a doll 's house is a 1973 franco-british drama film directed by joseph losey , based on the play of the same name by henrik ibsen .

it stars jane fonda in the role of nora helmer and david warner as her domineering husband , torvald .

in the united states , the film was broadcast nationally on the abc television network .

losey 's version of the classic play was extensively adapted for film .

from ibsen 's expository dialogue , entire new scenes were developed by playwright david mercer and integrated through a variety of invented sets .

losey 's alterations generated considerable controversy , as did his casting of outspoken actress fonda – known at the time as " hanoi jane " – in the lead role .

a doll ' s house ( 1973 losey film )

trailer du film a doll ' s house de joseph losey avec jane fonda ( 1973 ) . urltoken
a doll’s house . dir . joseph losey . les films de la boétie , 1973 . film .
with the headline : film : ‘a doll ' s house , ’ ' 73vintage jane fonda .
‘experience all too often leads to disillusionment . ’ – comparing a doll’s house and rossetti
with the headline : jane fonda is solid nora in ‘doll ' s house’ .
a doll ' s house is a 1973 british film , directed by patrick garland . it is based on henrik ibsen ' s play a doll ' s house ( 1879 ) . . nora , the lead character , is married to the authoritarian and controlling torvald helmer .
a doll ' s house is a 1973 franco - british drama film directed by joseph losey , based on the play of the same name by henrik ibsen . it stars jane fonda in the role of
henrik ibsen ' s 1879 play , a doll ' s house was depicted very well by joseph losey ' s 1973 film , a doll ' s house , and patrick garland ' s 1973 film version of a doll ' s house . the cast in both movies depicted ibsen ' s characters well , and the settings were very close to the settings described in the play . two main differences that stood out to me were the scenes between dr . rank and nora , and the ending scene with nora and torvald .
this is a collection of some critical quotations that you might want to refer to when writing about a doll’s house .
a doll ' s house ( 1973 ) all region dvd ( plays on region 1 , 2 , 3 , 4 , 5 , 6 dvd players ) . based on the novel…
tout va bien . dir . jean - luc godard anouchka films , 1973 . film .
, greatly exceeds that of joseph losey ( also made in 1973 ) , mostly because of acting .
this is a link to an interesting interview from 1997 in which janet mcteer discusses her interpretation of the role of nora in a doll’s house .
production : world . director joseph losey ; producer joseph losey ; screenplay david mercer .
a doll ' s house ( 1973 ) all region dvd ( plays on region 1 , 2 , 3 , 4 , 5 , 6 dvd players ) . based on the novel by henrik ibsen .
in the victorian era , women had almost no rights . they were not allowed to own land , take out loans , or even take their children and leave their husbands . women were very much oppressed during this era , and many people had differing opinions over this oppression . in 1879 , henrik ibsen wrote a doll ' s house , a social commentary on the oppression of women during the victorian era . joseph losey ' s 1973 film adaptation of a doll ' s house and patrick garland ' s a doll ' s house , also filmed in 1973 , also comment on the oppression of women during the victorian era and display a negative view of such social conditions .
this can be used for ao3 – context – as it helps to place a doll’s house in the wider dramatic context of the period .
content as well raising sound and buoyant children . in a doll’s house , henrik ibsen explores the treatment of women and their suppressive treatment by society to demonstrate that marriage was an umbrageous bondage that hurt the women involved . in the movie , a doll’s house , the character of nora is further
jane fonda as nora helmer film title a doll ' s house directed by joseph losey film company british lion 24 august 1973 - * * warning * * this photograph is the copyright of the film company and / or the photographer assigned by or authorised by / allowed on the set by the film company at that time of this production & can only be reproduced by publications in conjunction with the promotion of the above film . a mandatory credit to the film company ( and photographer if known ) is required .
“a doll ' s house” was shown last night at the new york film festival . this production has been sold to the american broadcasting company , and will be seen on television this season .
this is a link to a set of critical references that you might like to use when comparing rossetti’s poems with a doll’s house for the ocr a level english literature drama and poetry pre - 1900 paper .
a doll ' s house is a 1973 franco - british film directed by joseph losey , based on the same play by henrik ibsen . it went directly to television and premiered in the united states on the american broadcasting company . it was screened at the 1973 cannes film festival , but wasn ' t entered into the main competition . [ 1 ] it was one of two versions of ibsen ' s play ; the other , a film version for movie houses , starred claire bloom and anthony hopkins .
this is a mindmap which focuses on the textual links between the poems of christina rossetti and ibsen’s a doll’s house . keep an eye out for more resources focusing on the contextual links .
this is a completed chart from the doll’s house teaching pack on the ocr website which explores the literary context of the play by giving an overview of the works of ibsen’s contemporaries .
in addition to the various broadway productions , there have a number of filmed presentations . in 1973 ,
he also worked with losey on secret ceremony ( 1968 ) , a doll’s house ( 1973 ) , the romantic englishwoman ( 1975 ) , mr klein ( 1976 ) , les routes du sud ( roads to the south , 1978 ) and don giovanni ( 1979 ) . the go - between won the palme d’or , the top prize in cannes .
a group of friends are brought to a haunted house to explore it for a doll that is being asked for by an online user for 25 , 000 but things turn out to be totally different then expected .
directed by joseph losey . with jane fonda , delphine seyrig , david warner uk / france 1973 , 16mm , color , 106 min . print courtesy of boston public library
within the same year , and included a powerful cast that causes losey ' s work to pale in comparison .
ibsen’s ' a doll’s house ' reportedly caused a furore back in 1879 for daring to critique the traditional role of women in a patrician society . women were to be seen and not heard - they were there to prettify and amuse the men , you see . and i guess the powers that be didn’t like this being pointed out to them . when joseph losey’s film version opened at cannes in 1973 it caused a similar fuss . losey had dared to tinker with the text – now of course , an established part of the theatrical canon . and jane fonda was accused of turning her version of nora into a champion for women’s lib . not sure how this could be deemed a criticism –…
so it ' s 2017 and i wanted to set myself a film challenge for the year . being me it ' s an actress…
the second version of the henrik ibsen classic to hit the screens in 1973 , joseph losey’s location - filmed ( norway ) effort has the director’s name plus that of jane fonda ( playing the woman’s lib pre - dating heroine , nora ) and a certain formal elegance to carry it .
a doll’s house direction : patrick garland . screenplay : christopher hampton , after the broadway production of henrik ibsen’s play . production : hilliard elkins . the players : claire bloom , anthony hopkins , sir ralph richardson , denholm elliott , anna massey , dame edith evans .
directed by joseph losey . with macdonald carey , gail russell , john sands us 1950 , 16mm , b / w , 81 min . print courtesy of george eastman house
frankly , i quite enjoyed garland’s rendering of nora’s story ; but at the end of losey’s film , the only distinct impressions i had were that i should definitely visit norway someday and that i should avoid macaroons at all cost .
well - worth watching , and with beautiful settings deep in the scandanavian snow , this ' doll ' s house ' is just as interesting as any filmed play , and sits well alongside the claire bloom / anthony hopkins version .
although the main title reads
henrik ibsen ' s ' a doll ' s house '
, the credits at the end state
based on the play by christopher hampton
. hampton actually did not write the play ; he only wrote the screenplay and the english translation .
