film industry internationally. <a href="https://www.statista.com/statistics/859817/south-korea-movie-export-value/">The estimated export value</a> of the Korean film industry in 2018 was US$41.6 million (£32 million). South Korea is the <a href="http://www.koreaherald.com/view.php?ud=20190530000661">fifth leading film market</a> by gross box office revenue after the US, China, Japan and the UK. <iframe width="440" height="260" src="https://www.youtube.com/embed/isOGD_7hNIY?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> Rooted in the 90s South Korea has come a long way since the damaging effects of <a href="https://www.history.com/news/japan-colonization-korea">Japanese occupation</a> (1910 to 1945) and the <a href="https://www.britannica.com/event/Korean-War">Korean War</a>, which ended with a ceasefire agreement in 1953. Experiencing monumental growth between 1960 and 1990, the country became one of the <a href="https://www.economist.com/special-report/2019/12/05/after-half-a-century-of-success-the-asian-tigers-must-reinvent-themselves">Four Asian Tigers</a> and is now the continent’s fourth largest economy. <iframe width="440" height="260" src="https://www.youtube.com/embed/1HRTy26s4hw?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> In the late 80s, as Korea emerged from a period of censorship, <a href="https://www.jstor.org/stable/1225545?seq=1#metadata_info_tab_contents">restrictions</a> that had previously limited the influx of foreign films were lifted. This led to an increased appetite for Hollywood blockbusters and a decline in Korean cinema. To protect the country’s arts industries and counter the effects of the <a href="https://www.britannica.com/event/Asian-financial-crisis">Asian economic crisis of the late 90s</a>, the government mounted several policies with a strong focus on promoting Korean culture abroad. Central to this was the <a href="https://wipolex.wipo.int/en/text/441192">Framework Act on the Promotion of Cultural Industries in 1999</a>, which said: <blockquote> The purpose of this Act is to lay the groundwork for the development of cultural industries and enhance the competitiveness thereof, thereby contributing to the improvement of the quality of national cultural life and development of the national economy, by providing for matters necessary for supporting and fostering cultural industries. </blockquote> As a result, <a href="https://martinroll.com/resources/articles/asia/korean-wave-hallyu-the-rise-of-koreas-cultural-economy-pop-culture/">South Korean culture has grown globally</a> in recent years. <a href="https://www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-explained">K-pop</a>, K-drama, K-beauty, and K-cuisine have all found new international audiences, initially in China and later in wider Asia and the west. <iframe width="440" height="260" src="https://www.youtube.com/embed/xwWgp1bqVwE?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> The “<a href="https://www.inverse.com/article/13916-the-korean-new-wave-and-the-anxieties-of-south-korean-cinema">Korean New Wave”</a>, the international fascination with Korean entertainment and film industry, began in the <a href="http://kultscene.com/introduction-to-the-korean-new-wave-of-cinema/">1990s</a>. This phenomenon, known as <a href="http://www.korea.net/AboutKorea/Culture-and-the-Arts/Hallyu">Hallyu</a>, centres around the work of directors <a href="https://www.imdb.com/name/nm0661791/">Park Chan-wook</a> (Oldboy, Lady Vengeance, The Handmaiden), <a href="https://www.imdb.com/name/nm0094435/">Bong Joon-ho</a> (Memories of Murder, Host, Okja and Parasite) and <a href="https://www.imdb.com/name/nm0453518/">Kim Jee-woon</a> (A Tale of Two Sisters and I saw the Devil). Distinctly Korean Korean cinema is <a href="https://books.google.co.uk/books?hl=en&lr=&id=vYSgpD1yWQ4C&oi=fnd&pg=PR7&dq=korean+cinema&ots=Jr0EGwPX4V&sig=GkUhIuE6ALUYbsGgi6qWKghSZgw&redir_esc=y#v=onepage&q=korean%20cinema&f=false">deeply embedded in the Korean experience</a>, eschewing Hollywoodisation and producing an oeuvre that makes a Korean film distinctive to international audiences. Korean society has a reverence for tradition and at once extraordinarily modern, and its cinema embodies these qualities proudly. Korean cinema has become known for often exploring the dark side of human experience. The films can be unsettling, often mixing dark humour with elements of extreme violence, sumptuous cinematography and high production values. Many of them feature passionate revenge stories (Oldboy, 2003, or I Saw The Devil, 2010), captivating crime investigations (Memories of Murder, 2004), or unusual friendships (Joint Security Area, 2000, or The Handmaiden, 2016). Not shying away from controversial topics or challenging its audience, Korean films dare to tread in places western films are sometimes scared of. It is not surprising, then, that they have attracted the attention of a wider public and the admiration of filmmakers such as Quentin Tarantino – who has compared Joon-ho to <a href="https://www.hollywoodreporter.com/news/quentin-tarantino-koreas-bong-joon-647767">Steven Spielberg in his prime</a>. <iframe width="440" height="260" src="https://www.youtube.com/embed/w4UUGIIZxFU?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe> The Oldboy official trailer. Parasite has amassed a <a href="https://www.koreanfilm.or.kr/eng/news/news.jsp?pageIndex=1&blbdComCd=601006&seq=5300&mode=VIEW&returnUrl=&searchKeyword=">box office revenue</a> of US$137 million (£105 million) globally, and <a href="https://www.forbes.com/sites/travisbean/2020/01/07/box-office-bong-joon-hosparasite-positioned-for-big-pre-oscars-run/#44b52aa4c182">is set to rake in more with this slew of awards and nominations</a>. Exceeding everybody’s <a href="https://variety.com/2019/film/news/parasite-bong-joon-ho-success-next-movies-marvel-netflix-1203408123/">expectations</a>, this subversive anti-capitalist film is winning over both critics and <a href="https://www.nytimes.com/2019/11/27/business/media/parasite-movie-studio-neon.html">audiences</a>. So much so, there is already a rumoured <a href="https://www.vulture.com/2020/01/bong-joon-hos-parasite-tv-show-expanded-film-not-remake.html">HBO series spin-off</a> in the works. Parasite’s accomplishments come off the back of Joon-ho’s previous <a href="https://www.nytimes.com/2017/06/27/movies/review-okja-bong-joon-ho.html">critical success with the 2017 ecological fantasy Okja</a>, <a href="https://twitter.com/bafta/status/965374939061735425?lang=en">Park Chan-wook’s 2018 film Handmaiden</a> (the first Korean film to be nominated for and win a Bafta) and <a href="https://www.gq.com/story/burning-oscar-snub">Lee Chang-dong’s 2018 film Burning</a> (the first Korean film to make it to shortlist for best foreign film at the Oscars). If this momentum is anything to go by, the “Korean Wave” is only set to get bigger.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/128595/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/agata-lulkowska-439983">Agata Lulkowska</a>, Lecturer in Film Production, Staffordshire University, <a href="http://theconversation.com/institutions/staffordshire-university-1381">Staffordshire University</a> This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/an-oscar-for-parasite-the-global-rise-of-south-korean-film-128595">original article</a>.

