![]() ![]() Benefits of Laughter: Angels fly because they take themselves lightly. (G.K. Chesterton). Join us on https://www.facebook.com/AudreyHepburnFans Laughter in Paradise - 1951. Audrey Hepburn played a cigarette girl only for two scenes. It was one. Laughter Quotes (page 2) from BrainyQuote, an extensive collection of quotations by famous authors, celebrities, and newsmakers. Laughter in Paradise is a British comedy film released in 1951. The film stars Alastair Sim, Fay Compton, George Cole and Guy Middleton. The film was remade in 1970 as Some Will, Some Won't. When wealthy, well-known practical joker Henry Russell (Hugh Griffith) dies, four relatives find out that they stand to inherit considerable sums ... provided that they commit acts that are completely contrary to their natures. Law-abiding Deniston Russell (Alastair Sim), a retired army officer who writes lurid novels under several fictional names, has to get himself arrested and jailed for 28 days. Difficult, snobbish Agnes Russell (Fay Compton) has to find work as a maid and keep her job for a month. Simon Russell (Guy Middleton) is a womanising cad; his task is to marry the first single woman he speaks to. Timid Herbert Russell (George Cole) is assigned to hold up the bank where he works with a toy pistol. Deniston is thwarted repeatedly in his attempts, but finally manages to complete his task. It costs him his fiancée Elizabeth Robson (Joyce Grenfell) when he is brought up before the judge, Elizabeth's father, but is surprised to discover it is a cost he is quite willing to pay. Agnes ends up working for irascible Gordon Webb (John Laurie). When he sacks her, she offers him a large sum to keep her on. He engages private detective Roger Godfrey (Anthony Steel) to find out what she is up to, while taking advantage of the odd situation by making her life even more difficult than before. Roger falls in love with Gordon's long-suffering daughter Joan (Veronica Hurst), but she is unwilling to marry him as her father depends on her. After Agnes persuades her to change her mind, Gordon sacks her. When Herbert finally gathers the nerve to go through with his assignment, he inadvertently foils an actual robbery and becomes a hero, with a branch managership. Simon finds that he has married a woman as unscrupulous as himself, and the niece of his butler. When the executor gathers the four heirs together, he informs them that there is no money; it was Henry's last practical joke. Agnes, Deniston and Herbert burst into laughter. Simon is annoyed at first, until he happens to look outside at his conniving wife, waiting with a bottle of champagne. Then he too joins in the merriment. Alastair Sim as Deniston Russell Fay Compton as Agnes Russell Guy Middleton as Simon Russell George Cole as Herbert Russell Hugh Griffith as Henry Russell Ernest Thesiger as Endicott Beatrice Campbell as Lucille Grayson, the woman Simon marries Mackenzie Ward as Benson, Simon's butler Joyce Grenfell as Elizabeth Robson, Deniston's fiancée A. E. Matthews as Sir Charles Robson, Elizabeth's father John Laurie as Gordon Webb Veronica Hurst as Joan Webb, Gordon's daughter Eleanor Summerfield as Sheila Wilcott, Deniston's secretary Anthony Steel as Roger Godfrey, the private detective Charlotte Mitchell as Ethel, Agnes' maid Leslie Dwyer as Police station sergeant Colin Gordon as Police station constable Ronald Adam as Wagstaffe, the bank manager Michael Pertwee as Stewart Mary Germaine as Susan Heath Audrey Hepburn as Frieda, a cigarette girl. This was Hepburn's first professional appearance on film (save for a brief role in a 1948 Dutch film entitled Dutch in Seven Lessons). The filming of the scene in which Hepburn appears (somewhat against her later "type") was later recreated in the 2000 biopic The Audrey Hepburn Story starring Jennifer Love Hewitt. Noel Howlett as Clerk of the Court Martin Boddey as Store detective Arthur Howard as passenger in train with Herbert (uncredited) This was the fourth most popular film at the British box office in 1951. While The New York Times called the film a "merely pleasant, not especially surprising, comedy", the Radio Times gave the film four out of five stars, David Parkinson praising the "fantastic performance of Alastair Sim as the henpecked thriller writer", adding, "the scene in which he tries to shoplift is one of the funniest in a career overladen with choice comic moments." ; while Britmovie called the film "a sure-fire British comedy that's sprightly execution doesn’t leave many dull moments." Laughter in Paradise at the Internet Movie Database screenonline review (including more complete plot synopsis) Laughter in Paradise is a British comedy film released in 1951. The film stars Alastair Sim, Fay Compton, George Cole and Guy Middleton. The film was remade in 1970.![]() Laughter in Paradise ![]() Bill Nye, Interview with Wired.com, April 2005 Laughter gives us distance. It allows us to step back from an event, deal with it and then move on.
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![]() ![]() Asociación en Defensa de la Atención a la Anorexia Nerviosa y Bulimia. ![]() ZAPATO 3 - COMO UN FANTASMA Como un fantasma, aparecere en tu cuarto, para besarte y embriagarme contigo, como un fantasma, formo parte de tu vida, porque como un fantasma, aparecistes en mi vida. CORO He perdido la razon, he perdido la razon, he perdido la razon, he perdido la razon. Como un embrujo, estare en cada pensamiento tuyo, abre abre abre abre tus sentidos, que aqui voy a poseerte, en cada deseo, cada noche y cada dia, estare contigo, porque yo me multiplico.