, by henrik ibsen , is a very complex one . the flaws found in losey s production was more than perfected by director patrick garland ' s production of
the second version of the henrik ibsen classic to hit the screens in 1973 , joseph losey ' s location - filmed ( norway ) effort has the director ' s name plus that of jane fonda ( playing the woman ' s lib pre - dating heroine , nora ) and a certain formal elegance to carry it .
most people have seen a film at one time or another that was lacking in some aspect . some films have marvelous actors with a poor director . other films have a brilliant set design and vision from the director , with a very weak cast . in the 1973 version of
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
a doll ' s house is about the oppression of nora ( jane onda / claire bloom ) by her husband , torvald ( david warner / anthony hopkins ) . there are any examples throughout the play and films that demonstrate how torvald , as well as society , opresses nora .
in september 1878 , only a couple of months after hearing about laura ' s committal to the asylum , ibsen began work on a doll ' s house . in his notes he wrote the following : a woman cannot be herself in modern society , with laws made by men and with prosecutors and judges who assess female conduct from a male standpoint . copyright © 1996 - 1998 frank mcguinness
directed by joseph losey . us 1941 , video , b / w , 20 min .
since we have two flawed versions of “a doll ' s house” this year , it ' s exasperating to have to choose between the sets of mistakes that were made . hillard elkins ' s production is dignified , intelligent and as respectful as a tour of a renovated cathedral . claire bloom plays nora with such austerity that most of the play ' s emotional punch is lost . and there are some mangling cuts that simply muck up the characters ' motives .
the second version of the henrik ibsen classic to hit the screens in 1973 , joseph losey’s location - filmed ( norway ) effort has the director’s name plus that of jane fonda ( playing the woman’s lib pre - dating heroine , nora ) and a certain formal elegance to carry it . ironically , it is fonda who appears miscast as the ibsen heroine who [ … ]
the film is a decent adaptation of the play with it ' s cinematic additions coming off as relatively harmless to the original text . it does make me long for a version of a…
a doll ' s house is one of my absolute favourite plays and i loved jane fonda ' s portrayal of nora helmer in this . she captures both nora ' s flighty playfulness and her strength with ease . i had read other reviews which suggested that an interest in women ' s lib in the 70s meant her portrayal of nora was too bold or too defiant but it really is all in ibsen ' s text . i don ' t really think any of the additions or jane ' s acting exaggerated nora ' s nerve .
directed by joseph losey . with tom courtenay , dirk bogarde , leo mckern uk 1964 , 35mm , b / w , 86 min . print from the harvard film archive collection
losey ' s last feature film is an adaptation of a popular play by british writer nell dunn that takes place entirely in the london turkish bath where a group of women first met and became friends . the news of the bath ' s closure reunites the women to discuss their past experiences and future plans and , eventually , to band together to defend the beloved bathhouse . while steaming ' s all female ensemble marks an unusual departure in losey ' s oeuvre , the film extends his interest in willful and outspoken female characters seen in so many of his films . poignantly , losey ' s final act as a director sees the usual loseyesque conflicts over class , gender and power give way to a new emphasis on community and hope .
losey never fit easily within the auteur paradigm . he was not a writer - director , and three of his most remarkable films were made in close collaboration with harold pinter , the influential stage dramatist whose stature eclipsed that of losey’s . as a result of this , losey was ostracised by some of the same auteur critics who championed his early hollywood and british genre films like the
a doll ' s house , directed by joseph losey ; ? ? ? ? pay by david mercer from michael meyers english translation of henrik ibsen ' s play ; director of p otography , gerry fisher ; editor , reggie beck ; music by michel legrand ; art director , eileen diss ; ‐csiume designer , john fumiss ; makeup , bob lawence ; produced by mr . loser ; a world films servi : es presentation ; released by tomorrow entertainient inc . at the thalia theater . running time : 103 minutes . this film has not been rated ,
julia . dir . fred zinnemann . twentieth century fox , 1977 . film .
rollover . dir . alan j . pakula ipc films , 1981 . film .
steelyard blues . dir . alan meyerson steelyard blues productions , 1972 . film .
gerry fisher was one of britain’s finest cinematographers , responsible for the look of more than 60 films , most illustriously with director joseph losey .
in the long , narrow vista from the parlor through the dining room to the playroom , nora ' s world is seen , in the reduced perspective of deep focus , as a doll ' s house in an optical as well as dramatic delusion . fonda is a glowing , vibrant , impulsive , transitional figure between past and present , between victorian pretense and lonely liberation .
this was one of two major british films based on ibsen ' s play to be released in 1973 . the other was directed by joseph losey , with jane fonda in the leading role . the films were released in the uk within a very short time of each other . both were box - office failures .
he is the master . he ' s called a husband . she is the plaything . she ' s called a wife .
. filmed in norway , the play was enlarged by adaptor david mercer in order to take advantage of the exteriors available . directed by joseph losey it premiered at the cannes film festival .
copyright © 2016 memory ! international film heritage festival . all rights reserved . website credits
coming home . dir . hal ashby . jerome hellman productions , 1978 . film .
introduction to the enemy . dir . haskell wexler ipc films , 1974 . film .
klute . dir . alan j . pakula warner bros . , 1971 . film .
