Robert Wise
119 connections found
Filmography
The Haunting 1963 
The Sound of Music 1965 
The Day the Earth Stood Still 1951 
The Andromeda Strain 1971 
Star Trek: The Motion Picture 1979 
The Sand Pebbles 1966 
Audrey Rose 1977 
Born to Kill 1947 
The Curse of the Cat People 1944 
Helen of Troy 1956 
The Hindenburg 1975 
Executive Suite 1954 
The Set-Up 1949 
Run Silent, Run Deep 1958 
Somebody Up There Likes Me 1956 
I Want to Live! 1958 View:
Connections, in both directions
Between "Das Boot", "Crimson Tide", "Run Silent, Run Deep" and "The Hunt for Red October", the submarine genre has pretty much been given its due.
Instead, he's keen to pay homage to the likes of "Run Silent, Run Deep" and "Destination Tokyo."
As submarine flicks go, "U-571" is midrange: The superior look, headlong action and un-hokey performances (only Harvey Keitel, keyed down to pure ballast, is miscast) are offset by too many oh-come-now moments and a key bit of subterfuge lifted directly from "Run Silent, Run Deep."
Tense submarine movies have big stars - Cary Grant in "Destination Tokyo," Burt Lancaster in "Run Silent Run Deep," Sean Connery and Alec Baldwin in McTiernan's "Hunt for Red October," Denzel Washington and Gene Hackman in "Crimson Tide."
I said, siting "Das Boot," "Run Silent, Run Deep," and making an allowance for the Cold War, "Crimson Tide" and "The Hunt for Red October."
On the downside, though, one of the first scenes shows Beauty standing on a hill à la Julie Andrews in The Sound of Music (1965).
In a nervy move, Condon even references an iconic moment in “The Sound of Music.”
Watson might be at her best right out of the gate while performing the song “ Belle ,” which begins with her bemoaning her provincial existence in a small town and ends with her singing on high amid lush green hilltops dotted with yellow wild flowers while channeling Maria in “The Sound of Music.”
While there's a certain obligatory quality to the staging, Condon has brought true buoyancy to several of the numbers, from Belle's introductory song -- which, in live action, looks more conspicuously like an homage to "The Sound of Music" -- to an appropriately rousing rendition of "Be Our Guest."
Heaven knows, Julie Andrews was equally sweet in “The Sound of Music,” but she could also let rip with “I Have Confidence,” arms flung wide, as if to confess that sweetness alone would get you nowhere.
Mary Poppins, The Hunchback of Notre Dame, Aladdin, even Fox’s The Sound of Music and Moulin Rouge are distilled into this emotional, exuberant, if somewhat de-fanged musical makeover.
Here The Orphanage recalls previous haunted house movies, from Robert Wise’s The Haunting and Kubrick’s The Shining, to Alejandro Amenábar’s The Others and The Devil’s Backbone (whose brilliant, bighearted director, Guillermo del Toro, is the present film’s producer).
A Goth-Iberian “Peter Pan” with roots in such vintage spookfests as Robert Wise’s “The Haunting” (1963) and Alejandro Amenabar’s “The Others” (2001),“The Orphanage” is the best haunted-house-cum-ghost-movie I have seen in years.
The disappearance and the arrival of scientific ghost hunters (led by Geraldine Chaplin) are reminiscent of "Poltergeist" (1982), although Bayona more frequently strives for the rarefied psychological suggestiveness of "The Haunting" (1963) and Henry James' novella "The Turn of the Screw" (as well as its 1961 movie adaptation, "The Innocents").
Arrival (2016)
Directed by Denis Villeneuve
influenced by The Day the Earth Stood Still (1951)
Themes Plot
The nod to 1951’s classic “The Day the Earth Stood Still” seems overt, too, with its message that humans need to make peace and find common ground at the risk of becoming alien snack food.
The real touchstone here is Robert Wise's The Day the Earth Stood Still, which used a sci-fi apparatus to argue for universal brotherhood.
It reminds me most of the 1951 sci-fi classic, “The Day the Earth Stood Still.”
Like the iconic 1951 thriller “The Day the Earth Stood Still,” it ratchets up exceptional tension between hopefulness and paranoia.
It features phenomenal special effects and many shivery-good moments, but “Arrival” is at bottom a resolutely old-fashioned movie, essentially an update of 1951’s “The Day the Earth Stood Still.”
More “Contact” than the 1951 version of “The Day the Earth Stood Still” (Did I mention that Tim Burton’s “Mars Attacks!” is one my favorite alien-encounter films?), “Arrival” does not bode well for “Blade Runner 2049,” which Villeneuve is currently directing.
