Arsenic and Old Lace (movie)
Arsenic and Old Lace is a film directed by Frank Capra based on a play (see Arsenic and Old Lace (play)) by Joseph Kesselring. The script was adapted by Julius J. Epstein. Capra actually filmed the movie in 1941 but it was not released until 1944 while the studio waited for the stage version to finish its run on Broadway.
In addition to Cary Grant as Mortimer Brewster, the film also starred Josephine Hull and Jean Adair as the Brewster Sisters, Abby and Martha, respectively. Both Hull and Adair reprised their roles from the original 1941 stage production as well as John Alexander as Teddy.Spoiler warning: Plot or ending details follow.
The film concerns a theatre-hating drama critic and confirmed bachelor Mortimer Brewster (Cary Grant) who on his wedding day must cope with his bizarre family, especially his two elderly aunts who live in the old family home in Brooklyn.
Mortimer's aunts are "kindly" serving lonely old bachelors elderberry wine poisoned with arsenic and then burying the bodies in the basement. His younger brother Teddy thinks he is Teddy Roosevelt and yells "Charge!" when running up the stairs (after Teddy Roosevelt's 'charge up San Juan Hill'). Mortimer's other brother Jonathan (Raymond Massey), a wanted murderer whose face resembles that of Frankenstein's creature (as portrayed by Boris Karloff, a comparison frequently made in the film's dialogue), arrives with a surgeon, Dr. Einstein (Peter Lorre) in tow. Eventually, Mortimer is overjoyed to discover that he is not biologically related to these insane people, and is actually the son of a sea cook.
This page about Arsenic and Old Lace includes information from a Wikipedia article.
Additional articles about Arsenic and Old Lace
News stories about Arsenic and Old Lace
External links for Arsenic and Old Lace
Videos for Arsenic and Old Lace
Wikis about Arsenic and Old Lace
Discussion Groups about Arsenic and Old Lace
Blogs about Arsenic and Old Lace
Images of Arsenic and Old Lace
Eventually, Mortimer is overjoyed to discover that he is not biologically related to these insane people, and is actually the son of a sea cook. Both the Director's Cut and the original theatrical version are included in the Alien Quadrilogy boxed set, which was released on December 2, 2003. Einstein (Peter Lorre) in tow. Here is a brief rundown of the restored footage in the order the scenes appear. Mortimer's other brother Jonathan (Raymond Massey), a wanted murderer whose face resembles that of Frankenstein's creature (as portrayed by Boris Karloff, a comparison frequently made in the film's dialogue), arrives with a surgeon, Dr. In his filmed introduction for the Director's Cut on the Alien Quadrilogy set, Scott can barely conceal his contempt for the whole exercise. His younger brother Teddy thinks he is Teddy Roosevelt and yells "Charge!" when running up the stairs (after Teddy Roosevelt's 'charge up San Juan Hill'). He recut the film himself, only after viewing the studio's attempt to do so; a version that he felt was "too long" and ruined the film's pacing.
Mortimer's aunts are "kindly" serving lonely old bachelors elderberry wine poisoned with arsenic and then burying the bodies in the basement. In the Alien Quadrilogy materials, he goes out of his way to state his preference for the original: "rest easy, the original 1979 theatrical version isn't going anywhere". The film concerns a theatre-hating drama critic and confirmed bachelor Mortimer Brewster (Cary Grant) who on his wedding day must cope with his bizarre family, especially his two elderly aunts who live in the old family home in Brooklyn. Ridley Scott has stated that he didn't really think that Alien required this tweaking, and that the term "Director's Cut" was used for marketing reasons only. Both Hull and Adair reprised their roles from the original 1941 stage production as well as John Alexander as Teddy. However, unlike the Star Wars "Special Editions", it does not appear as if any of the film's original special effects footage has been digitally enhanced (though the film's original negative did undergo some digital cleanup and restoration). In addition to Cary Grant as Mortimer Brewster, the film also starred Josephine Hull and Jean Adair as the Brewster Sisters, Abby and Martha, respectively. It restores many—but not all—of the deleted scenes that have already appeared as bonus materials on previous laserdisc and DVD releases of the film, and makes some interesting deletions from the original cut.
Capra actually filmed the movie in 1941 but it was not released until 1944 while the studio waited for the stage version to finish its run on Broadway. October 29, 2003 saw Alien re-released in cinemas as a Ridley Scott director's cut. Epstein. Spin-offs include comics, novels, and computer games. The script was adapted by Julius J. The chance of the film happening is probably unlikely now. Arsenic and Old Lace is a film directed by Frank Capra based on a play (see Arsenic and Old Lace (play)) by Joseph Kesselring. However, when interviewed in 2005 after the release of "Alien vs. Predator" Scott stated that the franchise had been wrung dry and no longer interested him.
