the big noise is a 1944 comedy film starring stan laurel and oliver hardy .

it was produced by sol m. wurtzel and directed by mal st.clair .

the big noise ( 1944 film )

the big noise ( 1944 ) directed by malcolm st . clair • reviews , film + cast • letterboxd
laurel and hardy in the 1940s film ' the big noise ' . . .
( 1931 ) he ' s the big noise behind the talkies . in :
there are no critic reviews yet for the big noise . keep checking rotten tomatoes for updates !
big noise quotes .
quotes . net . stands4 llc , 2018 . web . 9 jul 2018 . < urltoken noise > .
there are no featured audience reviews yet . click the link below to see what others say about the big noise !
the big noise is better than its reputation , but given that reputation , it would almost have to be .
( 1929 ) the big noise : an unfanatical defense of the potentialities of talking pictures , the cinema ' s unwanted scion . in :
( 1929 ) dumb shows and noise : some considerations on the coming of the sound film . in :
( 1959 ) dubbing in the voices . also a big production . in :
3 films , good but not their best . jitterbugs ( 1943 ) , great guns ( 1941 ) and the big noise ( 1944 ) . i believe ollie and stan peaked in the late 1930s . but fans will enjoy the box set , nevertheless .
( 1977 ) now hear this : sound mixers are making noise . in :
but that ' s all nonsense .
the big noise
is not a great film but it ' s a passable way to spend 74 minutes with a classic comedy team . it ' s certainly not among laurel and hardy ' s best films . to see those , buy the hal roach feature
sons of the desert
and the roach short
the music box .
but in
the big noise ,
the boys ' genius still works at times .
deplores the deterioriation of the narrative capacities of visual imagery in the sound film .
concerning the sound film ' s effect on the deterioration of the living drama .
principles and practice in the use of speech , music , and noise .
the picture is the medium of statement , the sound is the medium of suggestion .
notes on the early days of the sound film by the director of the bellamy trial ( 1929 ) . discusses the effect of sound on the established film favorites of the silent days .
compares the acting techniques of the silent film , the sound film , and the stage . describes the panic of silent - movie stars induced by the advent of sound .
analyses the use of speech , noise , and music making connections between the narrative and thematic concerns .
musical structure
.
traces the role of the author ' s audio amplifier in the development of the sound film , and outlines the principle systems of recording sound on film ; cites the gains in realistic and emotional effectiveness conferred by sound upon the animated cartoon , the newsreel , the educational and the scenic film .
( 1983 ) ( bad ) film language : film and the status of writing . in :
( 1991 )
film séance
: the role of speech in soviet film exhibition of the 1920s . in :
predicts the success of the sound film , but insists it will not supplant the silent film . includes a discussion of various sound systems .
theoretical study of the aesthetic laws whose violation made the talking film so unsatisfactory .
the movies in our midst . documents in the cultural history of film in america
ex - soundman talks about his work in the swedish film studios during the twenties and the thirties .
the emergence of film art . the evolution and development of the motion picture as an art , from 1900 to the present
discusses the changes effected by sound film in the requirements for actors and studio equipment .
( 1936 ) a new stage in the development of the soviet film . in :
( 1953 ) the ' silent ' and the ' sound ' film . in :
reviews the first few years of talkies including the musical , the gangster film , grand hotel , and the mae west cycle .
rhythm in the sound film lies in the realtion of the change of angle in the visual stream to the sound dialogue which accompanies it .
“3m – magnetic media maker , a history of the first four decades ( 1944 . . . 1985 ) ” , by charles l alden . see review for details .
compares talking and silent films , to the advantage of the latter , relegating the sound film to the fields of farce and melodrama .
description of the apr and the problems of recording and reproduction of the sound for the wiz incluiding the playback for the musical sequences .
( 1967 ) sprache des films / sprache zum film / sprache im film . in :
needed something familiar , nostalgic and fun ; this 1944 laurel and hardy war - time comedy proved to be all of that and even more . . .
( 1975 ) the aesthetics of film sound : the importance of being audible . in :
pt . iv , the sound film , pp . 97 - 210 ; pt . vi , the future of the sound film , pp . 263 - 270 .
( 1984 ) teaching film with blinders on : the importance of knowing the language . in :
finds the advance of the sound film retarded by its failure to adopt more modern sociological concepts .
the sound man of the documentary journey to the outer limits tells of the equipment he used .
( 1976 ) the ' warner vitaphone peril ' : the american film industry reacts to the innovation of sound . in :
( 1974 ) un film sonore , un film musical , un film parlant : etude des sous - codes de la bande - son . in :
a critique of the sound film based on the premise that the art of the cinema is more closely related to music than to the theatre . with some remarks on the problems of screen acting .