Both screenwriters claim their motivation for Tears of the Sun came from Robert Wises The Sand Pebbles, starring Steve McQueen.
Directed by the ill-advisedly named Antoine Fuqua as a follow up to his popular and award winning Training Day, and derived from a screenplay credited to Alex Lasker and Patrick Cirillo (who apparently found inspiration in the Steve McQueen film The Sand Pebbles), Tears has none of the tension and hopeless-seemingly situations found in that earlier film's one great scene with Cliff Curtis as a mind-fudging gangsta.
To get an idea of just what you're in for with Tears of the Sun, imagine a pinch of Seven Samurai, a few tablespoons full of Saving Private Ryan and a heaping pile of The Sand Pebbles.
The Pervert's Guide to Ideology (2012)
Directed by Sophie Fiennes
influenced by The Sound of Music (1965)
Themes Visuals
The main difference is that where Guide To Cinema covered a range of topics, Guide To Ideology zeroes in on the rigidity of personal belief, as revealed in films as diverse as The Sound Of Music , The Dark Knight , and Jaws .
He performs — with harangues, halting delivery and a deadeyed stare — in sumptuously designed and shot sets that evoke “The Sound of Music,” “Taxi Driver,” “Jaws” and other golden oldies of critical interpretation.
What can The Sound of Music, Zabriskie Point, Seconds, The Dark Knight or Full Metal Jacket teach us about the structures and institutions that determine our lives in ways that so often go on unnoticed?
Moulin Rouge! (2001)
Directed by Baz Luhrmann
influenced by The Sound of Music (1965)
Characters Music Visuals
Even though, for late comers like me, you can't help but think of Ewan McGregor's take on it from "Moulin Rouge!".
When Christian has a chance encounter with a group of petty unconformists, led by dwarf Toulouse Lautrec (John Leguizamo), and helps them to come up with the lyrics of "The Sound of Music" for the musical revue they are preparing for the Moulin Rouge, they immediately hire him to be their writer.
Not since "Funny Girl," "Fiddler on the Roof" and "The Sound of Music" of the '60s and '70s have we seen engaging movie musicals.
It's a fantasy, and, because of this, the presence of songs like "The Sound of Music", "Your Song", and "Roxanne" don't seem out of place.
"The Sound of Music" is also a featured song in the film.
For entire stretches of Moulin Rouge!, we cannot possibly know what we are going to see next: The Sound of Music recast as a Hindu passion play, for example, or a derby hat tossed Mary Richards-style into the air and bounced off the Eiffel Tower.
Some music left on the cutting room floor when they were finishing The Exorcist , a mad old gypsy from the Universal monster movies, flesh-rotting ghosts straight out of J-horror, and maybe best of all, violent and assaultive sound design that recalls 1963's magnificent The Haunting.
Sometimes he takes the indirect approach (akin to Robert Wise's "The Haunting"), creating anxiety from the mundane: A handkerchief delicately wafting toward Christine's windshield is filled with foreboding.
Within the context of 1956's German family feature "The Trapp Family" (a key inspiration for 1959 Broadway musical "The Sound of Music" and its 1965 film adaptation starring Julie Andrews), the sight of Ruth Leuwerik singing Johannes Brahms's "Wiegenlied: Guten Abend, gute Nacht" surrounded by her character's adorable brood of stepchildren makes for a heartwarming cinematic adieu.
Opening with a cheeky nod to the saccharine midcentury harmonies of The Sound of Music’s Von Trapp clan, horror import Goodnight Mommy is racking up raves for its slightly more menacing take on familial love and devotion in the idyllic Austrian countryside: What if the mother you loved wasn’t really your mother, but something utterly sinister posing in her skin?
The atmosphere and Gothic aesthetic feels like classic supernatural horror in the vein of Robert Wise’s “The Haunting,” with reliance on old school horror devices and unique elements of mystery and ambiguity rather than full CGI.
This fact may have been lost on effects-happy Hollywood (Exhibit A: Jan DeBont's high-tech--and thoroughly unscary--remake of Robert Wise's understated classic, The Haunting ), but thankfully it hasn't been lost on Spanish writer-director Alejandro Amen´bar, whose English-language debut The Others packs a formidable fright simply through the time-tested special effect of atmosphere.
Several additional films, like "The Others," have raised a few goose pimples of their own, but nothing quite to compare to the low-key chills of "The Haunting."
But in reality, this film has a lot more in common with such classic haunted-house tales as 1944's "The Uninvited" and the original 1963 version of "The Haunting."
I'm tempted to call The Others the best haunted house film since Robert Wise's 1963 masterstroke The Haunting.
His film is more in the vein of Robert Wise’s 1963 The Haunting than Cloverfield – which could be a problem commercially.