Entertainment

Frozen 2 becomes the highest-grossing animated film of all time

Frozen 2 has officially been crowned as the highest-grossing animated film in history, topping its predecessor Frozen. The sequel has amassed US$1.325 billion at the global box office in the first full week of January 2020, less than two months after its release. Nearly $450 million of that sum came from the US, while the biggest bounties made <a href="https://variety.com/2020/film/box-office/frozen-2-biggest-animated-movie-ever-disney-box-office-1203456758/">overseas</a> came from China ($118 million), Japan ($103.8 million), South Korea ($96.2 million) and the UK ($65 million). The earnings surpassed the records set by the original Frozen ($1.28 billion) in 2013 and The Incredibles 2 ($1.243 billion) in 2018. All three films are from Disney Animation/Pixar. In 2019, Disney became the first studio in the world to gross more than $10 billion at the global box office, thanks to high-performing titles such as Avengers: Endgame ($2.798 billion), The Lion King ($1.656 billion), Captain Marvel ($1.13 billion), Toy Story 4 ($1.074 billion) and Aladdin ($1.051 billion). With Frozen 2 crossing the billion dollar mark, the studio is likely to see seven of its movies – including Star Wars: The Rise Of Skywalker – gross <a href="https://deadline.com/2019/12/disney-crosses-10-billion-worldwide-box-office-new-all-time-record-1202803824/">over $1 billion in a single calendar year</a>.

Entertainment

What is there to love about black and white films? Everything!

Any photography app worth its hashtags features a black and white mode. It’s as much a part of the tech shebang as filters. In this hypersaturated mega mega-pixeled era, it seems we just can’t get away from the eternal beauty that is black, white and the grayscale between. It is simultaneously austere and flattering. Totes arty as the millennials might say. Many of us, of course, can remember when black and white wasn’t a choice. Like national service, short back and sides and the poetry of John Laws, it was pretty much mandatory. Especially if you wanted to catch the latest goings on at Number 96. But where the format really shone was film. Every few years, some hip director who is inordinately fond of the word “zeitgeist” rediscovers the sheer monochromatic magnificence of the medium. And we get titles such as The Artist and Nebraska as a result. But you know what? The rest of them can keep their CGI and digital cameras that can pick up every pore on Angelina Jolie’s nose. Black and white gave generations of screen goddesses the ethereal allure necessary for the title. It flattered and cajoled like a teenage boy working up to ask the prettiest girl in school to the prom. Twelve-feet tall and in a flickering beam, Ava, Marilyn, Joan and Bette didn’t look like people you saw on the streets of Adelaide or Melbourne. And that was precisely the point. Call me a misty-eyed nostalgic but I prefer my Katharine as a Hepburn not a Heigl and Bacall over Beyonce. Lest you write this reminiscence off as a priapic stroll down mammary lane, let’s get to the likes of Cary and Cagney. Black and white was ideal for portraying men who saw the world in precisely these terms. Enigmas in dinner jackets with flinty faces, and hearts that would never be broken again. Even if it meant a lifetime of last drinks and loneliness. If this all sounds rather romantic, no apologies are made. That was the point. Because when you stepped out into the Technicolour sunshine of Australian daylight, you blinked to not only accustomise your eyes to the light but the fact that you were no longer beside Charles Foster Kane’s bed as he breathed his enigmatic last. Of course, the technology exists to colourise pretty much any film you care to mention but this Pantone migration has not taken place. Want to know why? No one wants to see the hues of Rick’s Café Americain, let alone its proprietor. It’s better than fine as is. From a craft perspective, the filmmakers simply did not have the luxury of a rainbow to create a sense of foreboding or fantasy. What they had at their disposal was light and shadow, perspective and dimension. Not to mention the European expressionist grounding that gave rise to an American artform as idiosyncratic as jazz: film noir. Aesthetics aside, black and white films also throw down a visual challenge to the viewer; they make you recalibrate the image and subliminally add the colour yourself. Or not. You have the option. It is as much a cinema of inference as exposition. Take the shower scene in Psycho as an example. Do you think the infamous shot of Janet Leigh’s blood gurgling into the shower drain would be any more chilling if it was red instead of grey? We say no. What director Alfred Hitchcock asks viewers to bring to party is the finishing touches, the custom viridian spoutings of their nightmares. The original plasma screen if you will. So roll on black and white, roll on. Down in front and pass the Jaffas. Written by David Smiedt. Republished with permission of <a href="https://www.wyza.com.au/articles/lifestyle/in-praise-of/in-praise-of-black-and-white-films.aspx">Wyza.com.au.</a>

Entertainment

New Jurassic short film released

Jurassic World fans need not wait for the next installment of the movie franchise to hit the screens, as a new short film has been released online. Directed by Colin Trevorrow, Battle at Big Rock takes place a year after Jurassic World: Fallen Kingdom, focusing on the adventure of a blended family at Big Rock National Park as their family vacation gets disrupted by dinosaurs in the wild. The eight-minute short picks up where the last film ended – in this universe, the beasts are now roaming freely around the world and everyday people lead far more perilous lives, fighting for survival during their daily commutes and wedding ceremonies. Watch the short film here: <div class="embed-responsive embed-responsive-16by9"><iframe class="embed-responsive-item" src="https://www.youtube.com/embed/C7kbVvpOGdQ"></iframe></div>

Entertainment

The Gone With the Wind mansion could be yours - Can you guess for how much?