. münchen : diskurs film , pp . 119 - 154 ( diskurs film . 8 . ) .
( 1976 ) writing the history of the american film industry : warner bothers and sound . in :
silent screen actors will withstand the competition by virtue of their familiarity with the technique of film acting .
the plot involves stan and ollie as bumbling janitors working in a private detective ' s office . a scientist named alva hartley ( arthur space ) calls the agency asking for detectives to guard his bomb , called the big noise . the bomb is so powerful it can win world war ii for the allies ( how prophetic ! ) . l and h want to be detectives , so they pose as such and take on the assignment .
( 1932 ) art , technique and internationality of the sound film . in :
description of the postsynchronization procedure of the dutch film een vrouw als eva ; includes a selection of comments from dutch film - makers about theor experiences with sound .
sound technician e . b . recalls the transition from silent to sound film .
( 1980 ) on the fundamental interactions of sound subcodes in film . in :
predicts the early demise of sound film . with notes on censorship of dialogue .
compares the histrionic techniques of the stage and silent film and analyzes the latter medium ' s effective penetration of audience psychology . includes remarks on scenario writing and economic aspects of sound film .
holds that the sound film is superior to the stage in technique and to other arts in its universality .
( 1952 ) the impact of sound upon the film industry : a case study of innovation . in :
( 1983a ) the blattnerphone : an early attempt to introduce magnetic recording into the film industry . in :
with the headline : critic ' s notebook ; a forgotten voice from the fatalistic world of film noir .
see especially ch . 12 , conclusion : considers the new fields of social usefulness opened to the motion picture by the sound film .
pantomime as the true cinematic technique . deems the silent film of being capable of suggesting sound ; citing the pantomimic howling of dogs in nanook of the north .
categories of film sound : speech , music , and noise ; realistic ( or : diegetic ) vs . nonrealistic ; subjective vs . objective ; parallel vs . contrastive . gives numerous examples .
predicting that the invention of sound leads the movies to dependence on the stage .
diagnosis of the current unpopularity of the talkies with an appeal for the subordination of dialog to the basic visual quality of the screen .
history of the talkies , from the early photographic experiments of auguste le prince and the perfection of sound - on - film by eugene lauste to the emergence of modern vitaphone and other sound - on - film systems .
sound film . in his : film . london : faber & faber 1933 , pp . 201 - 280 .
survey of a discussion in the dutch film periodical
filmliga
in the late 1920 ' s on the introduction of sound in films .
( 1930 ) off to hollywood ? no , the theatre has not yet capitulated to the film . in :
( 1928 ) the sound film : a statement from the u . s . s . r . in :
analyzes the enunciation of sound and image with respect to diegesis . places the film in figurative tradition of impressionism .
you may find a handful of genuine laughs in the big noise , but you will also find moments that make you weep ( i still don ' t think the roach laurel and hardy would intentionally drop a bomb on anyone , even during wartime . ) the supporting cast is instantly forgettable except for the very annoying future tv star bobby blake , but the background music is probably the best of any of their final efforts , and the film ends on a pleasant image of stan playing
mairzy doats
on a concertina while a school of fish dance on top of the water .
a contention by the hungarian director that the future of the sound film depends on the use of story material consistent with sound technique and with accurate representation of american life .
the complete film . in his film as art . berkeley , cal . : university of california press 1957 , pp . 154 - 160 .
extensive description of the development of the sound film in various countries , discussing the technique , the production , and the people . includes extracts from contemporary sources by directors , actors , critics , etc .
observations on the change from silent to sound films through notes on keaton ' s last silent film spite marriage ( 1929 ) and the early sound film laughter ( 1930 ) .
i always enjoy their films . years ago i was in the sons of the dessert . i don ' t mean the film but the club . brings back fond memories .
account of the writer ' s intellectual experiences and reactions during a screening of the jazz singer ; with vitriolic and devastating generalizations on the sound film .
another of the infamous
fox laurel & hardy
latter comedies , and in the running for one of the most enjoyable of the bunch in my book . here , the older but no less amusing duo are hired to guard a bomb christened
the big noise
by its zany inventor . some old tried and true classic funny routines are trotted out and revamped , with generally satisfactory results . stan and ollie seem like their old selves again in this , thankfully getting more screen time together .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
( 1933 ) towards true cinema : film - form the question of sound . in :
( 1930 ) on behalf of the silent film . in oliver m . saylor ' s
( 1985 ) the liberation of echo : a new hearing for film sound . in :
( 1976 ) highlights of the history of sound recording on film in europe . in :
sound as integral part of the film . general principles that govern the use of sound in film are similar to those applying in the case of the images : economy , restraint , appropriateness , variety , variation from reality . art lies in creating a coherent , expressive world of sound in film terms .