I admit to writing off “Monster House” upon its arrival, only because while the film is wonderful, the story isn’t exactly original (ahem—Robert Wise’s “The Haunting”, anyone?), but the combination of a strong script, and truly down to Earth characters make “Monster House” a short but very entertaining piece of horror fantasy that reaches down into really human themes of loneliness, death, and puberty.
What that translates to is the kids finding success — from selling Girl Scout cookies to staging The Sound of Music — by employing his Marine methods.
The Pacifier frequently references The Sound of Music, and perhaps that analogy is fitting, for both movies are essentially about an outsider walking in to a single-parent, large brood family and changing it for the better.
Seth does not refute this, prompting Shane to tail him afterschool to his supersecret hangout: the local rep house, where he's rehearsing "The Sound of Music".
Despite some peripheral spy stuff, Thomas Lennon and Ben Garant's script is primarily interested in reimagining a hulking he-man as a cuddly, studly metrosexual equally adept at humiliating a cocky vice-principal (Brad Garrett) during an after-school wrestling match and directing a stage production of The Sound of Music.
Director Adam Shankman and writers Thomas Lennon and Robert Ben Garant have lots of fun with "The Pacifier's" premise, and they run with it — even getting away with Wolfe taking over the direction of a community theater production of "The Sound of Music."
American films like “Audrey Rose” (1977), from a script and before that a novel by Frank De Felitta, tackled reincarnation themes but within the format of extreme melodrama bordering on horror.
There are many other echoes of screen horror here: clips of Maria Bava’s Black Sabbath; portents of domestic madness in the mode of Polanski’s Repulsion; a general sense of claustrophobia that’s more than a little reminiscent of The Exorcist; a use of grey paint and an overall color-leeched palette to rival The Sixth Sense; and as female-centric psychological horror, it also recalls the evocation of shadow-steeped nocturnal anxiety so chillingly staged in Robert Wise’s The Haunting (63).
The Iron Giant (1999)
Directed by Brad Bird
influenced by The Day the Earth Stood Still (1951)
Themes
That's then mixed in with the old King Kong plot (that similarly inspired the "military must kill the beast" plots of all those 1950s monster movies) as well as an obvious homage to the sci-fi classic, "The Day the Earth Stood Still" with its large robot, Gort, and a similar anti-violence message.
Million Dollar Baby (2004)
Directed by Clint Eastwood
influenced by Somebody Up There Likes Me (1956), The Set-Up (1949)
Themes Visuals
Eastwood has crafted a boxing movie that holds more akin to the 1956 Paul Newman starrer, “Somebody Up There Likes Me,” or “Requiem For A Heavyweight” than the “Rocky” franchise, to which it is most compared.
As a boxing movie, this is every bit as grim as The Set-Up (1949) and Fat City (1972), and as an underlit look at a seedy American subculture, set mainly in a few lairlike locations, it's as dark and doom ridden as the 1961 The Hustler (with which it paradoxically shares a 'Scope format) and Eastwood's own Bird (1988).
With its down-and-out characters and dramatic interplay of darkness and light, the film has the texture of a somber palooka noir like Robert Wise's The Set-Up, but it's touched by a dogged optimism that's anathema to the genre.
Personal Shopper (2016)
Directed by Olivier Assayas
influenced by The Haunting (1963)
Themes Visuals
Following her 2015 Cesar win for her performance in his “Clouds of Sils Maria,” Kristen Stewart reunites with French auteur Olivier Assayas for “Personal Shopper,” a modern-day ghost story recalling such classy and often deliberately ambiguous examples of the genre as “Don’t Look Now” (1973) and “The Haunting” (1963).
(To describe the special effects further would be a betrayal of the film, but I’m not sure I’ve seen anything so unnerving since Robert Wise’s The Haunting .)
Visually, Chicago might rank among the more claustrophobic musicals — most of the numbers are performed in dark interiors — but the actors' energy and Marshall's imaginative staging are strong enough that they make the entire picture seem as open-aired as Julie Andrews' hilltop warbling in The Sound of Music.
Personally, I don't think it equals "My Fair Lady," "Oklahoma," "Singin' in the Rain," "The Music Man," "The Sound of Music," or "Cabaret," but it's right up there with the best of them.
Beauty and the Beast (1991)
Directed by Gary Trousdale
influenced by The Sound of Music (1965)
Visuals
A scene of Belle racing across a grassy hill overlooking her village while singing the reprise of "Belle" echoes a similar moment with Julie Andrews in The Sound of Music.
Ashman understood the power of a heroine's monomythical musical announcement of yearning for adventure, patterned on The Wizard of Oz's "Over the Rainbow" ("Belle" also finds visual touchstones in The Sound of Music and Gone with the Wind).