, but he wrote it as a play , not a film . however , there are plays that do try to include the outdoors .
losey ' s continued interest in strong female characters and feminist themes led him to ibsen ' s groundbreaking 1879 drama . for his version , losey turned to british playwright and screenwriter david mercer ( providence ) to open up the play and add scenes to dramatize material provided as expository dialogue in ibsen ' s original . friction during the shooting – co - stars jane fonda and delphine seyrig resisted losey ' s direction in protest to what they saw as a betrayal and dilution of ibsen ' s radical vision – manifests in a certain palpable tension in the film . in the end , however , both actresses turn in first - rate performances , especially fonda as ibsen ' s proto - feminist heroine nora helmer .
in contrast , the 1973 work by patrick garland personifies nora ( claire bloom ) and torvald ( anthony hopkins ) and their relationship in what i believe would have been the way ibsen intended . their relationship consists of cute , loving conversation between the two , with torvald treating nora as his little doll .
another difference that was quite evident to me was the ending scene between nora and torvald . after torvald has found out about nora ' s deception , ibsen has nora explain to torvald reasoning for her previous actions , and why she must leave him and the children . however , in losey ' s film nora left torvald ( david warner ) and the children very shortly after him yelling at her , and then after he started to console her . i believe garland ' s film followed the play more closely during this particular scene . after torvald threw his temper , and then tried to tell her everything was going to be fine , nora sat down and had a conversation with him . this scene was more boring and drawn out in this version of the film ; however , i believe it made the reasoning behind nora leaving more clear to the audience . i also believe this depiction of the scene explained why the film and play is titled , a doll ' s house .
henrik ibsen struck an early blow for feminism in 1879 with this liberated tale of a wife who rebels . juliet stevenson plays nora who finally revolts against her husband ' s perception of her as a doll - wife whose opinions count for nothing .
losey ' s only work in the science fiction / horror genre is one of his strangest and most unforgettable films . a disquieting exploration of a world gone wrong , the damned follows a couple on the run from a gang of musically inclined juvenile delinquents . they stumble upon a scientist ( alexander knox ) working on a top - secret government project : an experiment on a group of children with mysterious powers . using a moody script by the boy with green hair writer ben barzman , losey effectively harnesses conventions of the postwar horror film – scary children , cold war paranoia – to create a strange and haunting apocalyptic allegory .
crew : camera gerry fisher ; editor reginald beck ; music michel legrand ; art director eileen diss ( color ) available on vhs . extract of a review from 1973 . running time : 108 min .
steinberg , cobbett . film facts . new york : facts on file , 1980 . print .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
a childish wife reveals surprising strength when faced with blackmail . a modern version of ibsen ' s play .
with a feminist nora , an icy torvald , and a drunken dr rank , this adaptation perhaps tries too far to be a film version of the classic ibsen play , setting scenes before and outside of the play ( such as nora ' s loan and christina ' s past ) rather than keeping strictly to the text . jane fonda is a 1970s nora , not as flighty as other actresses have played her , but still as determined in the final scenes . david warner is an emotionless torvald , which makes his awakening to the realities of his marriage hit home , while trevor howard is a less cultured rank than ralph richardson in the other 1973 version of the play . well - worth watching , and with beautiful settings deep in the scandanavian snow , this ' doll ' s house ' is just as interesting as any filmed play , and sits well alongside the claire bloom / anthony hopkins version .
fun with dick and jane . dir . ted kotcheff . columbia pictures corporation , 1977 . film .
a wealthy woman ' s attempts to help her financially troubled husband go unrewarded .
directed by joseph losey . with vanessa redgrave , sarah miles , diana dors uk 1984 , video , color , 95 min .
, losey has escaped the clutches of the cultists to fall into the hands of the snobs , ” sarris declared in 1968 .
losey ' s only italian film – and his first work in exile – literally and figuratively bridges film noir and neo - realism with its poignant tale of two forsaken loners thrown together by fate . the great paul muni , in a rarely seen late role , plays a nameless drifter who haunts a desolate port where he befriends a wily street urchin when they are brought together by a gun and a terrible accident . an excellent depiction of war - torn italy , shot using principally non - studio locations , stranger on the prowl continues the fascination with loners , outsiders and those on the margins found throughout losey ' s hollywood films . print courtesy of cineteca di bologna , restored by cineteca di bologna in cooperation with cinémathèque française and comune di pisa .
, by joseph losey , we find not only weak directing , but also a weak cast , with the exception of dr . rank ( trevor howard ) .
for his third and final collaboration with pinter , losey returns once more to the subject of youth in this haunting coming of age tale about a fateful summer spent by leo , a middle - class boy , at the sumptuous country home of a wealthy school chum . based on l . p . hartley ' s celebrated and eponymous novel , the film follows leo ' s discovery of a secret , transgressive love affair . one of losey ' s uncontested masterpieces , the go - between finds losey again exploring the dire consequences of repressive bourgeois privilege , but now with a new , almost proustian sense of nostalgia . winner of the palm d ' or at cannes , the go - between masterfully evokes turn - of - the - century mores and commands incredible performances by julie christie and alan bates .
fisher’s wife , jean , died three days before him . their son , cary , became a film camera operator himself and was director of photography for the television series csi : ny .
for his first french - language film losey cast alain delon as the titular anti - hero , an apolitical art dealer in nazioccupied paris startled to learn that he has a double – a jewish refugee using delon ' s identity to escape deportation and death . in search for his mysterious doppelganger , klein sets in motion a dangerous , elusive process that ultimately endangers his own protected aryan status – a striking return to the theme of lost identity first seen in the servant . delon ' s convincing reserve , similar to that of his steel - hearted criminals in jean - pierre melville ' s thrillers , helps to make mr . klein one of losey ' s bleakest and most frightening works . the cold dispassionateness of mr . klein ' s unmistakably critical attitude towards the virulent anti - semitism of war - torn paris makes the film even more unsettling .
he went up the ranks from camera operator to director of photography when he shot losey’s accident ( 1967 ) , a harold pinter adaptation of nicholas mosley’s novel , starring dirk bogarde as a married oxford university professor going through a mid - life crisis as he pursues a student whose fiancé has died in a car crash . fisher succeeded in lighting interior and exterior scenes to get moody shots reflecting the dark , pessimistic themes of the film while battling days of torrential rain over the summer of 1966 .
if a doll ' s house is less frequently revived than some other ibsen plays , it is because the revolt it chronicles is a little embarrassing now . thornton wilder [ who adapted this version ] has pruned away most of the stiff nordic fripperies but still the propriety of helmer ' s little wife is hard to understand . the motivation of the character is plagued with shibboleths today , but the moral and spiritual triumph of nora are still full of the fire of life .
new york times
the photography is superb ( the norwegian setting makes little difference to either play ) , and losey ' s direction is marred only by an occasional over - insistence in the editing .
losey ' s least - seen american film offers a riveting example of the stripped down , urgent realism central to his brief hollywood career , in strong contrast to the overt stylization that would became a signature feature of his european films . ahead of its time for its focus on marginalized migrant workers , the lawless gives an impassioned voice to the angry distrust of main street u . s . a . that echoes throughout losey ' s early work . making vivid use of los angeles locations and balancing its cast between studio contract players and non - actors from the migrant community , the lawless offers a rare glimpse into the class turmoil of 1940s america .