![]() ![]() Chisum is a 1970 Warner Bros. Technicolor Western film starring John Wayne. The large cast also includes Forrest Tucker, Christopher George, Ben Johnson, Glenn. ![]() ![]() Chisum is a 1970 Warner Bros. Technicolor Western film starring John Wayne. The large cast also includes Forrest Tucker, Christopher George, Ben Johnson, Glenn Corbett, Geoffrey Deuel, Andrew Prine, Bruce Cabot, Patric Knowles, and Richard Jaeckel. Directed by Andrew V. McLaglen, it was adapted for the screen by Andrew J. Fenady from his short story, "Chisum and the Lincoln County Cattle War". Although this movie is historically inaccurate in many details, it is loosely based on events and characters from the Lincoln County War of 1878 in New Mexico Territory, which involved Pat Garrett and Billy the Kid among others. John Chisum (John Wayne), a virtuous, patriarchal land baron, locks horns with greedy Lawrence Murphy (Forrest Tucker), who will stop at nothing to get control of the trade and even the law in Lincoln County, New Mexico. Chisum is an aging rancher with an eventful past and a paternalistic nature towards his companions and community. Murphy, a malevolent land developer, plans to take control of the county for his own personal gain. The story begins with Murphy's men tipping off Mexican rustlers who plan to steal Chisum's horses. Chisum and his sidekick Pepper (Ben Johnson) stop the bandits with help from a newcomer to the area, William Bonney (Geoffrey Deuel), also known as Billy the Kid. A notorious killer, Billy has been given a chance to reform by Chisum's philanthropic neighbor, rancher Henry Tunstall (Patric Knowles). Billy also falls for Chisum's newly arrived niece, Sallie (Pamela McMyler). Murphy is buying up all the stores in town and using his monopoly to push up the prices. He appoints his own sheriff and deputies. He also brings in a lawyer, Alex McSween (Andrew Prine), whose principles lead him to switch sides and seek work with Chisum and Tunstall. The two ranchers set up their own bank and general store in town under McSween's control. Chisum's land and cattle remain targets. Murphy's men attempt to steal Chisum's cattle before he can sell them to the Army. Chisum's ranch hands are warned by Pat Garrett (Glenn Corbett), a passing buffalo hunter. Garrett agrees to help Chisum and soon befriends Bonney. Together they foil an attack by Murphy's men on the wagons bringing in provisions for the new store. Fed up with Murphy's underhand activities, Tunstall rides off to Santa Fe to seek the intervention of Gov. Sam Axtell (Alan Baxter). On the way he is intercepted by Murphy's deputies, who falsely accuse him of cattle rustling and shoot him dead. Chisum and Garrett hunt down the deputies and ride them back towards town for trial. Bonney, seeking revenge for the murder of his mentor and skeptical that the men will truly face justice in town, overpowers Garrett and shoots dead both deputies. Before Sheriff Brady (Bruce Cabot) can organise a posse, Billy rides into town and kills him too. Murphy appoints bounty hunter Dan Nodeen (Christopher George) as the new sheriff, giving him orders to hunt down Bonney. Nodeen has a score to settle, as a previous encounter with Bonney has left him with a permanent limp. Billy's plans for revenge are only just beginning. He breaks into McSween's store looking for dynamite. He is spotted by Nodeen, who gets Murphy's men to surround the store. McSween comes out unarmed but Nodeen shoots him in cold blood. Chisum is alerted by McSween's wife (Lynda Day George) and rides into town. The main street is blocked, so Chisum stampedes his cattle through the barricades. He tracks down Murphy and takes him on in a fist fight which ends with both men falling from a balcony. Murphy ends up impaled on steer horns. With his paymaster dead, Nodeen flees with Billy in pursuit. The film ends with Garrett taking over as sheriff and settling down with Sallie. It's been learned that General Lew Wallace takes over as governor of the area. With law and order restored, Chisum can resume his iconic vigil over the Pecos valley. John Wayne as John Chisum Forrest Tucker as Lawrence Murphy Ben Johnson as James Pepper, Chisum's sidekick Patric Knowles as Henry Tunstall (based on John Tunstall) Geoffrey Deuel as Billy The Kid Pamela McMyler as Sallie Chisum Glenn Corbett as Pat Garrett Andrew Prine as Alexander McSween Christopher George as Dan Nodeen Bruce Cabot as Sheriff Brady Richard Jaeckel as Jesse Evans, Murphy's lead henchman Lynda Day as Sue McSween Robert Donner as Morton (Deputy Sheriff) John Mitchum as Baker (Deputy Sheriff) John Agar as Amos Patton, a shopkeeper ousted by Murphy Gregg Palmer as Karl Riker John M. Pickard as Sergeant Braddock Christopher Mitchum as Tom O'Folliard Michael A. Wayne, executive producer, took on the project of making Chisum because he felt the story summed up well his father's political views. The sizeable cast is packed with familiar faces from earlier John Wayne films, as well as friends such as Forrest Tucker. It was filmed in 1969 in Durango, Mexico. The picturesque vistas of the area were captured by cinematographer William H. Clothier. The film was originally made for 20th Century Fox, but they sold the film to Warner Bros. John Wayne was on the set of Chisum when he heard of his nomination for an Academy Award in 1970 for True Grit. The songs "The Ballad of John Chisum" was narrated by William Conrad, the song "Turn Me Around" was sung by Merle Haggard. During filming, John Mitchum, brother of Robert, introduced John Wayne to his patriotic poetry. Seeing that Wayne was greatly moved by the word, Forrest Tucker suggested that the two collaborate to record some of the poetry, which resulted in a Grammy-nominated spoken-word album, America: Why I Love Her. Chisum re-united several actors from Sands of Iwo Jima. John Wayne, John Agar, Forrest Tucker, and Richard Jaeckel. Released in June 1970, the film grossed $6 million at the box office. U.S. President Richard Nixon commented on the film during a press conference in Denver, Colorado, on 3 August 1970. In doing so, he used the film as a context to explain his views on law and order: "Chisum" is on dvd through Amazon.com, Warner Home Video will release "Chisum" for the first time on blu ray on December 14, 2014 List of American films of 1970 John Wayne filmography Chisum at the Internet Movie Database Chisum at AllMovie Chisum at the TCM Movie Database Chisum at Rotten Tomatoes EPDs as of 10/13/15 S CHISUM 6175 1AN01170 - 15511451: Universally known for his ability to sire very docile, thick cattle with body volume and base width on. Chisum ist ein Western aus dem Jahr 1970. Er basiert auf einer wahren Geschichte, die Charaktere sind real. Regie führte Andrew V. McLaglen. Der Film zählt zu den. Welcome to Chisum ISD, home of the Mighty Mustangs. Preparing today's students for the future is our first priority. ![]() Chisum Chisum by Andrew V. McLaglen, starring John Wayne, Ben Johnson, Andrew Prine. ![]() Travel guide to filming locations for 1967 musical film of Doctor Dolittle, with Rex Harrison; in Castle Combe, Wiltshire; and at Marigot Bay, St Lucia in the West Indies.![]() ![]() ![]() Free kindle book and epub digitized and proofread by Project Gutenberg. Doctor Dolittle is a world-renowned veterinarian who speaks a wide array of animal languages. He sets off from his home in Puddleby-on-the-Marsh, England. ![]() Доктор дулиттл (doctor dolittle). Всё о фильме: фотографии, обои, комментарии пользователей. Doctor Dolittle is a 1967 American musical film directed by Richard Fleischer and starring Rex Harrison, Samantha Eggar, Anthony Newley and Richard Attenborough. It was adapted by Leslie Bricusse from the novel series by Hugh Lofting. It primarily fuses three of the books The Story of Doctor Dolittle, The Voyages of Doctor Dolittle, and Doctor Dolittle's Circus. The film had a notoriously protracted production with numerous setbacks along the way such as complications from poorly chosen shooting locations and the numerous technical difficulties inherent with the large number of animals required for the story. The film exceeded its original budget of $6 million by three times, and recouped $9 million upon release in 1967, earning only $6.2 million in theatrical rentals. The film received generally mixed critical reviews, but through the studio's intense lobbying, was nominated for the Academy Award for Best Picture and won awards for Best Original Song and Best Visual Effects. A comedy film of a similar title, Dr. Dolittle, loosely based on the character, was later released in 1998. In early Victorian England, Matthew Mugg (Anthony Newley) takes his young friend Tommy Stubbins (William Dix) to visit eccentric Doctor John Dolittle (Rex Harrison). Dolittle, a former physician, lives with an extended menagerie, including a chimpanzee named Chee-Chee (Cheeta), a dog named Jip, and a talking parrot named Polynesia (the uncredited voice of Ginny Tyler). Dolittle claims that he can talk to animals. In a flashback, he explains that he kept so many animals in his home that they created havoc with his human patients, who took their medical needs elsewhere. His sister, who served as his housekeeper, demanded that he dispose of the animals or she would leave; he chose the animals. Polynesia taught him that different animal species can talk to each other, prompting Dolittle to study animal languages so that he could become an animal doctor. While treating a horse, Dolittle's lack of human empathy offends the horse's owner, General Bellowes (Peter Bull). Bellowes' niece, Emma Fairfax (Samantha Eggar), chides Dolittle for his irresponsibility and rudeness to her uncle. Matthew falls in love with her at first sight. After she has gone, Dolittle admits he also finds her attractive. A friend of Dolittle's sends him a rare Pushmi-pullyu, a creature that looks like a llama with a head on each end of its body. Dolittle takes the creature to a nearby circus, where the Pushmi-Pullyu becomes the star attraction. The doctor befriends a circus seal named Sophie who longs to return to her husband at the North Pole. Dolittle disguises her in women's clothing to convey her to the coast, and then throws her into the ocean. Fishermen mistake the seal for a woman, and have Doctor Dolittle arrested on a charge of murder. General Bellowes is the magistrate in his case, but Dolittle proves he can converse with animals by talking with Bellowes' dog. Though Dolittle is acquitted, the vindictive judge sentences him to a lunatic asylum. Dolittle's animal friends rescue him, and he, Matthew, Tommy, Polynesia, Chee-Chee and Jip set sail in search of the legendary Great Pink Sea Snail. Emma stows away, seeking adventure. They randomly choose their destination: Sea-Star Island, a floating island currently in the Atlantic Ocean. The ship is torn apart during a storm, but everyone washes ashore on Sea-Star Island. Emma and Dolittle admit they have grown to like each other. The party is met by the island's natives, whom they mistake for hostile savages. The populace are highly educated and cultured from reading books that have washed ashore from innumerable shipwrecks. Their leader is William Shakespeare the Tenth (Geoffrey Holder); his name reflects the tribe's tradition of naming children after favorite authors. William explains that they are wary of strangers coming to the island, and that the tropical island is currently