William Wyler
80 connections found
Filmography
Wuthering Heights 1939 
The Good Fairy 1935 
Ben-Hur 1959 
The Collector 1965 
The Children's Hour 1961 
The Desperate Hours 1955 
Roman Holiday 1953 
The Big Country 1958 
Friendly Persuasion 1956 
Funny Girl 1968 
Jezebel 1938 
The Best Years of Our Lives 1946 
The Letter 1940 
How to Steal a Million 1966 
Mrs. Miniver 1942 
The Heiress 1949 
Detective Story 1951 
Dodsworth 1936 
Come and Get It 1936 View:
Connections, in both directions
…it breathes the same air as old school Hollywood epics like “Ben-Hur” and “Spartacus”…
It may be this decade’s Ben-Hur (1959). It could be this century’s Ben-Hur.
In the 1950s and 1960s, The Ten Commandments, (1956), Ben-Hur, (1959) The King of Kings, (1961), and The Greatest Story Ever Told (1965) had white American actors of non-Greek descent playing Ancient Greeks.
…adapting Homer’s The Odyssey in a feature film could—and maybe should—easily reach the gaudy and over-indulgent Cecil B. DeMille territory…
…it’s challenging to point to one that towers over them all in the same way that William Wyler’s Ben-Hur(1959) still does for the tale of the Christ…
Roth begs, borrows, and steals from the best, including a fair amount of George A. Romero (Night of the Living Dead, The Crazies) and, of course, Sam Raimiâs first two Evil Dead films, but there are also echoes of other exercises in paranoia, including William Wylerâs The Desperate Hours, of all things.
With way more than a passing nod to Barbra Streisand (circa “Funny Girl” as much as the 1976 “Star Is Born”), Gaga (née Stefanie Joanne Angelina Germanotta) ends up being the ideal headliner for this wish-fulfillment fantasy that nevertheless keeps its feet planted on the ground.
Early in her career, in films like Funny Girl , The Way We Were , and 1976’s A Star is Born , Barbra Streisand basically played a variation of the same character over and over again — an unconventional beauty who was both deeply talented and touchingly insecure.
Or, rather, she lets us see that star quality is something that lives inside Ally but is still waiting to come out (the way it was in the young Streisand of “Funny Girl”).
Roman Holiday and Tarzan the Ape Man both factor into some of the main scenarios, and keeping with the Kurosawa love in Millennium Actress one character even manifests as the director in his dreams (you can tell by the hat and sun-glasses).
After that, the dream shifts into the riverside dance scene in Roman Holiday , with Konakawa as Gregory Peck’s photographer/journalist.
He finds himself in what seems to be a series of movie clipsfirst Tarzan, then a Hitchcock thriller, then Roman Holiday and finally he wakes up.
Giant robots and dolls march in the streets, and a detective finds himself inside movie scenes from Tarzan and Roman Holiday .
Roman Holiday (1953) – Audrey Hepburn ile Gregory Peck’in başrolleri paylaştığı bu klasik yapım da animeye en eğlenceli sahnelerinden biriyle konuk oluyor; Hepburn’ün peşindeki saray korumalarından kurtulmak için birkaçının kafasına gitarla vurduğu sahne.
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by The Good Fairy (1935)
Visuals
In fact, the only direct reference to classic Hollywood I caught was an usherette dressed in the same costume — right down to cape and neon wand — as worn by Margaret Sullavan in a Budapest movie palace in William Wyler’s The Good Fairy (1935).
Jane Eyre (2011)
Directed by Cary Joji Fukunaga
influenced by Wuthering Heights (1939)
Characters Themes
That woman with the braids on her head, struggling to walk through lashing rain, falling in the mud, determinedly fleeing we don’t know what – in the dramatic opening of Cary Joji Fukunaga’s new film, she could be any fiery 19th century heroine, from Tess of the D’Urbervilles to Cathy in Wuthering Heights.
The problem with Jane Eyre has always been that Jane and Rochester are thrown together by narrative contrivance rather than by inevitability - Charlotte's sister Emily did a far better job of presenting a convincing relationship between two people who just don't make any sense together with her Wuthering Heights.
The story includes elements of the Gothic hauntings of a Mary Shelley (Frankenstein); the engaging war of wits of a Jane Austen (Pride and Prejudice); and the super-charged romantic melodrama of Brontë sister Emily (Wuthering Heights).
Films of Brontë novels have been arriving in pairs at regular intervals these past 70 years, as if a production of Emily's Wuthering Heights demanded an accompanying production of Charlotte's Jane Eyre .
Battleship (2012)
Directed by Peter Berg
influenced by The Best Years of Our Lives (1946)
Characters
He also sets a tempo markedly slower than Michael Bay's, suggesting an affinity with more old-fashioned Hollywood entertainment (the first half hour even references The Best Years of Our Lives and Jerry Lewis's The Bellboy).
I was even able to maintain my composure, just barely, when the double-amputee ex-Army hero played by Iraq vet Gregory D. Gadson —shades of Harold Russell in The Best Years of Our Lives—got his wish to play soldier again.
Meanwhile, we get scenes of the girlfriend, a scientist (Hamish Linklater), and a wounded army vet with prosthetic legs (Gregory D. Gadson, who, in a tip of the hat to “The Best Years of Our Lives,” is the real thing), trying to sabotage the aliens’ communications.