Although it was said that the script is, for the time-being, too violent to appeal to any major group, Ridley Scott had said on occasion that he would be open to directing the film. There is also a rumored Alien 5 movie. To commemorate this influence, one of the game's perennial villains is named Ridley, in honor of Alien director Ridley Scott. In addition to movies, Nintendo's video game franchise Metroid takes much of its influence from the movies of the Alien franchise.
Famous examples of Giger-inspired design include Independence Day (movie), The Matrix and Star Trek's Borg. The distinctive "bio-mechanoid" style of HR Giger, made famous by this film, has been copied and referenced in sci-fi film and television so often that it has become a design motif in its own right. The film Outland borrows much of this premise, and across the genre the aesthetic of Alien for future technology became the norm in the following decade. The film's visual style has also been hugely influential, as for the first time in a Science Fiction film space travellers are depicted as blue collar company employee drones rather than highly empowered agents of a quasi-military structure such as Star Trek.
The films gender politics have been subject of much examination and it has been linked to wider cultural idioms such as the experience of abjection defined by Helene Cixous. Along with The Brood, the film is held up as launching the body horror sub-genre of horror film. Aside from the creation of the Alien movie franchise and launching the international careers of Weaver and Ridley Scott, the box office success of the film spawned a cycle of imitations, including Xtro, Insemnoid, and to some degree John Carpenter's The Thing. Scott turned to a computer animation pioneer Bernard Lodge from his old college the Royal College of Art in London to produce the film's influential green line computer displays.
Special effects were lead by the team of Brian Johnson and Nick Allder who had worked on 2001: A Space Odyssey and Space 1999. Another Star Wars alumnus Carlo Rambaldi produced the crucial mechanical effects for the title alien's head. Much of the film's production design was done by the same team that had worked on Star Wars, with John Mollo supervising the costumes including the distinctive spacesuits. Giger was brought from Zurich and along with Ron Cobb was set up at the studios as a type of artist in residence (Giger kept a diary through the production that was the basis of his book Giger's Alien).
During the production hiatus Hill had been replaced by Ridley Scott who revised many of the design elements before principal photography started at Shepperton Studios in England. With Star Wars a box office hit Fox gave the film the go ahead with an $8 million budget - much higher than the writers had originally pictured. At this stage there was a hiatus in the production as the studio was alarmed at the prospect of committing to a new science fiction film when it feared the yet-to-be-released Star Wars would be a flop. O'Bannon invited other artists who had worked on the Dune project to work on the film including Foss, Moebius, and Giger.
These changes were the source of tension between O'Bannon and the other production members that lasted through the making of the film. Hill and Giler re-wrote the script ejecting superfluous elements and making it more action orientated. Artist Ron Cobb, who had worked with O'Bannon on Dark Star and Star Wars, produced a series of conceptual designs that defined the gritty realism of the film. O'Bannon and Shusett sold the script to the Brandywine company of David Giler, Gordon Carroll, and Walter Hill who had a production deal with Twentieth Century Fox with Hill attached to direct. O'Bannon wrote the original treatment in 1976 while staying with Ronald Shusett after the film version of Dune he had been working (directed by Alejandro Jodorowsky) on fell apart.
Mœbius's designs for the Nostromo spacesuits made it into the final film. Some early concept art was drawn by Chris Foss, and Jean Giraud, who is better known as the comic book artist Mœbius. The complete O'Bannon script was included on the 2003 Alien Quadrilogy DVD box set as a bonus feature. Substantial excerpts of O'Bannon's original script appeared as bonus materials on the 1992 laserdisc boxed set of Alien, though they were not included in the 1999 Alien Legacy DVD box.
A scene in which Ripley and Dallas have sex was dropped in order to secure a lower censorship rating. The sub-plot of Ash being an android and the betrayal of the crew was introduced later in the script development. Predator. Giger pyramid drawings intended for Alien exist, but eventually the producers went with the idea of combining the wrecked derelict ship with the egg chamber (also designed by Giger), although the ideas of the pyramid, the altar and the heiroglyphs were retained for the 2004 Alien vs.
This concept was retained for a long time, and preliminary H.R. The alien embryo eggs are housed in an altar like structure and there is a hieroglyph depicting the alien's lifecycle. Kane is lowered into the structure where he finds a chamber with a breathable atmosphere. The crew members go outside and see the remains of an ancient pyramid.