endangered because it is drifting north into colder waters. Mistrust leads the islanders to blame the doctor and his party. Dolittle persuades a whale to push the island south, but this causes a balancing rock to drop into a volcano, fulfilling a prophecy that dooms Dolittle and party to be burned at the stake. The whale also causes the island to rejoin the mainland, fulfilling another prophecy that dictates that the doctor and his friends be heralded as heroes, and they are freed. While treating the animals on the island, Dolittle receives a surprise patient - the Great Pink Sea Snail, who has caught a severe cold. Dolittle discovers that the snail's shell is watertight and can carry passengers. Dolittle sends Matthew, Tommy, Emma, Polynesia, Chee-Chee, and Jip back to England with the snail. Emma wishes to stay on the island with him, but the Doctor is adamant that a relationship would never work. She finally admits her love for the Doctor, and kisses him goodbye. Dolittle cannot go back because he is still a wanted man. Furthermore, he wishes to investigate the natives' stories of the Giant Lunar Moth. After his friends leave, Dolittle realizes painfully that he has feelings for Emma. Sophie the seal arrives, accompanied by her husband. They bring a message: the animals of England have gone on strike to protest his sentence, and Bellowes has agreed to pardon him. Dolittle and the islanders construct a saddle for the Giant Lunar Moth, and Dolittle flies back to England. Rex Harrison as Doctor John Dolittle Samantha Eggar as Emma Fairfax (a character created for the film) Anthony Newley as Matthew Mugg Richard Attenborough as Albert Blossom Peter Bull as General Bellowes (a character created for the film) Muriel Landers as Mrs. Blossom William Dix as Tommy Stubbins Geoffrey Holder as William Shakespeare X, leader of the island, based loosely on Prince Bumpo, a character from the books Portia Nelson as Sarah Dolittle, the Doctor's sister Norma Varden as Lady Petherington, an elderly hypochondriac who was one of the Doctor's main patients when he was an M.D. Ginny Tyler (uncredited) as the voice of Polynesia Jack Raine (uncredited) as the Vicar "Overture" "My Friend the Doctor" - Matthew "The Vegetarian" - Dolittle "Talk to the Animals" - Dolittle, Polynesia "If I Were a Man" - Emma "At the Crossroads" - Emma "I've Never Seen Anything Like It" - Blossom, Dolittle, Matthew "Beautiful Things" - Matthew "When I Look in Your Eyes" - Dolittle "Like Animals" - Dolittle "After Today" - Matthew "Fabulous Places" - Dolittle, Emma, Matthew, Tommy "Where Are the Words?" (deleted scene) - Matthew "I Think I Like You" - Dolittle, Emma "Doctor Dolittle" - Matthew, Tommy, the Island Children "Something in Your Smile" (deleted scene) - Dolittle "My Friend the Doctor" (reprise) - Company In the original cut of the movie, Dr. Dolittle and Emma did eventually begin a relationship. He sang Where Are the Words?, when he realised he was falling in love with her, but in a revised version, it's actually Matthew who falls for Emma and it is his recording of the song which is featured on the soundtrack album. Both versions were filmed and both actors recorded their respective versions, but the footage for both, as well as the vocal track by Rex Harrison have been lost to history. In both scenarioes, Something In Your Smile, is sung by Dolittle when he realizes he himself has fallen for Emma, however, although Harrison's vocal for the song survives, the footage does not. As a result, in an upcoming Special Anniversary Blu-ray deluxe box-set release, 20th Century Fox intends to play audio from both Newley's version of the former as well as Harrison's version of the latter against production stills taken at the time of shooting to give the viewer an idea of how the missing footage might have originally appeared. The film's 1967 release was accompanied by an enormous media blitz, with over a million copies of the soundtrack issued to stores in both Mono as well as Stereo however the advertising campaign failed miserably. Being the last musical to be mixed for mono on a soundtrack album, copies of the original release, especially the monaural versions could be found in "bargain bins" for decades after the film's theatrical run. The album has never been re-released on LP since then and only received a CD re-release for its 30th Anniversary; however, no extraneous material such as excised numbers (other than those described above) was included. 20th Century Fox had originally intended the film to reunite Rex Harrison and Lerner & Loewe, following the success of My Fair Lady, but Loewe had retired from writing musicals. Alan Jay Lerner was originally chosen to write the script, but was fired by producer Arthur P. Jacobs on May 7, 1965 for his endless procrastination stretching over a year. Jacobs then tried to get the Sherman Brothers, but they were tied to Walt Disney. Instead, Lerner was replaced by Leslie Bricusse, who was in high demand after his success with the musical Stop the World - I Want to Get Off. Determined to make a good impression for his first screenplay commission, Bricusse proved agreeably productive from the start for Jacobs, suggesting numerous story ideas at their first meeting on May 6, 1965 and followed up just two months later with a full treatment that included various song suggestions while effectively blunting the book's racist content in an adaptation that met with Hugh Lofting's widow's approval. Lerner's replacement by Bricusse gave Harrison the chance to sit out his contract, while demanding that the proposed actor for the role of Bumpo, Sammy Davis Jr., be replaced by Sidney Poitier, despite the fact that Poitier