Gabriel Over the White House
DVD-r
The Warner Archive Collection
1933 / B&W / 1:37 flat full frame / 86, 102 min. / Street Date October 20, 2009 / available through the Warner Archive Collection / 17.99
Starring: Walter Huston, Karen Morley, Franchot Tone, Arthur Byron, Dickie Moore, C. Henry Gordon, David Landau, Samuel S. Hinds, Jean Parker, Mischa Auer.
Cinematography: Bert Glennon
Film Editor: Basil Wrangell
Original Music: Dr. William Axt
Written by: Carey Wilson, from a book by T. F. Tweed
Produced by: William Randolph Hearst, Walter Wanger
Directed by Gregory La Cava
A Review Revisit.
The unique political fantasy Gabriel Over the White House has become painfully topical lately. This is an update of a 2009 review. To my knowledge nothing has changed with the product — I saw a re-promotion of Twilight Time’s 1984 disc and thought, Gabriel is twice as relevant and at least as scary.
Unstable times in America have produced some pretty strange political-religious message pictures.
DVD-r
The Warner Archive Collection
1933 / B&W / 1:37 flat full frame / 86, 102 min. / Street Date October 20, 2009 / available through the Warner Archive Collection / 17.99
Starring: Walter Huston, Karen Morley, Franchot Tone, Arthur Byron, Dickie Moore, C. Henry Gordon, David Landau, Samuel S. Hinds, Jean Parker, Mischa Auer.
Cinematography: Bert Glennon
Film Editor: Basil Wrangell
Original Music: Dr. William Axt
Written by: Carey Wilson, from a book by T. F. Tweed
Produced by: William Randolph Hearst, Walter Wanger
Directed by Gregory La Cava
A Review Revisit.
The unique political fantasy Gabriel Over the White House has become painfully topical lately. This is an update of a 2009 review. To my knowledge nothing has changed with the product — I saw a re-promotion of Twilight Time’s 1984 disc and thought, Gabriel is twice as relevant and at least as scary.
Unstable times in America have produced some pretty strange political-religious message pictures.
- 2/4/2017
- by Glenn Erickson
- Trailers from Hell
Today, it seems audiences know "Bye Bye Birdie" only from the prominent mention of it on "Mad Men," when the Sterling Cooper agency tried to copy Ann-Margret's minimalist opening number for a diet soda commercial. But when the movie musical premiered 50 years ago (on April 4, 1963), it was a huge smash. It made an instant star out of the Swedish-born actress, as well as boosting the fame of co-stars Dick Van Dyke and Paul Lynde. Based on the Broadway hit musical, "Bye Bye Birdie" was seen as a trenchant pop cultural satire at the time. Everyone knows that Conrad Birdie, the hip-swiveling rocker who is drafted into the Army, and who stages a publicity stunt on the Ed Sullivan show by agreeing to kiss a teen fan before reporting for duty, is inspired by Elvis Presley, who had to put his career on hold in 1958 when he was drafted. But...
- 4/4/2013
- by Gary Susman
- Moviefone
We've heard lots about Natalie Portman's travails as a fictional prima ballerina in Darren Aronofsky's film, but she's just the latest in a long line of doomed cinematic dancers
Warning: contains spoilers
Yesterday's G2 interviews on Darren Aronofsky's ballet film Black Swan made me think about how feature films have incorporated ballet into their stories. Most people will think immediately of musicals, which have a readymade slot in their song-and-dance numbers, or of wish-fulfilment fantasies: Fame, Flashdance, Center Stage, Save the Last Dance and the like. From that standpoint, Black Swan looks like an exception. But look beyond these films and two other genres come to the fore: melodrama and horror.
Over decades and across continents, ballet dancers in feature films have consistently been associated with hysteria, madness, torture, the supernatural and death. Former New Yorker critic Arlene Croce dubbed this a "tradition of morbidity", and certain...
Warning: contains spoilers
Yesterday's G2 interviews on Darren Aronofsky's ballet film Black Swan made me think about how feature films have incorporated ballet into their stories. Most people will think immediately of musicals, which have a readymade slot in their song-and-dance numbers, or of wish-fulfilment fantasies: Fame, Flashdance, Center Stage, Save the Last Dance and the like. From that standpoint, Black Swan looks like an exception. But look beyond these films and two other genres come to the fore: melodrama and horror.
Over decades and across continents, ballet dancers in feature films have consistently been associated with hysteria, madness, torture, the supernatural and death. Former New Yorker critic Arlene Croce dubbed this a "tradition of morbidity", and certain...
- 1/7/2011
- by Sanjoy Roy
- The Guardian - Film News
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