Few fictional characters conjure up as strong a mental image with just a mention of their name as the captains of the beloved "Star Trek" universe. Mention the word "Picard," and it's impossible not to think of Patrick Stewart's cerebral, near-Shakespearean leader, who oversaw years' worth of chaos and adventure in "Star Trek: The Next Generation" and its sequel series. The name "Captain Kirk" conjures up images of William Shatner in full hammy hero mode, sitting in his captain's chair or in the middle of the action — wearing an artfully torn uniform.
Every "Trek" captain conjures up these strong associations, but "Star Trek: Voyager" nearly ran into a problem with its captain's name when it turned out the original option was already taken. According to the book "Captains' Logs Supplemental" by Edward Gross and Mark A. Altman, which was published during that show's '90s run, Kathryn Janeway almost had a different name: Elizabeth.
Every "Trek" captain conjures up these strong associations, but "Star Trek: Voyager" nearly ran into a problem with its captain's name when it turned out the original option was already taken. According to the book "Captains' Logs Supplemental" by Edward Gross and Mark A. Altman, which was published during that show's '90s run, Kathryn Janeway almost had a different name: Elizabeth.
- 6/10/2024
- by Valerie Ettenhofer
- Slash Film
What? A movie where adults behave like adults? Otto Preminger showcases a quiet maturity in this story of an independent woman caught between two men, adulterous lover Dana Andrews and conflicted suitor Henry Fonda. The script is witty and the people believable -- this is one of Joan Crawford's best performances. Daisy Kenyon Blu-ray Kl Studio Classics 1947 / B&W / 1:37 flat full frame / 99 min. / Street Date Nov 15, 2016 / available through Kino Lorber / 29.95 Starring Joan Crawford, Dana Andrews, Henry Fonda, Ruth Warrick, Martha Stewart, Peggy Ann Garner Cinematography Leon Shamroy Art Direction George Davis, Lyle Wheeler Film Editor Louis Loffler Original Music David Raksin Written by David Hertz from the book by Elizabeth Janeway Produced and Directed by Otto Preminger
Reviewed by Glenn Erickson
Why is Daisy Kenyon one of Joan Crawford's best pictures? Crawford could be a fine actress, but too many of her pictures seem distorted by her star persona.
Reviewed by Glenn Erickson
Why is Daisy Kenyon one of Joan Crawford's best pictures? Crawford could be a fine actress, but too many of her pictures seem distorted by her star persona.
- 11/7/2016
- by Glenn Erickson
- Trailers from Hell
By Michael Atkinson
The seminal will behind everything that matters about sub-Saharan African cinema, and at the same time the world's most guileless filmmaker, Ousmane Sembene was virtually a one-man continental film culture for 40 years, establishing the cinematic syntax and priorities for an entire section of mankind, and its relationship with movies. From the first mini-feature, "Borom Sarret" (1964) to the last, vibrant, polemical film "Moolaadé" (2004), Sembene's work aches with sociopolitical austerity . as an artist, he's virtually style-free, almost unprofessional, but possessed of a voice as clear and uncomplicated as sunlight. Primal, unsophisticated experiences, the films are simple but never simplistic, lowbrow but unsensational, fastidiously realistic and yet unconcerned with sustaining illusion. His filmography is more or less divided between cool, undramatic autopsies on post-colonial norms and folly (1966's "Black Girl," 1968's "Mandabi," 1974's "Xala") and demi-epics of colonial horror (1971's Emitai, 1977's "Ceddo," 1987's "Camp de Thiaroye"). The slow burn,...
The seminal will behind everything that matters about sub-Saharan African cinema, and at the same time the world's most guileless filmmaker, Ousmane Sembene was virtually a one-man continental film culture for 40 years, establishing the cinematic syntax and priorities for an entire section of mankind, and its relationship with movies. From the first mini-feature, "Borom Sarret" (1964) to the last, vibrant, polemical film "Moolaadé" (2004), Sembene's work aches with sociopolitical austerity . as an artist, he's virtually style-free, almost unprofessional, but possessed of a voice as clear and uncomplicated as sunlight. Primal, unsophisticated experiences, the films are simple but never simplistic, lowbrow but unsensational, fastidiously realistic and yet unconcerned with sustaining illusion. His filmography is more or less divided between cool, undramatic autopsies on post-colonial norms and folly (1966's "Black Girl," 1968's "Mandabi," 1974's "Xala") and demi-epics of colonial horror (1971's Emitai, 1977's "Ceddo," 1987's "Camp de Thiaroye"). The slow burn,...
- 3/25/2008
- by Michael Atkinson
- ifc.com
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