was not a musical performer. Eventually, the part of Bumpo was cut altogether. Harrison's demands drove the producers to approach Christopher Plummer as a replacement, but when Harrison agreed to stay the producers paid Plummer his agreed-upon salary to leave the production. The film was originally budgeted at $6 million, but the final cost was triple that. It was photographed in 70 mm Todd-AO by Robert Surtees. The village scenes were filmed in Castle Combe in Wiltshire. The producers did not anticipate that the trained animals for the production would be quarantined upon entering the UK, forcing replacement of the animals at considerable extra expense to meet deadlines. The producers chose to ignore reports of the area's frequently rainy summers, and the resulting weather continually interfered with shooting and caused health problems for the animals. Some of the producers' decisions (such as removing TV aerials from personal residences in town) irritated the population. An artificial dam built by the production was destroyed by British Army officer (and future explorer) Ranulph Fiennes because he believed it ruined the village. The producers were forced to rebuild some sets in California for costly re-shoots. Scenes were shot in Marigot Bay, Saint Lucia; this location was equally problematic, and problems with insects and frequent tropical storms halted production. The final scene with a giant snail was complicated not only by the poor design of the large prop, but because the island's children had recently been struck by a gastrointestinal epidemic caused by freshwater snails, and mobs of angry locals threw rocks at it. The Marigot Bay Hotel, now located there, has the Pink Snail Champagne Bar in honor of the film. The walls of the bar are adorned with original photos from the film. Personality conflicts added to the tension during the production. Anthony Newley was incensed by comments made by Harrison that he deemed anti-Semitic. Harrison was apparently jealous of his Jewish co-star's participation, and demanded Newley's role be reduced and disrupted scenes featuring Newley. Geoffrey Holder received racist abuse from Harrison's entourage. The younger cast members grew to loathe Harrison for this abuse and they retaliated by antagonizing him. Some of the animals bit Rex Harrison during filming. Just prior to release, 20th Century Fox was sued for $4.5 million by Helen Winston, a producer involved early in the development of the film. She claimed that the plot point about animals threatening to go on strike on Dolittle's behalf was lifted from her rejected screenplay. Bricusse, who had read Winston's script, assumed it was from the books and included it in his own treatment by mistake. Because the producers only had rights to the content of the original books, they had no legal defence and were forced to settle out of court. The animal strike is mentioned in the movie but was not actually filmed. The film's first sneak preview in September, 1967 at the Mann Theatre in Minneapolis was a failure. The audience consisted largely of adults, who were not the primary target audience. The general audience response was muted during the screening and comment cards rated it poorly, with frequent complaints about the film's length. A shorter edit of the film previewed in San Francisco was no more successful; a still shorter edit previewed in San Jose was well enough received to be approved as the final cut. The film had its official Royal World Charity Premiere on 12 December 1967 at the Odeon Marble Arch in London in the presence of HM Queen Elizabeth II. The US premiere was one week later. Reviewing the film for The New York Times, Bosley Crowther said, "The music is not exceptional, the rendering of the songs lacks variety, and the pace, under Richard Fleischer's direction, is slow and without surprise." In his annual Movie Guide, critic and historian Leonard Maltin called the film a "colossal dud". Maltin admired the film's photography, but was quick to point out how it nearly bankrupted 20th Century Fox. He admitted that, "The movie has one merit: If you have unruly children, it may put them to sleep." The film also faced strong competition from the Walt Disney animated feature film, The Jungle Book, which opened on the same week to considerable critical and audience acclaim. Doctor Dolittle 's appeal as family fare was undermined when the press drew attention to racist content in the books, prompting demands to have them removed from public schools. According to the book Behind the Oscar, Fox mounted an unparalleled nomination campaign in which Academy members were wined and dined. As a result, the film was nominated for nine Oscars, including Best Picture. The film currently holds a 32% rating on Rotten Tomatoes. The lackluster sales of tie-in merchandise diminished studio enthusiasm for similar forms of marketing for years. George Lucas took advantage of this attitude to acquire those rights, and he profited spectacularly with his 1977 film, Star Wars Episode IV: A New Hope. In 1998, the film was adapted into a stage musical, starring Phillip Schofield as Doctor Dolittle, a pre-recorded Julie Andrews as the voice of Dolittle's parrot Polynesia, and the animatronic wizardry of Jim Henson's Creature Shop. The show ran for 400 performances in London's West End and at the time was one of the most expensive musicals ever produced. The musical also starred Bryan Smyth, a former milkman and full-time actor and singer who then went on to host his own TV game show for RTE. The film is shown to the students of Springfield Elementary Shool in The Simpsons episode Cue Detective. Bobby Darin Sings Doctor Dolittle