The beautiful antebellum property which inspired Margaret Mitchell’s Gone With the Wind is now up for grabs. Located in Covington, Georgia, the plantation-style property was featured in Twelve Oaks, where one of the key characters, Ashley Wilkes, lived. While Mitchell wanted little to do with the film adaption of her novel, she came across a mesmerising photograph of a mansion built in 1836 and immediately cut it out and posted it to then director David Selznick saying it was identical to the house she envisioned for Ashley Wilkes. The film went on to win numerous Oscars. The Greek-revival mansion could be yours - with the bid starting from US$1 million. After a full blown renovation on the 12-bedroom, 13-bathroom property, it looks much different to when Michell first accidentally came across it. With a massive, state-of-the-art kitchen, and a classy fresh feel, it is a home many could find solace in. The area in which the house is located has been dubbed the Hollywood of the South, with over 125 films being shot there to date. With beautiful hardwood floors, and soaring 11-foot ceilings - it is the ultimate home for entertaining. The home also boasts a large dining room, new kitchen, a formal parlour, and personal library. The home sits on over 3 acres of land, and includes Tesla charging station for cars and golf carts. Outside, is a swimming pool with a historic pergola, covered porches and an expansive deck which is the perfect entertaining space. For the last seven years, the special home has served as a bed and breakfast, and has also been an extremely popular venue for hosting weddings. Scroll through the gallery above to see the Gone With the Wind home.

Travel

This heartwarming short film teaches you how to pack a suitcase

Need a tip or two on how to pack for your next trip? This short flick might just do the trick – and leave you reaching for the tissues in the process. The award-winning film Negative Space is a stop-motion short based on a 150-word poem by Ron Koertge. Directed and written by Max Porter and Ru Kuwahata, the film tells a story of a father-and-son relationship, complemented with packing tips such as: “Lay out everything. Put back half. Roll things that roll. Wrinkle-prone things on top of cotton things. Then pants, waist-to-hem. Nooks and crannies for socks. Belts around the sides like snakes. Plastic over that. Add shoes. Wear heavy stuff on the plane.” <iframe src="https://player.vimeo.com/video/345922827?color=ff9933&byline=0&portrait=0" width="640" height="360" frameborder="0" allow="autoplay; fullscreen" allowfullscreen=""></iframe> The five-minute video was nominated for the Best Animated Short Film at the 90th Academy Awards, and won more than 100 prizes – so you’re in for a good viewing session.