a doll’s house opens on christmas eve . nora helmer enters her well - furnished living room—the setting of the entire play—carrying several packages . torvald helmer , nora’s husband , comes out of his study when he hears her arrive . he greets her playfully and affectionately , but then chides her for spending so much money on christmas gifts . their conversation reveals that the helmers have had to be careful with money for many years , but that torvald has recently obtained a new position at the bank where he works that will afford them a more comfortable lifestyle .
are not all outdoors , but they are the majority that were changed or added . the beginning is even a change by losey . christine ( delphine seyrig ) and nora are talking inside a restaurant about their respective relationships . ibsen makes it very clear the way he designed the play about the two women ' s relationships with men without this . apparently losey felt the audience too dumb to realize things people had realized for almost 100 years in the play . losey then utilizes the norwegian outdoors that is very beautiful covered in white . it very well could have cost quite a bit to film in norway . therefore , the use of the outdoors could have been forced on losey . whoever made the decision to film outdoors in effect reshaped the whole play . scenes like krogstad ( edward fox ) and nora meeting under a bridge outside are written in ; and this alters everything , by rewriting the script . whether jane insisted or modernization was the aim , the absence of
little squirrel
references are apparent . there are quite a few less of these sayings in losey ' s adaptation . the reason seems to point towards a modern view of the play just as filming the outdoors might .
the film’s best achievement is its casting . claire bloom , in every way right for the part , still seems too vacant to justify her character’s ultimate action ; but anthony hopkins’s smooth torvald is consistently strong . sir ralph richardson is an endearing dr . rank , but not quite crusty enough ; he’s good in the same way that an appetizer is before the main feast : his performance left me eager to watch trevor howard play the role in losey’s film . anna massey is arresting as mrs . linde , and dame edith evans , though scarce , is a solid nursemaid . the day is won , however , by denholm elliott’s krogstad , an alternately pathetic and malevolent character whose balance is so deftly maintained by elliott that he emerges as the film’s most affecting , sympathetic and interesting persona . this is enough to save the film for the viewer who enjoys fine acting , but the contributions of the picture are so negligible as to raise the question why it was even made , unless as a gift from elkins to his wife .
directed by joseph losey . with stanley baker , micheline presle , hardy kruger uk 1958 , 16mm , b / w , 90 min .
what is real and what is fiction ? faced with writer ' s block with his novel , lewis fielding turns to a film script about a woman finding herself after his wife elizabeth returns from baden . . . see full summary »
with a feminist nora , an icy torvald , and a drunken dr rank , this adaptation perhaps tries too far to be a film version of the classic ibsen play , setting scenes before and outside of the play ( such as nora ' s loan and christina ' s past ) rather than keeping strictly to the text .
into film format . the addition of scenes , the acting by jane fonda and david warner , and many other things contributed to a movie that was far away from the intended play ' s meaning .
columbia’s antinuclear movie resulting from the merger of fonda’s and gray’s projects , which finally went into production in february 1978 with a new script cowritten by the film’s director james bridges ( talbot and zheutlin 321 ; bridges ; gray , cook and bridges ) , balanced the critique of unregulated and ruthlessly self - interested corporations with a strong emphasis on the plight of women in a man’s world . fonda’s role as a tv reporter in the silkwood project had been inserted into the story of gray’s version of “the china syndrome” . instead of a team of documentary filmmakers , now it is fonda’s reporter and her camera crew investigating an incident at a nuclear power plant . at the same time , the story of lemmon’s plant supervisor has certain parallels to that of karen silkwood . his investigation into the unsafe construction of his plant and his contacts with the media lead to the attempted murder , in a staged car accident , of a member of fonda’s tv crew who is on the way to deliver the plant supervisor’s evidence to a public hearing .
a psychologist once remarked : “after your namesake slammed the doll ' s house door , i bet her first words were ‘oh god , i ' ve forgotten my keys ! ’” this suggestion inspired some embattled evenings . if that cynic had a clue to nora ' s key ring , there were two possible interpretations . some of us agreed that she might evenutally need her keys to collect a few papers crucial to divorce . but of course the opposition claimed that she would hate her new freedom — hence the keys would be , necessary for rushing back and locking herself in .
when torvald discovers that nora had borrowed money illegally , it is shown that he agrees with society . he agrees that nora should be oppressed because she is a woman . he does not support her or thank her for going to such lengths to save his life . he criticizes her , calls her a miserable creature , a hypocrite , a liar , and a thoughtless woman . in the garland film , torvald shouts very loudly and calls her a stupid woman . in the losey film , torvald is surly in his putdown of nora , and he proceeds to oppress her further by telling her she will live in his house only to pretend to be his loving wife , that she will not be allowed to raise the children , and not allow her to read a letter from krogstad .
though the losey film is ferociously flawed , i recommend it for jane fonda ' s performance . beforehand , it seemed fair to wonder if she could personify someone from the past ; her voice , inflections , and ways of moving have always seemed totally contemporary . but once again she proves herself to be one of our finest actresses , and she ' s at home in the 1870 ' s , a creature of that period as much as of ours .
the trout is a meditative revisiting of eva , with isabelle huppert now playing a self - conscious 1980s femme fatale and jeanne moreau in a cameo role . instead of a writer , this time the male prey is a banker , and instead of decadent old venice , losey stages the battlefield for the war between the sexes in the brave new world of international finance in switzerland and in tokyo . huppert plays a precocious young woman plucked by a married financier from the obscurity of a trout farm in the swiss countryside . losey reportedly cast huppert in part because of her ability to play comedy and tragedy simultaneously , and indeed , the film is both serious drama and the blackest of comedies .
considerably . losey succeeded in only making a new movie from a great play . it seemed almost like the way the japanese imitated american cars when they first attempt to . they tried to copy the american cars to their tastes . they kept on trying , and now they have succeeded . maybe if losey kept on trying , he could have moved more over to other ' s tastes and not so much his . maybe it would have been in ibsen ' s tastes .
as the play and garland ' s film opens , nora is seen entering er house with packages for christmas . she busily takes off her outerwear and starts unwrapping ackages . in losey ' s version , this occurs after some preliminary background scenes . the first words spoken by torvald demean nora with nicknames such as little lark and little squirrel , as if he is more of a pet to him than a wife . he then goes on to demean nora about her spending habits , calling her his little spendthrift and little featherhead and telling her ,
that is like a oman !
in the garland film , nora makes squeaking animal sounds , as if she really is a squirrel or even a dog doing tricks for a treat or , in this case , money . she waltzes over and sits in torvald ' s lap , giving him sad puppy dog eyes and baby talking to him , hoping that begging will get her what she wants .