was released on Atlantic Records in August, 1967. Darin's recording of "Beautiful Things" from this LP was featured in a 2013 TV commercial for Etihad Airways. A cover version of the same song by The Shiny Lapel Trio was used in a Christmas 2008 TV commercial campaign for the United States retail chain Kohl's. The film won Academy Awards for Best Effects, Special Effects (L.B. Abbott) and Best Music, Song (Leslie Bricusse for "Talk to the Animals"). It was nominated for Best Picture, Best Art Direction-Set Decoration (Mario Chiari, Jack Martin Smith, Ed Graves, Walter M. Scott, Stuart A. Reiss), Best Cinematography (Robert L. Surtees), Best Film Editing (Samuel E. Beetley), (Marjorie Fowler), Best Music, Original Music Score (Leslie Bricusse), Best Music, Scoring of Music, Adaptation or Treatment (Lionel Newman), (Alexander Courage) and Best Sound (20th Century Fox). List of American films of 1967 Wikimedia Commons has media related to Doctor Dolittle (film). Doctor Dolittle at the Internet Movie Database Doctor Dolittle at the TCM Movie Database Doctor Dolittle at AllMovie Doctor Dolittle at Rotten Tomatoes The Washington Post on filming Doctor Doolittle Doctor Dolittle is a 1967 American musical film directed by Richard Fleischer and starring Rex Harrison, Samantha Eggar, Anthony Newley and Richard Attenborough. It. Doctor Dolittle (film) A trip around the world set to an awesome song - what could be better? With this background in mind, we are now well equipped to discover the elusive mystery and possibly a meaningful interpretation of The Persistence of Memory. ![]() The persistence of memory salvador dali melting clocks soft watches museum of modern art. ![]() Dali sometimes referred to his paintings as “hand-painted dream photographs” and The Persistence of Memory can certainly be characterized as such. In order to touch upon the meaning of any Salvador Dali painting, it would help to become familiar with artist’s painting method. Painting dream imagery stems from using a method invented by Dali, which he himself describes as Paranoiac Critical Method. Using this approach, the painter derives his artwork from interpretation of spontaneous thought patterns. This process requires the artist to be in a meditative state, which gains access to imagination. Throughout his paintings we see deserted landscapes. As though taking place not on the globe of The Earth but inside human psyche. Vast subconscious horizons are inhabited by every-day objects in various states of existence. Melted clocks, ants eating clock’s hands, distant oceans that lift above the ground as if to communicate that this place exists somewhere in a state of suspended animation. In tradition of early classical painters, Dali’s paintings are illuminated by a bright, golden light. But unlike Rembrandt’s light which illuminates the outside of a face, Dali’s light is cast into the unseen valleys of inner space, where lobsters are lukewarm telephones. Where ants munch on clock’s hands. Where Sardines and cheese can be visually eaten by the observer’s eye, and just like in a dream state, taken literally without second thought. Using hyper-realistic depiction of common objects in uncommon circumstances and creating painted images that match technical precision that of a laser printer, it appears that Dali, instead of using a paintbrush, has been simply snapping pictures with a Polaroid while spontaneously strolling around inside dream worlds. Perhaps by using realism in a surrealistic environment, Dali is trying to tell us that metaphysical things, and perhaps things within the spiritual dominion, somehow simultaneously coexist with physical reality through the willful act of imagination. The Persistence of Memory depicts a head-like object lying on the ground like a beached whale. It’s eyes are closed, suggesting that what’s being observed refers to dream state, or at least a process related to imagination and things that are unseen by natural eye. The drooping pocketwatches possibly suggest the irrelevance of time during sleep. In other words, when we are asleep, or not conscious, the time does not persist, only memories do. This distortion of time can be easily observed by just about anyone who ever attempted to think about the nature of their own dreams. Art historians speculate that the painting may be a visual depiction of the idea behind the Einstein’s theory of relativity: that time itself is relative and not fixed. But that’s quite possibly a shot in the dark. The painting’s meaning strongly suggests psychoanalytical values. Those to do with the research of Sigmund Freud. Public acclaim was something that Freud had wanted all his life [1], and although Freud had many opposers, he was a known public figure. Dali had often thought about meeting with Freud. So much of his imagery was borrowed from the ideas of Sigmund Freud. Apart from psychology and psychoanalysis, Dali held an interest in various other sciences, physics and mathematics. However, Dali himself hasn’t shown much interest in painting from science until after World War II, when the Hiroshima atomic bomb made an impression on him. His work then made a shift toward his nuclear (or ‘atomic’) period, in which the painter focused on adding elements to his paintings that suggested atomic composition of what is known as matter in physics. Dali’s interest in the so-called atomic era can be clearly observed by looking at another painting Dali painted later in his life called The Disintegration of The Persistence of Memory (oil on canvas, c. 1952 to 1954), where he literally takes the contents of the original painting apart, The Persistence of Memory from 1931, which suggests the end