Travel

Space Oddity at 50: The novelty song that became a cultural touchstone

When the 22-year-old David Bowie penned Space Oddity, a song that would ultimately become a <a href="https://bowiesongs.wordpress.com/2009/11/11/space-oddity/">recognised</a> classic, he was a burgeoning pop artist without a record deal. A folk singer without a gig, a sometime mime, and a purveyor of <a href="https://youtu.be/NUiboPRPOzo">ice creams</a>. His first serious relationship, with the actress <a href="https://www.theguardian.com/commentisfree/2019/feb/01/david-bowie-girl-mousy-hair-muse">Hermione Farthingale</a>, was in free fall. It was December 1968, and Bowie’s manager Kenneth Pitt was collating a promotional film to pimp his client’s wares to London television and film producers. He requested Bowie pen a “special piece of new material” to contemporise the otherwise retrospective nature of the film. And then, on Christmas Eve, astronaut Bill Anders captured his iconic photograph of Earth from the Apollo 8 spacecraft while circumnavigating the Moon. The Earthrise image was still resonating in the public’s imagination when Bowie retreated to his room in Clareville Grove, London to write his space cabaret. Composing on a 12-string Hagstrom guitar with a little sonic weirdness from a Stylophone given to him by <a href="https://en.wikipedia.org/wiki/Marc_Bolan">Marc Bolan</a>, he came up with Space Oddity. A blatant commercial object, a “pragmatic” turn by a fledgling artist, the song would become an anthem for space exploration for decades (and for TV news obituaries on the occasion of Bowie’s <a href="https://youtu.be/mH3-HV2WDdQ">death</a> in 2016). Space Oddity tells of an astronaut Major Tom, launched into space in a manner akin to the Apollo missions. Yet in this instance all does not go according to plan and he is left adrift in the abyss of space, “floating ‘round my tin can, far above the Moon.” At the time it was considered a “novelty song” to hang alongside other opportunists riding the vapor trails of the <a href="https://www.nasa.gov/audience/forstudents/5-8/features/nasa-knows/what-was-the-saturn-v-58.html">Saturn V</a>. (<a href="https://www.nytimes.com/2019/06/29/fashion/watches-omega-speedmaster-moonwatch-anniversary.html">Omega</a> watches, <a href="https://www.orlandosentinel.com/space/apollo-11-anniversary/os-ne-apollo-11-tang-20190704-ahrgsi5hmfdunfy4ldazrgvkr4-story.html">Tang</a>, <a href="https://www.atlasobscura.com/articles/first-energy-bar">Space Food Sticks</a> etc). Bowie was acutely aware of the commercialisation of the space exploration story, of course. “You have really made the grade, and the papers want to know whose shirts you wear,” exalts ground control as Tom hurtles towards the heavens. Eschewing the typical pop song template, Bowie designed the piece as if it was a dramatic play. “I think I wanted to write a new kind of musical,” he <a href="https://slate.com/culture/2015/12/david-bowie-and-enda-walsh-musical-lazarus-reviewed.html">reflected</a> in 2002, “and that’s how I saw my future at the time.” The song – one of his earliest and perhaps most outrageous musical assemblages – is also indicative of the artist he would become, a restless creative magpie perched by the wireless, plucking phrases and vocal stylings from the inbound radio waves. The definitive version, recorded in late June 1969 at Trident Studios, was pressed and released as a single within three weeks – on July 11 – to leverage the hype of the impending Apollo moon landing. It also sealed a new recording deal with Mercury Records. Bowie was back. However, his long-time producing partner <a href="https://en.wikipedia.org/wiki/Tony_Visconti">Tony Visconti</a> refused to work on the song, citing it as a distasteful departure from the singer’s hippie folk leanings. Visconti’s unease led him to recommend <a href="https://en.wikipedia.org/wiki/Gus_Dudgeon">Gus Dudgeon</a> (who would later work with Elton John) as producer. The song’s adventurous orchestration and unsettling harmonics owe much to Dudgeon’s ambition. Through resonance, tone and unexpected harmonic shifts Bowie and Dudgeon achieved a meta-pop song full of cultural and musical references. There are lyrical and tonal references to the Bee Gees’ <a href="https://youtu.be/S43YhQ_eGTw">New York Mining Disaster 1941</a> while an acoustic passage signposts <a href="https://youtu.be/gP3-TU6xPvc">Old Friends</a> by Simon & Garfunkel. Even the metallic chimes of the Stylophone recall the pulsating intro of the Beatles’ <a href="https://youtu.be/t1Jm5epJr10">I Am The Walrus</a>. This was music for space, both inside and out, an experimental sonic palette that would open up a whole <a href="https://www.technologyreview.com/s/613762/space-music-drugs/">new genre</a> of musical art direction. Of course, Kubrick’s <a href="https://www.imdb.com/title/tt0062622/">2001: A Space Odyssey</a> hangs heavily over proceedings. The two works are not only linked by name, but by their respective critiques of the cultural zeitgeist of “space fever”. A sense of melancholia and detachment permeates Bowie’s recording. Yet, Major Tom’s predicament – floating in a tin can far above the world – is perhaps not the perilous event we might suspect. He seems quite OK with it all. Even his observation that there is “nothing I can do” comes across as somewhat of a relief. We are never really sure whether the communication breakdown with ground control was accidental or by design. In Norman Mailer’s Apollo 11 chronicle <a href="https://www.goodreads.com/book/show/238970.Of_a_Fire_on_the_Moon">Of a Fire on the Moon</a>, he notes that the “obvious pleasure” of the astronaut, “was to be alone in the sky”. Rushing towards the stars Still, in a 1980 <a href="https://www.npr.org/sections/therecord/2017/10/06/555850186/how-ashes-to-ashes-put-the-first-act-of-david-bowies-career-to-rest">interview</a>, Bowie revealed Major Tom’s dilemma was a comment on what he saw at the time as the limits of American exceptionalism: Here we had the great blast of American technological know-how shoving this guy up into space, but once he gets there, he’s not quite sure why he’s there. And that’s where I left him. For such a challenging work, the press reaction in Britain to Space Oddity was largely positive, Tony Palmer, writing in the Observer, appreciated the song’s cynical air at a time when “we cling pathetically to every moonman’s dribbling joke, when we admire unquestioningly the so-called achievement of our helmeted heroes.” Music journalist Penny Valentine’s review for the ensuing album, which would feature Space Oddity as the lead track, observed that Bowie had captured “the rather frightening atmosphere we all live in as the backdrop to his songs.” Indeed, come July 1969, the promise of the sixties and the hippy trip of the free love movement were a few festivals and a bunch of ghoulish murders away from coming to an end. The sense of being adrift like Major Tom was not just a fantasy construction any more. The song’s television debut would be on July 20 when the BBC aired the track during the Apollo broadcast, albeit after the Lunar Module had safely touched down. A scenario that even surprised Bowie – “of course, I was overjoyed that they did”. Despite its contrived beginnings, Bowie designed a cultural touchstone for a historic moment of human engineering and blind courage. Even 50 years hence, he appears to us fully formed on Space Oddity as a moonstruck balladeer and completely in synch with the times. The immaculately dressed changeling who would go on to hit the glam rock jackpot with his alien stage persona <a href="https://youtu.be/3qrOvBuWJ-c">Ziggy Stardust</a>. A character who captured the abrasive temperament of the moment as he straddled the jet-trails of our collective rushing towards the stars. Written by Mitch Goodwin. Republished with permission of <a href="https://theconversation.com/space-oddity-at-50-the-novelty-song-that-became-a-cultural-touchstone-120071">The Conversation</a>.

Entertainment

Director’s cuts: Are they better than regular movies?