first of all , the scene between dr . rank and nora ( dr . rank confesses his love for her ) were depicted differently in the two films . garland ' s depiction of the play showed this scene somewhat more awkwardly than it was depicted in losey ' s film , as well as ibsen ' s original play . garland ' s translation of the scene showed more chemistry between dr . rank ( ralph richardson ) and nora claire bloom ) than i believed ibsen pointed out in his play . at times watching the scene , i found myself embarrassed for dr . rank because he was so forward . however , losey ' s film followed more closely to the play in my opinion . dr . rank ( trevor howard ) told nora ( jane fonda ) that he was in love with her somewhat subtly .
in the spring of 1975 , when the vietnam war ended , fonda returned to work with a new sense of purpose . she wanted to make films that were “stylistically mainstream , ” she said , “but with a gender slant . ” between 1975 and 1988 , she starred in thirteen motion pictures , several of which she also co - produced . a partial list includes “fun with dick and jane” ( 1977 ) , “julia” ( 1977 ) , “coming home” ( for which she was awarded the best actress oscar in 1979 ) , “the china syndrome” ( 1979 ) , “nine to five” ( 1980 ) , “on golden pond” ( 1981 ) , and the television movie “the dollmaker” ( 1984 ) , for which she won an emmy . in those years , she and hayden also joined forces to support various causes—the returning vietnam veterans , native american rights , women’s rights . fonda’s activities made her more “real” to some fans , but others , including several of her male directors , wished that she would just shut up and act . joseph losey , who directed fonda in a 1973 film version of ibsen’s “a doll’s house , ” for example , complained that she had “little sense of humor” and “was spending most of her time working on her political speeches , instead of learning her lines . ”
miss barrymore ' s conception of nora is sound . she is the frank , irresponsible , volatile , frivolous , doll - like creature doomed by marriage to be the plaything of a selfish , egotistical , smug , canting , conceited and self - centered husband . these qualities she indicated , but with a background of ingeniousness .
directed by joseph losey . with monica vitti , terence stamp , dirk bogarde us 1966 , 35mm , color , 119 min . print from 20th century fox
directed by joseph losey . with elizabeth taylor , richard burton , noël coward uk 1968 , 35mm , color , 113 min . print courtesy of universal studios
losey’s career was marked by adversity and perseverance amidst a post - war filmmaking landscape that perceived him as both a political subversive and an industrial outsider . he mirrored his blacklisted contemporaries jules dassin and cy endfield by resurrecting his career in europe , where he compiled an admittedly uneven , yet intermittently brilliant , filmography . losey’s films challenged both ideological and stylistic sensibilities . renouncing films offering easy solutions , losey came to feel that films “can only provide a stimulation which i think at its best is some sort of complete artistic statement , which therefore is form and emotion , which will stimulate the people seeing , hearing , absorbing it , to further thought and investigation . ” in an era when many of his past hollywood contemporaries like elia kazan , nicholas ray , orson welles , and fred zinnemann were either concluding their filmmaking careers or experiencing difficulties securing funding , losey remained prolific and made a film almost annually until his death . if anything , his vision to bridge the gap between commerce and high art was , and to a large extent still is , before its time .
the dialogue of the film is , on the surface , quite faithful to ibsen : but it has been injected with all kinds of innuendo to underscore—to the point of obviousness—its similarity to the contemporary dialectic of women’s liberation . never mind that ibsen’s play is about the state of capitalistic marriage , not about the oppression of women : women’s lib is now where the money’s at . thus we get an unbearably protracted final confrontation between nora and torvald , which becomes less an agon than a belabored philosophical debate , emphasizing again and again its similarity to the language of today’s feminism , belying its 19th - century scandinavian milieu . similarly , the film’s mise - en - scène is perfectly evocative of a norwegian household in wintertime over a hundred years ago , but the rich color with which it is photographed lends a feeling of unreality and a softness which belies the severity of ibsen’s conception .
. nora is the model wife and mother . in desperation , forgery is committed and destruction risked in order to save her husbands health . as nora is transformed , one of theatre and films most dramatic gestures occurs  she closes the door on her family to begin in a new life alone
in fonda’s early performances , the tension between her drive and her desire to be seen as a conventional , unthreatening girl is clear . in her first film , “tall story” ( 1960 ) , in which she plays a marriage - minded college cheerleader , she has a stridency that suggests a wildness of character which she herself doesn’t want to acknowledge . fonda
all in all , we can perhaps view these two works as the basis for what good and bad film is . each director is encouraged to bring his or her own ideas to the film ; however , sometimes it is a smashing success ; and other times it is a miserable failure . here , audiences were able to witness both .
the state department ' s purchase of a child went forth led to a commission from the national youth association – then headed by lyndon johnson – for a documentary highlighting nya ' s efforts to provide work and job training for young people in order to prevent poverty . once again the as - yet inexperienced losey found himself working with stellar talent , this time with veteran activist filmmakers willard van dyke and ralph steiner .
in garland’s film , claire bloom portrays the energetic and somewhat ignorant nora helmer . at first glance , bloom appears too old for the character , therefore making her youthful prancing a bit awkward . however as the movie unfolds , she expertly displays the manipulation underlying nora’s flirtatiousness and girlish ways . this sense of scheming intelligence throughout the film makes her decision in the end seem believable . a woman who could discover and use her husband’s weaknesses and affections like she could can believably make the unconventional decision to leave him when she discovers his true nature .
once “33 variations” closed , after eighty - five performances ( fonda was nominated for a best actress tony ) , the actress travelled to los angeles for knee - replacement surgery . while recuperating , she stayed at the house of a friend , the producer paula weinstein . fonda ( who has since
the connection or rather on - screen , romance is not apparent in losey ' s adaptation . nora and torvald never actually seem to love each other . fonda portrays nora as needing torvald only for money . torvald seems only to need nora for ego satisfaction . losey somehow forgets that ibsen intended these two characters to in fact be in love . he wanted them in love for the wrong reasons , though . it is nora ' s realization of why she was loving torvald , of course , is left to rethink his love . losey never makes it clear that the two are dependant on each other at first because of their love .
marriage takes a sour turn when a middle - aged husband falls for a young and sexy woman . things get even more complicated when his wife starts a hot affair with a young lover of her own .