of the importance of psychoanalysis. From now on, it is replaced by the knowledge of subatomic particles, a concept that supersedes psychology as higher form of existence in cosmic hierarchy. ‘In the surrealist period, I wanted to create the iconography of the interior world – the world of the marvelous, of my father Freud. I succeeded in doing it. Today the exterior world – that of physics – has transcended the one of psychology. My father today is Dr Heisenberg. Salvador Dalí, Anti-Matter Manifesto, Carstairs Gallery, New York, December 1958 – January 1959, quoted in Elliott H. King, ‘Nuclear mysticism’, Salvador Dalí: Liquid Desire, National Gallery of Victoria, Melbourne, 2009, p. 247. With this background in mind, we are now well equipped to discover the elusive mystery and possibly a meaningful interpretation of The Persistence of Memory. The original title of this painting in Spanish, the native language of the artist, is “La Persistencia De La Memoria” and it depicts a fetus-like head lying on the ground, like a fish that was washed ashore and now decaying after a lost struggle gasping for air. There are four watches in this painting, three of which appear to be molten, as if made out of cheese. The only watch whose structure doesn’t appear to be malformed – unlike other watches it is orange in color – is sitting on a desk-like object. The ants seem to have found a point of interest in the center of the orange watch. Without having seen this painting in person it is not difficult to think that the dimensions of this painting are bigger than what they really are. This minimalist painting is only 9 1/2 by 13″ inch (24.1 x 33cm). Perhaps the reason for this illusion is that art enthusiasts often become familiar with this painting in the form of a wall poster the format of which is larger in dimension. Rendered in Dali’s hallmark faint brown, yellow and blue colors this painting has earned him world-wide recognition at age 27. The meaning of this painting is open to interpretation and is discussed in the text that follows. Dali’s artistic genius lies in his ability to create ideas that lie on the edge between being disturbing and arousing curiosity. To further investigate this statement, Marilyn Manson – who had admittedly been influenced by the works of Salvador Dali – is known for creating art based on the shock factor. In comparison, Dali, however, doesn’t go over the border to create visions based on disgust and shock value alone. Dali isn’t trying to shock the viewer of his paintings, but to bewilder, to make the images speak for themselves. And in the case of Salvador Dali, it is difficult to tell what the questions are that the viewer should be asking looking at his paradoxical visual statements. The Persistence of Memory Meaning One of the questions those who had shown interest in Dali’s work ask is “What is the meaning of these paintings?”. Whether there is certain meaning in Dali’s work is not questionable. Any serious artist understands the meaning of his own work. Dali himself almost never explained his works to the public with seriousness, although one can be curious about Dali’s influences. What is the meaning of The Persistence of Memory? The painting itself is named adequately, as it is hard to forget the feelings provoked by observing the contents of the painting. The landscapes in many of Dali’s paintings, including The Persistence of Memory, resemble Port Lligat, the home of Salvador Dali. More than often Dali uses sandy beaches, corrupted by age sail boats, and other imagery he had been exposed to as a child in his home town. While the contents of this painting are enigmatic and open to interpretation, let’s not forget that Dali was also a philosopher, beside being an artist, as most people know him. We also know that Dali had significant interests in science and psychology (He studied the works of Freud and Nietzsche, for example). The painting is nothing more than a collection of ideas, that are to do with the interpretation of dreams, perception of reality, time, birth, death and sexual desire. The ants, seemingly attacking the orange clock positioned on the rectangular table-like object perhaps indicate the anxiety associated with time. And what are the origins of our anxieties associated with time? Is it being too late for work? or is it not having completed or accomplished something before we die? Whether we are aware of it or not, it is reasonable to believe that we all understand, even if only on subconscious level that some day we are going to die. This psychology and understanding of the reality of death may configure our behavior. The Persistence of Memory may have many interpretations. Some are more meaningful, others remain elusive. Perhaps the images of the melting clocks are nothing more than ideas influenced by the Camembert cheese left for too long of a period of time on the table on a warm sunny day (as Dali had previously described his inspiration for this painting, this is noted by Dali himself in his book, conveniently titled Diary of a Genius. According to Dali, he was a self-proclaimed genius). Nonetheless, Dali would often make up ridiculous explanations for his paintings to purposely mislead people. The Camembert is an example of just that. By doing this Dali not only opened the doors for discussion of multiple interpretations of his art, but also made criticizing his work nearly impossible for people he thought who possessed lesser intellect than that of himself. In a similar way, for example, and with the same intentions, Leonardo DaVinci wrote backwards and upside down in his journals, so that the meaning of his work could only be interpreted when looked