Ridley Scott and James Cameron did it, and George Lucas never stops. Directors ceaselessly return to their work to tweak, tinker, chop and change. Extended Cut, Definitive Version, Special Edition: the list goes on. <a href="https://www.imdb.com/title/tt10643608/">Apocalypse Now: Final Cut</a>, Francis Ford Coppola’s supposedly definitive version of his 1979 epic Vietnam war film, will be released in Australia today. But are these new versions just an excuse for obsessive tinkering and self-indulgence? The director’s cut refers to a version of the film that remains closest to the director’s original vision, rather than the theatrical version officially released by the studio. In an era of DVD and streaming services, these alternative cuts are becoming increasingly attractive to studio boss, director and movie lover alike. These “new” films, often only fractionally altered, throw the commerce versus art equation that has underpinned Hollywood for more than a century into sharp relief. The studio gets another chance to market a beloved film, the fans can endlessly debate the differences between the old and new version, while the director can once more return to the editing studio, elusively seeking perfection. In that sense, everyone wins. With director’s cuts, the romantic myth of the brilliant (usually male) director battling against numbers-obsessed Hollywood is also reinforced. The good and the bad Director’s cuts often seek to rectify an injustice. Studio executives will often demand last-minute edits or reshoots if test screenings go badly. Directors who bitterly complained about how studios altered their vision can now go back and showcase the film as it was meant to be seen. For example, director David Ayer <a href="https://screenrant.com/suicide-squad-cut-david-ayer-different/">recently acknowledged</a> his original cut of the dark superhero film <a href="https://www.imdb.com/title/tt1386697/?ref_=nv_sr_1?ref_=nv_sr_1">Suicide Squad</a> was radically different to the studio-sanctioned release. The studio requested significant reshoots to lighten the tone and inject more comedy – but the “Ayer cut” only can be accessed on DVD and Blu-ray. Other director’s cuts improve on the original version by bolstering visual scope, narrative continuity and emotional engagement. For example, the 17 minutes of deleted footage from James Cameron’s <a href="https://www.imdb.com/title/tt0090605/?ref_=nv_sr_1?ref_=nv_sr_1">Aliens</a> (1986), since restored to the 1990 Special Edition, are a masterclass in building tension and deepening character. Ridley Scott’s endless reworking of the science-fiction/neo-noir <a href="https://www.imdb.com/title/tt0083658/?ref_=nv_sr_2?ref_=nv_sr_2">Blade Runner</a> remains the gold standard. First released in 1982, Scott oversaw a new version ten years on, and then the so-called Final Cut in 2007 (re-released on Blu-ray in 2017). He removed the ponderous voice-over from Deckard (Harrison Ford), axed the happy ending and inserted opaque dream sequences that continue to nourish the film’s philosophical ambiguities. But some directors just do not know when to stop. To coincide with the 20 year anniversary of <a href="https://www.imdb.com/title/tt0076759/?ref_=ttmi_tt">Star Wars</a> in 1997, George Lucas created a digitally remastered Special Edition (spruced up versions of <a href="https://www.imdb.com/title/tt0080684/?ref_=nv_sr_1?ref_=nv_sr_1">The Empire Strikes Back</a> (1980) and <a href="https://www.imdb.com/title/tt0086190/?ref_=nv_sr_1?ref_=nv_sr_1">Return of the Jedi</a> (1983) followed a few weeks later). Lucas stuffed the trilogy with reinstated scenes, polished up degraded images and sound and reaped extraordinary success (<a href="https://www.forbes.com/sites/scottmendelson/2017/02/01/20-years-ago-star-wars-special-edition-made-star-wars-special-again/#2835bb712a61">US$472 million</a> at the global box office was mightily impressive for a trilogy nearly two decades old). There was only one problem – the Special Editions were castigated by fans. Many resented the retrofitted visuals and jarring CGI enhancements; for others, the most egregious alteration – having bounty hunter Greedo now shoot Han Solo first in a Mos Eisley cantina – compromised Han’s character arc from rogue to hero across the trilogy. Lucas’s incessant meddling (he returned to the trilogy again in 2004 and 2011) has been seen as a way of perpetually monetising the much-beloved originals. All along, <a href="https://www.youtube.com/watch?v=qm1zaTUnoTE">his response</a> to such criticism has been consistent – he was waiting for technology to catch up to his original vision. As for Coppola, he has been here before. In 2001, he presented <a href="https://en.wikipedia.org/wiki/Apocalypse_Now_Redux">Apocalypse Now: Redux</a> to ecstatic reviews during the Cannes Film Festival. Nearly an hour of footage cut from the 1979 version was reinserted, including the famously woozy “French plantation” scene. This new version was hailed as extraordinary – “redux” means “a work of art presented in a new way”. But Coppola clearly was not done. Apocalypse Now: Final Cut premiered in New York back in April, 19 minutes shorter than Redux. In Final Cut, <a href="https://www.tribecafilm.com/filmguide/apocalypse-now-2019">Coppola has</a> finessed the colour balance and sound design, no doubt hoping to add to the film’s hallucinogenic qualities. Despite the important contributions of <a href="https://theconversation.com/apocalypse-now-turns-40-rediscovering-the-genesis-of-a-film-classic-113448">writer John Milius</a>, cinematographer Vittorio Storaro and sound designer and editor Walter Murch, this latest version reinforces the romantic idea of the director as the sole auteur. Coppola’s fingerprints are all over Final Cut. Here is a powerful director who, like Spielberg, Lucas and Scott, has been given endless opportunities to refine his vision. This tells us a lot about Hollywood’s commodification of the auteur and the ongoing importance of the director’s name in selling a product. “A work of art is never completed, only abandoned”, noted the French poet Paul Valéry. Apocalypse Now: Final Cut is the latest exhibit to suggest films are never really finished – the artistic process is endlessly reworkable. Written by Ben McCann. Republished with permission of <a href="https://theconversation.com/from-star-wars-to-apocalypse-now-directors-cuts-are-all-the-rage-but-do-they-make-the-films-any-better-120755">The Conversation</a>.