directed by joseph losey . with macdonald carey , shirley ann field , oliver reed us 1962 , 35mm , b / w , 87 min . print from sony pictures repertory
was staged at the vaudeville theatre in london ' s west end and the booth theatre on broadway . his version of brecht ' s
while planning their first film together , fonda and vadim became involved , and by the time “la ronde” wrapped , fonda had decided to stay in france . she lived there for six years . fonda told me , “working in french , it’s a double mask . there’s the mask of playing a character , but then also it’s a different language , so i felt really safe . ” despite her accomplishments , however , she felt disconnected from her public persona . “what
as the title character , monica vitti incarnates the comicstrip heroine , a cross between barbarella and james bond . the film ' s plot finds secret agent blaise and her faithful sidekick willie garvin ( stamp ) teaming up to defeat effete super - villain gabriel ( bogarde ) . the adventure has something to do with diamonds , but it should come as no surprise that the plot comes second to the fabulous production design by richard mcdonald , plus losey ' s typically eccentric visual style here accented with a pop - art nod to the swinging ' 60s . the film achieves a truly strange kind of high camp in its attempt to satirize the source material , which itself originated as a lighthearted spoof of the crime - fighting adventures of 007 and his ilk .
the main character of this film is nora helmer , a simple woman married to a working man , the straight but authoritarian torvald . years before , they married out of love . now , between nora ' s desire for freedom and torvald ' s strictness , serious sexual friction is threatening their relationship , including actions from their past which could lead to tragedy .
jane fonda is a 1970s nora , not as flighty as other actresses have played her , but still as determined in the final scenes . david warner is an emotionless torvald , which makes his awakening to the realities of his marriage hit home , while trevor howard is a less cultured rank than ralph richardson in the other 1973 version of the play .
he began distancing himself from genre films ( the type of films typically exalted by auteur critics ) and instead became increasingly associated with literary adaptations and art - house cinema ( the type of films they often criticized ) . “with
canby , vincent . “film : nuclear plant is villain in china syndrome ” . new york times 16 mar . 1979 : c16 . print .
such associations exist at the level of production ( here we can consider the political background and intentions of filmmakers as well as their private or working relationships with political professionals or organisations ) and also at the level of marketing and reception . with regards to the latter , we can examine to what extent the political dimensions of a film are foregrounded in its advertising and in the publicity generated for it , and to what extent reviewers and other commentators in the press highlight a film’s politics . finally , there are cases in which a film becomes an important reference point in public debates about political issues , and also in political campaigning . in order to explore these associations , scholars need to go beyond film analysis , in particular by drawing on a range of primary print sources ( including , among many others , script materials , correspondence , published interviews , press releases , advertisements , film reviews and press reports ) . many of these sources can only be found in archives .
( 1867 ) was a great success when embellished with edvard grieg ' s music . but violent condemnation flowed almost everywhere
, a patriotic celebration in verse of ancient norse folklore that made him a national hero .
he showed his versatility by creating a completely different , “bright” look for the go - between ( 1971 ) , the third of pinter’s collaborations with losey , which started with the servant in 1963 and were incisive in their exploration of the moral bankruptcy and thwarted desires among the english middle and upper classes .
directed by joseph losey . with isabelle huppert , jean - pierre cassel , jeanne moreau france 1982 , 35mm , color , 105 min . french with english subtitles print courtesy of cinémathèque québéçoise
there are many things that change losey ' s film into a whole new format from ibsen ' s play . first , he uses settings of outdoor scenes . by writing these in he is changing the play from original form . he also writes in a scene at the beginning to help the viewer understand more . this inclusion in the beginning was not used by ibsen ; and he was understood ; therefore it seems very unnecessary . losey also leaves sexist remarks by torvald almost completely out . the character of torvald seems to be an unlikable , money - hungry , career - minded and grumpy one . nora seems not to connect with torvald as expected from the play because of these attributes . nora is also portrayed early on as being able to rely on herself .
a well - to - do connecticut family is upended when the grown daughter ' s godparents , seized by a nameless terror , decide to come live with them .
however , expansions can be even more destructive than cuts , the losey script by david mercer has been fattened with feeble lines and even short scenes that the old genius didn ' t write . also , some passages , such as kristine linde ' s reunion with krogatod and nora ' s tarantella , have been intercut . so the dramatic momentum is butchered . although we can sympathize with a filmmaker ' s urge to escape one single indoor setting , and , it ' s always nice to have an excuse for shots of snow—especially if you can sling in a sleigh or two—most of these tricks merely weaken a tightly written play .
losey , however , cast actors who did not capture the depth of henrik ibsen’s characters , as did bloom and hopkins . in losey’s version , jane fonda portrays nora helmer ; and , while her appearance seems appropriate and she prances enough to convey nora’s youthful disposition , she does not display a hint of manipulation . she is simply a thoughtless young woman who discovers one day that her husband is a cruel and selfish creature ; and , consequently , she gains ten years of maturity within the span of a two - minute fight with him . david warner , who played torvald helmer , also never seems to grasp the psychological aspect of the character . yes , he lords over the household and screams and rages when he discovers nora’s forgery , but he never fully shows the impact of his wife’s desertion . when she closes the door , he looks shocked but not heart - broken , leaving the scene shallow and the audience wondering why they just sat through such a long and depressing movie .


captain kidd 's kids is a 1919 american short comedy film featuring harold lloyd .

prints of this film exist in the film archives of the ucla film and television archive and filmoteca española .

captain kidd ' s kids

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captain kidd ' s kids certainly has its funny moments , and it ' s full of inventive gags , but sadly it ' s a little too zany for my taste .
smiles and spectacles : a harold lloyd treasury ( 1917 - 1947 ) , black & white , 600 minutes total , not rated , including captain kidd’s kids ( 1919 ) , black & white , 22 minutes , not rated .
the harold lloyd collection , volume 2 ( 1918 - 1921 ) , black & white and color - tinted black & white , 198 minutes total , not rated , including captain kidd’s kids ( 1919 ) , black & white , 22 minutes , not rated .
captain kidd’s dairy bar and take out offers menu items for every member of your family in a casual setting . enjoy our “treasured” view of the gulf of st . lawrence from our covered deck .
captain kidd’s dairy bar and take out offers menu items for every member of your family in a casual setting . enjoy the “treasured” view of the gulf of st . lawrence while you enjoy your meal or ice cream treat from our covered deck or at one of the picnic tables located around the property . there is also lots of green space for the kids to play !
a rich man ' s daughter has more suitors than she ' s interested in , and he ' s going to marry her off - - even if she ' s doesn ' t know about it .