at in a mirror’s reflection by those who were clever enough to understand it. Painting Analysis Another peculiar detail that perhaps is not easy to spot at first glance is the way Dali uses light to communicate ideas of this painting. There are two tiny rocks sitting in the sand on the beach in the background. The rock to the left is in the shadow, and the one to the right is lit. Note that the ants, the three melted clocks and a fetus-like object all reside in the shade as well. Whereas, the mountains and the water are lit by sunlight. Here we can see the difference between soft (uncertain) and hard (certain) objects. You can draw a diagonal line between the shadowed place and the lit areas of this painting. Perhaps the distorted (soft) images that are in the shade are representing subconscious images, and the sun-lit mountain (hard) and water represent consciousness. The painting almost makes the viewer look at consciousness as “the light at the end of the tunnel” from this angle. Physical Metaphysics or How Human Memory Works You say “Hello” to someone you’ve just met. You were introduced to that person before by someone else. Perhaps this is why you don’t remember their name. Unfortunately that person is in a rush and you must part ways without much social interaction. The next day you decide to go for a walk down the street. Going through the usual wanderings of the mind on your way down a peaceful autumn park alleyway, without an effort, that person’s name pops into your head. The phenomenon of human memory, its persistence and sometimes its absence, is part of the mechanics deeply interwoven into the organic fabric of living tissues in the brain. Does this setup somehow coincide with the immaterial concepts such as conscience itself? Having studied physics and metaphysics, certainly Dali has shown an interest in things of the spirit, as his later works have become increasingly ripe with religious imagery. For example the following painting depicting a symbolic cross made up of atoms held together by nuclear energy, titled Nuclear Cross: This can be further observed in The Mike Wallace Interview with Salvador Dali [2] that aired on April 19, 1958, in which Dali discussed chastity as a spiritual fruit: Wallace: Chastity is one of the most powerful symbols of modern times? Dali: In my opinion it is the more… urgent and the more dramatic because the chastity represents the force of spirit…. chaste in any religion, you know because of promiscuity, the people make love, there is no more the spiritual strength, no more the spiritual thoughts. After all you are not a computer and obviously you don’t store memory on a magnetic disk organized such as that you could pull specific memories out precisely at the time you need to and on command. What is memory then? Can we, at the same time ask: what is conscience? According to most recent discoveries by scientists, forming memory is a four-step process. It is known that the four main human memory types are sensory memory, working memory, short-term memory and long-term memory. According to one theory, the sensory memory is the persistence of sensations. Dali’s paintings are psychologically deep, and perhaps the sensory memory is what influenced the famous “melted clock” painting since it is precisely this type of memory that makes it possible to attach our experiences to something we end up remembering at its deepest level. Dali often called his paintings “hand-painted dream photographs” not only because of the Paranoiac Critical method but also because of the visual quality of his work. He believed that a quality of a painting from technical standpoint depends on how well the colors blended into one another. Another element of a masterfully painted piece was the fact that you couldn’t see the trace of brush strokes on the surface of canvas after the paint dries. Certainly, it is one thing to look at this paintings in a magazine, a book or even the Internet. But nothing can match the stunning precision and detail of his work when it is seen in person. The colors are vibrant and the brush stroke artifacts are barely visible. At the time of this writing (2008) the painting belongs to the Gala-Salvador Dali Foundation/Artists Rights Society (ARS) museum, New York. The Persistence of Memory: Facts & Interpretation It was completed in 1931 and is considered one of Dali’s most famous works. The painting is only 9 1/2 by 13″ inch (24.1 x 33cm). It possibly derives its meaning from Sigmund Freud’s work on psychoanalysis because Dali painted it during his psychoanalytical era of painting. Interpretation 1: The persistence of memory meaning theme: the drooping pocketwatches possibly suggest the irrelevance of time during sleep. In other words, when we are asleep, or not conscious, the time does not persist, but memories do. Interpretation 2: Yet another interpretation of this painting may, through the use of symbolism, suggest Einstein’s theory that time is relative and is not fixed. Dali called his paintings hand-painted dream photographs. References [1] The Death of Sigmund Freud: Fascism, Psychoanalysis and the Rise of Fundamentalism – 2008 (by author Mark Edmundson). [2] Harry Ransom Center. Salvador Dali: The Mike Wallace Interview ![]() MoMA | The Persistence of Memory. In popular writing about psychology, the division of the mind containing the sum of all thoughts, memories, impulses, desires. ![]() ![]() 2. Among the Dead. First a lace of smoke decorated the air of the workroom, the far wall unfolded into fire. The elevator shaft spun out flames like a bobbin. Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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