Entertainment

How the film “Yesterday” was able to use so much of The Beatles music

The film Yesterday goes into the story about how a struggling songwriter is losing his passion for music and he gets hit by a bus. Upon awakening, he realises that he is the only one in the world who knows who The Beatles are and uses their discography to rise to fame. However, many people were surprised that the film managed to get some of the most recognisable songs from the band into the film. Surely, that would’ve cost a fortune. Danny Boyle, the film’s director, had a plan. The production company behind the film had a deal with Apple and Sony which allowed screenwriter Richard Curtis and Boyle to choose up to 18 songs and even switch their picks when they were shooting and editing the film. After all, there’s no point having a joke hinge off a niche Beatles song. The audience won’t get it. Curtis explained this to <a href="https://www.nydailynews.com/news/national/ny-yesterday-beatles-songs-20190707-gehxkurakngldohru2waj3o4hu-story.html">NY Daily News</a>: “For the jokes to work it has to be songs people recognize… if Jack sat down at the piano in that Ed Sheeran scene and plays “Not a Second Time,” most people won’t know it’s the Beatles.” The scene in question is where the main character of the film is working with Ed Sheeran and singing “Hey Jude”. Sheeran has a brainwave and suggests changing it to “Hey Dude”. Boyle told <a href="https://www.billboard.com/articles/columns/pop/8512779/danny-boyle-yesterday-the-beatles-interview">Billboard</a> what happened when they obtained the rights. “Apple and Sony are very picky about not only who uses the band’s music but how it is used. Working Title did that first because there’s no point in spending money on a film like Yesterday unless you can guarantee you’ve got the music. It made for a top-heavy budget -- the costs for the songs were very expensive, a substantial part of the film’s budget. But they made a clever deal, allowing us the freedom to change songs up to the last minute.” Billboard estimated that it cost $10 million for the songs to be featured in Yesterday. However, Boyle also did his due diligence and reached out to Paul McCartney, Ringo Starr and the widows of George Harrison and John Lennon about his intentions for the film.

Entertainment

3 mind blowing movie theories

Nothing beats the thrill of watching a brilliant movie for the first time. But you can come close to recapturing that magic if you’re willing to watch that familiar film from a different perspective. Many movies leave unanswered questions – and the occasional gaping plot hole – and it’s up to the audience to fill in the blanks. Often, the movie theories that fans come up with to explain a weak plot point or curious bit of character development are more imaginative than the filmmakers themselves claim to have intended. Nevertheless, these theories are based on hints – however subtle – that keen audiences have picked up on, viewing after viewing. Check out these mind-blowing movie theories, and get ready to re-watch your favourite flicks with fresh eyes. 1. “James Bond” is actually a code name Fans of the James Bond film franchise may have noticed that even as the decades pass and the technology changes, Bond himself is forever young and ready for action. Some have attributed this to the production teams updating the character to keep him relevant, while others have a more cunning explanation. Have you ever considered that ‘James Bond’ is merely a code name for various 007 agents? This would certainly explain why the man never seems to age, and why he isn’t shy about introducing himself with the iconic “Bond … James Bond” in the presence of potential foes. 2. Jar Jar Binks is a Sith Lord Jar Jar Binks is probably the most hated character of the Star Wars prequels, and this theory gives us a reason to hate him even more. Some have suggested the gullible, dim-witted and clumsy character is in fact an evil Sith Lord, pulling the strings in the background to help Senator Palpatine become emperor. Where’s the proof, you ask? Well, his prowess on the battlefield and ability to escape Episode 1: The Phantom Menace unscathed is one piece of evidence. More insidiously, however, is the fact that in many scenes, Jar Jar appears to be mouthing the words other characters are saying and using subtle hand gestures – suggesting he may be using the Force to manipulate those around him. What’s more, Jar Jar is also the one who urges the senate to give Palpatine supreme power later on in the series. Still not convinced? You might recall Yoda is portrayed as an old, naïve and somewhat silly character when he’s first introduced in The Empire Strikes Back, but we quickly learn that despite appearances, he’s a wise and powerful Jedi knight … 3. The Hunger Games takes place in a parallel universe Reddit user TheMartianManhunter developed a theory that argues that the popular book and film series takes place in an alternative universe where Britain won the American Revolutionary War of 1775-1783. According to this version of history, Britain defeated the Americans and struck fear into the hearts of the 13 colonies by destroying one – District 13. To continue demoralising the remaining colonies, the British developed the Hunger Games. They also established the Capitol and installed a ruthless governor (President Snow) to oversee the colonies. Written by James Jackson. This article first appeared in <a href="http://www.readersdigest.com.au/true-stories-lifestyle/thought-provoking/3-mind-blowing-movie-theories">Reader’s Digest</a>. <img style="width: 100px !important; height: 100px !important;" src="https://oversixtydev.blob.core.windows.net/media/7820640/1.png" alt="" data-udi="umb://media/f30947086c8e47b89cb076eb5bb9b3e2" />

Entertainment

10 rainy day movies that will warm your heart

There can be nothing better than curling up on the couch and becoming immersed in a fantasy world. Here we look at some of the classic movies that will warm your heart on a rainy day. 1. Gone with the Wind Set in the deep south during the American civil war, this 1939 classic is a much-loved favourite. Pop the corn, pull up a comfy chair and prepare to be mesmerised for four hours as Scarlett O'Hara (Vivien Leigh) and Rhett Butler (Clark Gable) battle it out in the name of love. 2. On Golden Pond Henry Fonda and Katharine Hepburn star in this 1981 award-winning drama about two elderly grandparents who unexpectedly have their teenage grandson stay with them for the summer holidays 3. Terms of Endearment When widow Aurora Greenway finds herself alone after her daughter marries and moves interstate, she reluctantly takes up with her new neighbour, a womanising drinker who thinks he's God's gift. 4. The Notebook The story of Allie and Noah is a tale of young love, painful loss, dedication and promises. A modern day classic romance, this is a perfect movie to snuggle-down with on any lazy afternoon. 5. Babe When Farmer Hoggett wins a piglet, Christmas dinner springs to mind. But the relationship between pig and farmer takes a turn that has Mrs Hoggett and and the local community questioning his sanity. A delightful family classic that was filmed in New South Wales. 6. Forrest Gump This film chronicles the life of Forrest Gump, a lovely, slow-witted man who seems to be at the centre of many influential moments in history. His phrase, “life is like a box of chocolates” became a catchphrase in the nineties. 7. When Harry Met Sally When Harry and Sally where at college, they didn’t get along. Then after years of not seeing each other they suddenly meet again and become close friends...and more. An hilarious romantic comedy! 8. As Good As It Gets The lives of a grumpy bachelor; a single-mother and a battered artist mesh to form caring friendships and a reluctant romance. 9. Little Miss Sunshine The Hoover family set off on a road trip so seven-year-old dance queen wannabe, Olivia can compete in a prestigious competition. It's a riotous ride. 10. The Miracle Worker This is the true story of Helen Keller, who becomes blind, deaf and mute after contracting an illness as a toddler. When her parents seek help, teacher Annie Sullivan is brought into their lives. Her patience, love and dedication changes everything. These 10 great movies will have you forgetting about the rain in no time! What's your favourite? Leave a comment below. Written by Jennifer Morris. Republished with permission of <a href="https://www.wyza.com.au/articles/entertainment/10-rainy-day-movies-that-will-warm-your-heart.aspx">Wyza</a>.