captain kidd’s ( also known as redondo beach’s freshest seafood ) is a fish market and restaurant located in beautiful king harbor in redondo beach , c a . with it’s breath taking views and extensive seafood menu its sure to provide you with a great dining experience . customers are able to order off of our kitchen menu or select their cut of fish directly from the fish case . we are proud to offer the finest fish from both local and international waters delivered daily to our market . enjoy a sunset dinner from our 3 patios . and our dog friendly outdoor patio ! captain kidd’s has been a landmark in the south bay for the last 40 years . come see why locals have voted us freshest seafood in the south bay , year after year .
harold lloyd ' s biggest box - office hit was . . . more info
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stepping back , then , we can see that the comedy in the story comes from witnessing a reversal of roles in the boy’s life . the very first scene’s mise - en - sc
brownlow , kevin . the parade ' s gone by . . . university of california press , 1968
irvin willat’s behind the door ( 1919 ) starring hobart bosworth , jane novak and wallace beery . available from amazon
harold lloyd’s work from the beginning of his career in 1914 until 1923 was produced by hal roach studios . this work includes
tcm celebrates the 100th anniversary of a musical legend with three nights of programming devoted to some of leonard bernstein ' s . . . more
pretty entertaining with some fantastic gags . favorite had to be putting the spigot in the guy ' s mouth and pumping his arm for water .
before going their separate ways , lloyd had been roach’s top draw and most profitable act . yet he was not the only film star that roach produced in the 1920s . according to wikipedia . org , roach also worked with will rogers , the our gang kids ( also known as the little rascals ) , and , most significantly , laurel & hardy . thus , few producers could rival him in that decade , the most competition coming from mack sennett , founder of keystone studios .
the first half features some great gags including harold sharpening his straight razor on a record as it spins on a turntable and dancing to it , the mother of
the girl
telling him off over the phone and smoke coming out of the earpiece on harold ' s end , and snub ' s lungs being emptied of water via a tap inserted into his mouth .
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a man who goes by the name the sport decides where he wants to spend his last twenty - five cents . he chases the girl he ' s infatuated with , and encounters colorful characters along the way .
this act of comedy through reversal of roles is also evident in the work of charlie chaplin . in the immigrant , chaplin’s tramp character is a foreigner moving to america . his outfit illustrates his destitution : his clothes do not fit him correctly , which indicates that they are old or that he just found them somewhere and started wearing them . americans in the movie think very little of him—the authorities on the boat are quick to assume that he stole someone’s money , and the waiter in america constantly shoots him dirty , distrusting looks . yet in the end , the tables are turned , and his role of being a poor , unfortunate man is reversed . chaplin uses an american’s tip to pay for his and his girlfriend’s food . the waiter then becomes fuming mad at the american for unintentionally not leaving any tip , which puts the tramp in the position of advantage because he at least left a small gratuity . he also cures his condition of loneliness by finding a woman from his boat to america and marrying her .
the 30s saw roach extending the length of his laurel & hardy pieces to feature length since shorts were becoming less profitable . roach’s wikipedia entry notes that roach’s focus constantly shifted ; by 1940 , even laurel & hardy were cast aside in favor of “sophisticated farces” and “rugged action fare . ” by 1955 , roach had retired from active producing . a testament to the ephemeral nature of hollywood fame , his 14 . 5 acre studio , nicknamed the “lot of fun , ” was torn down in 1963 to make space for industry .
while at an amusement park , two men try to win the heart of a young lady . they compete with each other while attempting to find her runaway dog , and they race to ask her mother ' s permission to take her up in a hot air balloon .
cast : harold lloyd [ the boy ] , bebe daniels [ the girl ] , snub pollard [ the valet ] , fred c . newmeyer [ ah nix , the chinese cook ] , helen gilmore [ the girl’s mother ] , noah young [ a big pirate ] , sammy brooks [ a small pirate ] , charles e . stevenson [ the servant ] , marie mosquini
with simultaneously hilarious and nerve - wracking hazardous stunts were lloyd’s trademark specialty . such stunts could not take place onstage in a play or vaudeville act ; it would be too difficult and expensive to set up . it is a prime example of a humorous scene that would not be possible without the medium of cinema , which lloyd knew full well how to use to its maximum potential .
as his recurring character , the boy , harold lloyd has come to be known as a uniquely cinematic talent . unlike his peers with backgrounds in vaudeville acting—most notably charlie chaplin and buster keaton—lloyd was “a product of the film industry” ( haroldlloyd . com ) . according to his official website , “lloyd learned to use the camera the way other comics used a bowler hat or a funny walk . ” one might argue that as a promotional tool for the estate of harold lloyd , the website might just be making unfounded claims to make lloyd look better . yet there is credence to its claim . consider lloyd’s famous comic image from
on easy street , chaplin’s comedy of role reversal manifests in a different way . a silly weakling of a man signs up to become a police officer because he has no job and needs money , and he somehow manages to put criminals in jail by luck . we know that the tramp cannot defeat a big burly goon in honest hand - to - hand combat , which makes it all the more funny when he suddenly thinks to use the gas in the street light lamps to knock the troublemaker unconscious . essentially by accident , a goofball becomes a city hero and respected citizen , which is funny because it is unexpected .
is one of the last opportunities to see lloyd paired against his longtime leading lady bebe daniels . daniels , who was already part of roach ' s stable of actors ( after being hired for $ 50 a week at age 14 ) , made over 140 one - and two - reelers with lloyd . but their collaboration came to an end one night when daniels , roach and lloyd were having dinner and cecil b . demille approached their table and asked if she ' d like to be in his movies instead . daniels demurred , saying she wouldn ' t move until her contract with roach was up . but as soon as it was , demille signed her for $ 1000 a week - - first appearing in
, in particular , contains a lot of interesting social commentary . before getting to that , however , it’s important to get a summary glance of the essential storyline . a well - to - do playboy awakens from his bachelor party to find out that his wife - to - be and her mother know about his shenanigans . the shrewish mother coerces her daughter into postponing the marriage and taking a trip to the canary islands . the boy cannot tolerate failure , and so plans to meet his fiancé there . on the ship to the islands , the boy dreams that he is abducted by a boatload of female pirates who have him do chores and threaten to make him walk the plank . when he wakes up , the boy finds his fiancé and is a changed man , no longer willing to lose out on a wife just because of her bossy mother .
a growing source of silent era film information . this listing is from the progressive silent film list by carl bennett . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .
the rolin film company production ; distributed by pathé exchange , incorporated . / produced by hal roach . / released 30 november 1919 . / standard 35mm spherical 1 . 33 : 1 format . / daniels’ last film for rolin .
survival status : prints exist in the ucla film and television archive film archive ; and in the filmoteca espanola film archive .
references : braff - short n . 3345 ; brownlow - parade p . 462 ; kerr - silent p . 103 ; lahue - world p . 129 : website - imdb ; website - lloyd .