Hacksaw Ridge (2016)
Directed by Mel Gibson
influenced by Friendly Persuasion (1956)
Themes Characters
Reminding me just as much of the Quaker clan in Friendly Persuasion (1956), Andrew Knight and Robert Schenkkan’s effective screenplay, as well as Garfield’s understated performance, provides an extreme counterbalance to the cynicism and weariness that pervades most modern war pictures.
Garfield’s Doss uncannily recalls Anthony Perkins’s pacifist performance in Friendly Persuasion.
(Despite its period setting, “Carol” is not overloaded with film-school references, but there were moments when I could feel the undertow of “Roman Holiday” and David Lean’s “Brief Encounter” and Martin Scorsese’s underappreciated “The Age of Innocence.”)
And rather than Carol and Theresa’s relationship existing as a beautiful thing belonging to a particular time in one’s life – the message that singularly made Audrey Hepburn and Gregory Peck’s liaison in Roman Holiday (1953) so rich and memorable – Haynes is reluctant to close the book on it.
Mara looks like she just accepted an Oscar for Roman Holiday.
The film combines the gloomy aesthetics of “Wuthering Heights,” the apparitions, family secrets and betrayals of “The Woman in Black” with the murderous straight razor chills of “Sweeney Todd.”
Although the film may hold a certain appeal for those who have spent long hours thumbing through the pages of The Picture of Dorian Gray, Northanger Abbey, Jane Eyre, and Wuthering Heights, its deficiencies make it at best an atmospheric triumph with a weak narrative.
Mad Max: Fury Road (2015)
Directed by George Miller
influenced by The Big Country (1958), Ben-Hur (1959)
Visuals
Joe is not one to let go easily and keeps on the trail on a chase through a canyon reminiscent of the Gregory Peck/Burl Ives 1958 movie “The Big Country.”
Then, the numerous chases and frantic fights on wheels make for terrific theater the same way the violent, spectacular chariot races did in "Ben-Hur" (either the 1925 silent version or the 1959 remake).
Pride And Prejudice and Wuthering Heights are the two novels that keep coming up during Hardin and Tessa’s courtship, and it’s potentially intriguing to wonder if Hardin and Tessa are in the early days of a romantic comedy or a romantic tragedy.
The two eventually bond over their shared love of fiction books, with Tessa, running away from the prospect of kissing him during a game of Truth or Dare, being shocked to discover a copy of Wuthering Heights in Hardin's bedroom.
For two people who reference Pride and Prejudice and Wuthering Heights, they can’t make a compelling love story of their own.
As a fan of “Wuthering Heights” and “Pride and Prejudice,” Tessa can’t resist Hardin’s, umm, charms, which marry the worst aspects of Heathcliff and Mr. Darcy.
He's also able to quote from Wuthering Heights and engage in a spirited classroom argument with Tessa, about Pride and Prejudice , in which the subtext is inescapable.
Like with the pilots in Top Gun: Maverick, Kosinski places viewers right in the driver’s seat with the drivers as they battle each other with their cars like the chariot riders in Ben-Hur.
First, there's the earlier title song sung by Glen Campbell, which was singularly mundane and dated, and Elmer Bernstein's musical score, which worked harder to sound like Jerome Moross's theme for "The Big Country" than it did to evoke the spirit of the West.
With direction from Enrico Casarosa, who certainly knows the territory and was Oscar-nominated for the 2011 Pixar animated short La Luna , and a fun script from Mike Jones, this all plays out beautifully, aided by the gorgeous production pesign (right down to the town movie theater’s posters of Roman Holiday ).
There’s a boat named Gelsomina, a likeness of Marcello Mastroianni and a whole subplot devoted to fetishizing the Vespa, burnishing a vehicular-cinematic legacy that already includes “Roman Holiday” and “La Dolce Vita.”
They fall in love with the idea of buying a Vespa scooter a la “Roman Holiday” and traveling all around the world (where, to them, everything is adjacent to the sea).
(It would need to be fact-checked, but it seems fairly safe to say that no film has ever been as obsessed with Vespas as Luca, and yes, that includes Roman Holiday.)
Yes, Vespas, the Italian motorised scooter immortalised by the poster for Roman Holiday and, to a lesser extent, Larry Crowne .
Wright's Pride & Prejudice won't satisfy the purists, who will quibble over the details and complain that there's too many "Charlotte Bronte" moments (like the Wuthering Heights homage with Elizabeth staring out over a rocky precipice).
Europe’s rejuvenating effects on a staid American tourist have been depicted many times before and in far better films (Dodsworth, 1936; Before Sunrise, 1995; American Dreamer, 1984; Under the Tuscan Sun, 2003) but Letters to Juliet’s narrow focus and fumbled execution don’t warrant comparison with the best of them.
"Funny Games" is a postmodern variation on William Wyler's once famous 1955 movie "The Desperate Hours," in which a middle-class suburban family is held hostage and brutalized by a gang of escaped convicts led by Humphrey Bogart (Michael Cimino remade it in 1990 with Mickey Rourke).
German director Michael Haneke (precisely remaking a European movie he did 10 years ago) isn't out to update "The Desperate Hours."
The Duke of Burgundy, named for a variety of butterfly, synthesizes cultural sources as sundry as the Sapphic playacting of Jean Genet’s The Maids, the psychic conjunction of Bergman’s Persona, and the insect symbolism of Wyler’s The Collector.
For her part, Ms. Page, a Canadian newcomer, has received notices likening her emerging performance to that of Audrey Hepburn in William Wyler’s Roman Holiday (1953), and the parallel drawn is no exaggeration.