Entertainment

Why we love black and white films

Any photography app worth its hashtags features a black and white mode. It’s as much a part of the tech shebang as filters. In this hyper saturated mega-pixeled era, it seems we just can’t get away from the eternal beauty that is black, white and the grayscale between. It is simultaneously austere and flattering. Totes arty as the millennials might say. Many of us, of course, can remember when black and white wasn’t a choice. Like national service, short back and sides and the poetry of John Laws, it was pretty much mandatory. Especially if you wanted to catch the latest goings on at Number 96. But where the format really shone was film. Every few years, some hip director who is inordinately fond of the word “zeitgeist” rediscovers the sheer monochromatic magnificence of the medium. And we get titles such as The Artist and Nebraska as a result. But you know what? The rest of them can keep their CGI and digital cameras that can pick up every pore on Angelina Jolie’s nose. Black and white gave generations of screen goddesses the ethereal allure necessary for the title. It flattered and cajoled like a teenage boy working up to ask the prettiest girl in school to the prom. Twelve-feet tall and in a flickering beam, Ava, Marilyn, Joan and Bette didn’t look like people you saw on the streets of Adelaide or Melbourne. And that was precisely the point. Call me a misty-eyed nostalgic but I prefer my Katharine as a Hepburn not a Heigl and Bacall over Beyonce. Lest you write this reminiscence off as a priapic stroll down mammary lane, let’s get to the likes of Cary and Cagney. Black and white was ideal for portraying men who saw the world in precisely these terms. Enigmas in dinner jackets with flinty faces, and hearts that would never be broken again. Even if it meant a lifetime of last drinks and loneliness. If this all sounds rather romantic, no apologies are made. That was the point. Because when you stepped out into the Technicolour sunshine of Australian daylight, you blinked to not only accustomise your eyes to the light but the fact that you were no longer beside Charles Foster Kane’s bed as he breathed his enigmatic last. Of course, the technology exists to colourise pretty much any film you care to mention but this Pantone migration has not taken place. Want to know why? No one wants to see the hues of Rick’s Café Americain, let alone its proprietor. It’s better than fine as is. From a craft perspective, the filmmakers simply did not have the luxury of a rainbow to create a sense of foreboding or fantasy. What they had at their disposal was light and shadow, perspective and dimension. Not to mention the European expressionist grounding that gave rise to an American artform as idiosyncratic as jazz: film noir. Aesthetics aside, black and white films also throw down a visual challenge to the viewer; they make you recalibrate the image and subliminally add the colour yourself. Or not. You have the option. It is as much a cinema of inference as exposition. Take the shower scene in Psycho as an example. Do you think the infamous shot of Janet Leigh’s blood gurgling into the shower drain would be any more chilling if it was red instead of grey? We say no. What director Alfred Hitchcock asks viewers to bring to party is the finishing touches, the custom viridian spoutings of their nightmares. The original plasma screen if you will. So, roll on black and white, roll on. Down in front and pass the Jaffas. What are your memories of black and white films? Let us know in the comments below. Written by David Smiedt. Republished with permission of <a href="https://www.wyza.com.au/articles/lifestyle/in-praise-of/in-praise-of-black-and-white-films.aspx">Wyza</a>.

Entertainment

Why it’s time Hollywood lets go of ageist stereotypes

As we age, we start to become more aware of how the world stigmatises the elderly – especially in the realm of movies. We’re told we’re technologically illiterate and we’re frail and tired. These negative stereotypes are almost always associated with those in the senior age bracket, and it seems that actors and actresses over 60 are forced to play these roles as there is hardly anything of substance on offer. According to a recent study by the USC Annenberg School for Communication and Journalism, ageism isn’t just insulting, but it’s also incredibly unhealthy. Researchers analysed 4,066 speaking roles in the top grossing movies for 2015. They then made the grim discovery that only 11% of the speaking roles went to actors aged over 60. What makes it even worse, is that half of these roles reinforced ageing stereotypes. So what can we do to fight back? Believe it or not, you have a lot more power than you assume. First things first, avoid any movies that show seniors in a negative light. Don’t give them your money and don’t take your grandchildren to watch them either. Also build awareness within yourself. When watching movies, pay attention to how the older character is portrayed. And if they’re treated as an afterthought, remind yourself that people our age are accomplishing phenomenal things. They’re going back to school, taking up dance classes, starting technology companies and more. We may be weak on the silver screen, but we’re powerful in real life.

Entertainment

5 bizarre movie facts that will blow your mind

In this day and age, filmmakers have trained us to keep a watchful eye for cheeky references and jokes that they managed to sneak into their movies. While they serve absolutely no purpose, it gives the viewers a fun challenge to take part in. But as we give ourselves a pat on the back for the ability to discover their sneaky tactics, the truth is, some of your favourite movies have secrets that go beyond the realm of silly jokes – and chances are, you weren’t aware of these facts till now. Scroll through the gallery above to read the top 5 weirdest movie facts. Do you know any other strange movie facts that we should know about? Let us know in the comments below.