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after a wild bachelor party , our hero finds himself aboard a sailing vessel where he encounters numerous adventures . in a dream sequence , he fantasizes that the ship is seized by a band of female pirates .
go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .
suburban neighbors ( lloyd and pollard ) join together to build a garden shed , but through carelessness , wind up ruining the garden , as well as the laundry , which is drying in the yard . . . . see full summary »
a photo studio operator seems only interested in flirting with women . after slapping at his advance , a women phones her husband to come kill him . unsure what to do , harold randomly enters the studio and is offered to ' manage ' the store .
billy blazes confronts crooked charley , who has been ruling the town of peaceful vale through fear and violence .
boy trying to impress girl , gets chased by her father and the police right into an ongoing marathon .
in order to claim his inheritance , our hero must first produce a wife and family .
our hero saves a man from drowning , only to find that it is the wrong man .
a clerk in a failing antiques store gets a big idea on how to move the merchandise so that he can save the store and possibly win the girl .
a tipsy doctor encounters his patient sleepwalking on a building ledge , high above the street .
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the life and times of harold lloyd ( 2005 ) [ sub . spanish ]
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, with the managing director of the strand theater writing
there is no question harold lloyd will make good in two reel comedies .
and industry rags like motion picture news praising its
cleanness
,
wit
and
snappiness of action .
( 1933 ) . at paramount she acquired skills in production that led to a later career in film editing and writing for radio and television . despite their long and successful partnership , lloyd had no hard feelings about daniels jumping ship , gushing about her in a 1970 interview as a
wonderful individual
and how he ' d
always loved bebe . . . i felt terrible when i lost her .
that wasn ' t all lloyd would feel terrible about losing . around the release of
slide , anthony . silent players : a biographical and autobiographical study of 100 silent film actors and actresses . university press of kentucky , 2010
mccaffrey , donald w . guide to the silent years of american cinema . christopher p . jacobs greenwood publishing group , 1999
mccaffrey , donald w . three classic silent screen comedies , starring harold lloyd fairleigh dickinson univ press , 1976
d ' agostino , annette m . the harold lloyd encyclopedia . mcfarland , 2004
leonard maltin classic movie guide , copyright 2005 , 2010 . used by arrangement with penguin group ( usa ) inc .
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a two - reeler released in march of 1920 ( dardis 318 ) —which will be discussed later . originally , roach was an extra for universal studios , where he met harold lloyd on a movie set . he made a prophetic claim one day that would have lasting implications on the course of silent comedy : that someday he would produce his own comedy films instead of taking work where it came as a minor actor , and—most importantly—that lloyd would star in his films ( dardis 26 ) .
inheriting $ 3000 in 1914 was a major windfall for the producing career of hal roach ( dardis 29 ) . he produced shoddily - made films that got little to no attention , but finally did produce some saleable movies when he met up with harold lloyd again later in the year . with his success growing , his studio grew , too . according to wikipedia . org , hal roach had to relocate his studio that was at first located in downtown los angeles , to culver city , california , due to zoning laws .
, where he “has to climb the side of a skyscraper as a publicity stunt for the store where he works” ( thompson 153 - 154 ) . thompson and bordwell write that “thrill comedies” like
. these successes led him to become immensely wealthy . his wide appeal led him to strike an incredibly lucrative deal with paramount . in exchange for the right to distribute his films , paramount was willing to give to harold “77 ½ percent of the domestic gross and 90 percent of the foreign—unheard - of terms at this time” ( dardis 167 ) .
. nevertheless , his work has left a lasting impression . his daring stunts and slapstick comedy have been mimicked countless times over the decades , and still continue to inspire contemporary comedians .
reviews of silent film releases on home video . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .
dvd discs , 1 . 33 : 1 aspect ratio image in full - frame 4 : 3 ( 720 x 480 pixels ) interlaced scan moeg - 2 format , ? mbps average video bit rate , ? kbps audio bit rate , dolby digital 2 . 0 stereo sound , english language intertitles , no foreign language subtitles , 4 chapter stops ; two - disc dvd keepcase , $ 29 . 95 .
this dvd edition of harold lloyd films was produced for home video by lobster films , paris .
usa : click the logomark to purchase this region 0 ntsc dvd edition from amazon . com . your purchase supports the silent era website .
canada : click the logomark to purchase this region 0 ntsc dvd edition from amazon . ca . your purchase supports the silent era website .
passport video , dvd - 5160 , upc 0 - 25493 - 51609 - 8 .
dvd discs , 1 . 33 : 1 aspect ratio image in full - frame 4 : 3 ( 720 x 480 pixels ) interlaced scan mpeg - 2 format , ? mbps average video bit rate , ? kbps audio bit rate , dolby digital 2 . 0 mono sound , english language intertitles , no foreign language subtitles , 1 chapter stop ; five - disc dvd keepcase , $ 19 . 98 .
early women filmmakers : an international anthology ( 1902 - 1943 ) . films by blaché , weber , dulac and more ! available from amazon
after a wild bachelor party , our hero finds himself aboard a sailing vessel where he encounters numerous adventures .
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this pirate ship , especially for children , features slippery slides , bursting water cannons and other playful treasures .
height requirement : 54” maximum or be accompanied by a child . guests over 54” tall are not permitted on the slides .
an interactive pirate ship for children which features slides , water cannons and other play elements . maximum water depth is 1½ feet .
riders are required to maintain the proper riding position — laying feet first with arms locked behind head and legs crossed at the ankles , keeping your body straight throughout the ride . riders may not sit .
guests who do not have seated postural control or appropriate observed behavior must be accompanied by a supervising companion .
guests with a cervical collar , neck brace , broken collar bone , full arm cast , braced arm cast or full leg cast are not permitted on the upper attractions and must be accompanied by a supervising companion in the pool .
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harold lloyd gets lost at sea and shanghaied by a bunch of sexy lady pirates . i don ' t need any more than that , personally .
surprisingly , even though the latter half of this 20 min . short features bebe daniels as the leader of a ship of female pirates , the first half of the film is better .
pretty terrible . so far , from what i ' ve seen of the harold lloyd shorts from 1917 to 1919 , the goulding - directed ones are so much funnier and more structured than the roach - directed shorts .
it must have been one hell of a bachelor party . ending up on a pirate ship full of women seems great until it isn’t .
i like the extended fantasy sequence , but i wish it were a little more surreal or ridiculous that separate it more from the already nuts “reality” of the movie . a boat full of lady pirates is the sort of thing this lunatic would dream about .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
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