After landing in response to the intercepted alien message the crew discover the derelict alien craft and its dead pilot. Ominously the pilot in its death throes had scratched a triangle on its control console. Actor Tom Skerritt was originally cast as Ripley, but during script development the character was re-cast as a woman, reportedly at the insistence of producer Alan Ladd Jr -- a decision which proved crucial to the film's success. In the original script the ship's crew -- including the Ripley character -- are all male. O'Bannon's original script bears many resemblances to the film that was actually produced, yet with significant differences. The spaceship—designed with a low-budget production in mind—was a small craft called the Snark.
O'Bannon's original script was titled Star Beast, and was a revision of an idea O'Bannon had years before, about gremlins getting loose aboard a World War II bomber and wreaking havoc with the crew. The original screenplay was written by Dan O'Bannon, who had collaborated with John Carpenter on the cult sci-fi film Dark Star. Ripley--as the sole survivor of the Nostromo--destroys the ship, escapes in a shuttle craft, and finally destroys the alien in the vehicle's rocket engine. The Science Officer Ash is revealed as an android placed by the Company to protect the creature and that the crew were regarded as dispensable.
She discovers that the ship had been deliberately re-routed by the Company that owns it to investigate the signal and return a specimen (Ripley had already surmised that the transmission might have been a warning message). After the ship's Captain is killed in an attempt to trap the creature, Ripley assumes command. The life cycle of the alien has been compared to that of the tsetse fly. On the other hand, a flamethrower proved to be a suitable weapon, even though they have a limited firing range.
The plot device of the alien having acid for blood was created in order to prevent the Nostromo's crew from being able to kill it easily with firearms—the spilled blood would have eaten through the ship's hull. The eponymous alien creature is a lethal predator with consistently surprising abilities and physical forms, and which reproduces by parasitizing living victims. When one of the crewmembers is attacked by a newly-hatched alien, the creature is brought aboard the Nostromo, where it methodically wipes out the crew. They land on a deserted planet (Acheron) and find a derelict spaceship with a dead alien and many large eggs.
The story begins when the crew of the commercial transport ship Nostromo (named for a character in a novel by Joseph Conrad) receives a transmission which might be of nonhuman origin. In 2002, the United States Library of Congress deemed Alien "culturally significant" and selected it for preservation in the National Film Registry. Giger, for which he won an Oscar. The film's visual imagery was designed by H.R.
There are just seven human actors in the movie: Tom Skerritt (Captain Dallas), Sigourney Weaver (Warrant Officer Ripley), Veronica Cartwright (Navigator Lambert), Harry Dean Stanton (Engineering Technician Brett), John Hurt (Executive Officer Kane), Ian Holm (Science Officer Ash), and Yaphet Kotto (Chief Engineer Parker). The film is especially notable as the first major American film series with a female action hero. Although the title characters are the highly aggressive extraterrestrial creatures, the real connecting thread is the saga of Ellen Ripley, played by Sigourney Weaver, a human woman who finds herself the principal opponent of the species throughout the series. Alien (1979), directed by Ridley Scott, is an extremely popular and influential science fiction/horror film that spawned several sequels and imitators.
This extended shot has actually never been shown before, even on DVD. A quick extension of a shot as Ripley discovers the alien blocking the path to the shuttle; the alien is shown staring at Jones the cat in his catbox, then it swats the catbox out of its way. A portion of the film's most famous deleted scene—Ripley discovering the alien's nest and the bodies of Dallas and Brett—has been restored, though the Director's Cut does not include Ripley's lines to the dying Dallas ("What can I do?" and "I'll get you out of there.") before she kills him with the flame thrower. A brief sequence showing Dallas querying the ship's computer "Mother" about his odds of killing the alien, and getting no reply, before he enters the ventilation ducts, has been cut.
A handful of shots added to Brett's death scene, including one where the alien can clearly be seen dangling from above, and another where Parker and Ripley rush into the room just after Brett has been grabbed. This is an interesting deletion as it removes a bit of foreshadowing that all is not as it seems with the character of Ash. Dallas's lines about the Nostromo's original science officer being replaced by Ash at the last minute have been removed. Some dialogue deleted during the scene where Ripley confronts Dallas in the corridor over letting Ash keep the dead alien face-hugger.
Lambert slapping Ripley for refusing to let them bring Kane back aboard the ship. The Nostromo crew listening to the alien transmission. 1997: Alien: Resurrection, directed by Jean-Pierre Jeunet. 1992: Alien3, directed by David Fincher.
1986: Aliens, directed by James Cameron. 1979: Alien, directed by Ridley Scott. Anderson. Predator (2004), directed by Paul W.S.