Entertainment

Helen Mirren talks ageism in Hollywood

Ageism in the media is far from a new concept. With many actresses speaking up about the unfair advantage those who are younger receive when it comes to obtaining coveted roles and opportunities. But while the topic is important to touch on, us mere mortals may find it hard to relate to the glitz and glamour of Hollywood. It’s been a point of discussion for a few years now, with starlets coming out and voicing their concerns over pay disparities compared to their male counterparts. And while it’s unfair, human nature is a fickle thing, where we tend to sympathise with those we can relate to. Actress and legend, Helen Mirren is known to be intelligent and eloquent, so when she raised her voice against the disadvantage’s women face on and off screen, you know that her argument would raise some valid points. Speaking to <a href="https://variety.com/2016/film/news/helen-mirren-fast-8-women-hollywod-pay-gap-1201884251/">Variety</a> magazine for their “Power of Women” issue, the 73-year-old said that ageism in Hollywood isn’t just about what happens on-screen, but also what happens when the cameras aren’t rolling. When The Queen star was asked about how she views the changing landscape of women in media, she said: “I have witnessed such a huge change. The biggest change for me, and the best change, is to see women on the set, in the crew. It wasn’t that long ago I saw my first female electrician. And to me, that’s really exciting. That’s a really big change, because that was such a macho, male world.” Women have made a huge impact on the film industry, but despite their contribution, they are some of the most underrepresented. According to the Center for the Study of Women in Television and Film (2015-16), only 9% of directors were women at the time of the study. That percentage is exactly the same figure as 1998. Here’s to hoping that number increases in the coming years. Do you agree with Helen Mirren’s sentiments? Let us know in the comments below.

Entertainment

Exploring Freddie Mercury: The man behind the film Bohemian Rhapsody

Freddie Mercury knew he was destined for something more. <a href="https://www.youtube.com/watch?v=8KsBq9P3iuM">Classmate Chris Smith</a> recalled that Mercury sat glumly at a pub one night. “I’m not going to be a pop star. I’m going to be a legend!” And become a legend he did. As the front man of Queen, Mercury quickly shot to super stardom. With hits such as “We Are The Champions”, “I Want To Break Free” and much loved classic “Bohemian Rhapsody” showcasing Mercury’s vocal talent, it’s easy to see why these songs resonated with the people. That was just Mercury’s vocal talent. In concert, he was able to capture the attention of thousands, with an odd mix of strength, seduction, outrageous outfits as well as regal glamour in the mix. <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Bf_WPhWg5m3/?utm_source=ig_embed&utm_medium=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/Bf_WPhWg5m3/?utm_source=ig_embed&utm_medium=loading" target="_blank">#Queen #freddiemercury #live #legend</a> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/mercury_motg/?utm_source=ig_embed&utm_medium=loading" target="_blank"> Freddie Mercury</a> (@mercury_motg) on Mar 6, 2018 at 9:15am PST </div> </blockquote> It’s been more than 27 years since Mercury died of complications relating to AIDS, but some would argue he’s more popular than ever. This is due to the new release of Bohemian Rhapsody, the blockbuster film with Rami Malek portraying the late singer. The film is the highest-grossing biopic in history, with old and new fans alike falling in love with Queen. BBC broadcaster Paul Gambaccini, a longtime friend, told <a href="https://people.com/music/freddie-mercury-real-story-bohemian-rhapsody-queen-film/">PEOPLE</a>: “Queen are even bigger than when they originally put the records out, and Freddie would love it,” Gambaccini said. “He would just flip his hand and say, ‘It’s fabulous, darling!’” As Mercury desperately tried to fill the yawning void in his soul that came with being sent to boarding school in India, which was thousands of miles away from his parents in Zanzibar, music quickly became the answer. Once the family emigrated to London, Mercury wasted no time in throwing himself into the scene of the Swinging Sixties. Mercury had his eyes on a trio called Smile, and once their vocalist quit, he wasted no time in showing off what he could do. It didn’t take long for the band to be renamed to Queen, which of course, was Mercury’s idea. Mercury told <a href="https://people.com/archive/the-mercury-thats-rising-in-rock-is-freddie-the-satiny-seductor-of-queen-vol-8-no-23/">PEOPLE in 1977</a>: “The whole point was to be pompous and provocative, to prompt speculation and controversy.” Mercury’s fashion choices are known for being equally dramatic and androgynous. Designer Zandra Rhodes, who created some of Mercury’s best-known costumes during Queen’s early period explains: “I think he’d seen my chiffons with feathers and exotic sleeves and extreme approach to fashion,” she tells PEOPLE. Rhodes’ most famous look for Mercury was a batwing cape shirt, which initially started off as a wedding dress. “He and Brian came to my tiny Bayswater attic studio, incognito. I asked Freddie to look along my rail of clothes and he chose an exotic pleated bridal top I had on the rail! He danced around in it in my studio.” <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Bog7V7rFq06/?utm_source=ig_embed&utm_medium=loading&utm_campaign=embed_locale_test" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/Bog7V7rFq06/?utm_source=ig_embed&utm_medium=loading&utm_campaign=embed_locale_test" target="_blank">@ramimalek is Freddie Mercury. • #freddiemercury #queen #bohemianrhapsody @bohemianrhapsodymovie</a> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/mercury_motg/?utm_source=ig_embed&utm_medium=loading&utm_campaign=embed_locale_test" target="_blank"> Freddie Mercury</a> (@mercury_motg) on Oct 4, 2018 at 7:26am PDT </div> </blockquote> Despite his outrageous stage presence and incredible vocals, Mercury was known in his close circle to be very shy and private. Brian May told <a href="https://people.com/music/brian-may-queen-in-3d-interview/">PEOPLE in 2017</a>: “Freddie was very extrovert onstage, as we all know, but he was very shy in his private life and liked to be private,” May explained. “He liked those moments of just having a couple of his close friends around. We’d known each other a long time and we were almost like family. We had no airs and graces with each other.” Are you a fan of Queen? Let us know in the comments.

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