report of the hollywood symposium
film sound in the 80s or how to make your audience sit up and listen
.
interview . g . believes that the talkies will not entirely supplant the silent film . based on the adaptation of g ' s escape ( 1930 ) .
manifesto on the necessity for asynchronism and counterpoint in sound film , in accord with montage theory .
defends pantomime as a universal and international medium and ridicules the imperfections in current sound film technique .
descussion of the work done by john williams for film sound tracks , including earthquake and jaws .
sound engineer f . l . on the creative impact of film sound on aesthetics and realism .
review of the history of film technology , situating it within aesthetic , ideological and economic contexts .
emphasizes the film ' s clarity and simplicity , every sound ' s irreducible concreteness and efficacy .
( 1934 ) manifesto : dialogue on sound . its proper use in the film . in :
these later films of laureo and hardy were when they left hal roach and was near their careers end but they still were funny and it shows in these films especially jitterbugs , so in these films its the 40s but the teams comedy still shines as it did in the 30s as in great guns stan has some funny moments as they join the war and in the big noise they get caught up in a incident involving bomb which gives the film some thi gs we havent seen in laurel and hardy before , jitterbugs is the most original oug of the two and is one of laurel and hardys best films and has stan in a halarious scene involving rum .
r . p . , supervising sound mixer on earthquake , talks of the monumental job of mixing the sound for this film .
technological developments , in pursuit of ever - higher quality of sound , from 1918 ( german tri - ergon group ) to the dolby - noise reduction system ( 1973 ) and the hue - modulated color - photographic sound track .
summarizes the effects of the sound revolution on the fortunes of silent - screen and stage actors .
nostalgic comparison between the intimate qualities of the music - hall stage and the new talking picture .
this is just an ok film . l and h fans will be more tolerant . those unaccustomed to the pair should watch a better entry . the boys were starting to age in 1944 and the physical hijinks suffered . there are funny scenes , though , of l and h trying to relax in a bedroom with beds that come out of the walls and tables that rise out of the floor . a scene where the pair eats food in pill form is flat and unfunny , though .
discussion of the techniques employed by a . s . for the dune sound effects and what brought him to work on the film at this point in his career .
stresses the primacy of speech in the sound - film revolution . it is the dramaturgy of voices that largely determined the evolution of classical cutting in the 1930s and other aspects of filmic narrative and sytyle through the 1950s . analyzing filmic articulation into theree
zones
: perception / identification ; film as discourse ; speech in films .
ampex factbook 1970
this factbook gives details on the company from 1944 to 1969 . it was published by ampex corporation in 1970 , and tells about the corporation , the divisions and subsidiaries , the principal technologies , historical highlights and product development , financial record , personnel growth , management , facilities , and field offices . it is a searchable pdf file .
( 1971 ) film - sound - space : the oss ( optical sound synthesizer ) . in :
how the gpo , in acquiring film sound technology , has eliminated
economic and ideologic overheads
.
the film work of duras offers the paradox of making the voice the means of writing , thus reintroducing , according to the derridean project , writing into speech
. detailed analysis of the openeing sequences of india song , whose disjunctions and resistances
organize the film into a ' scene of writing ' particularly suited to provoking an investigation which returns to theory itself
.
doubts the utility of sound for intensification of the interelationship of time , consciousness , and the subconscious .
on the pre - production of the sound track of george stevens ' a place in the sun .
eventually laurel and hardy take off with the bomb with the crooks in hot pursuit . incredibly , the whole shebang ends in the ocean !
attributes the rise of animated sound cartoon , the renewed popularity of mack sennett ' s comedies , and the revival of the western and serial genres to the rebellion of child audiences against the overemphasis on dialogue .
business history . see chs . 17 and 18 , 1931 - ed . pp . 362 - 387 , 388 - 405 . ch . 17 ,
talkies
, gives an account of the advent of the sound film in 1926 ; outlines the confused status of the numerous sound patents on the market ; also details the financial plight of the warner bros . company . ch . 18 ,
sound and fury
, describes the far - reaching effcts of the establishment of sound on the film industry ; chronicles the formation of the rko , paramount - publix , and mgm organizations ; the changes in studio operation and equipment ; and the effect of the talkies on the stars of the silent era , and on musicians .
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 .
poses the problem of integrating the best visual and narrative qualities of the silent cinema with music and dialogue .
postulating pantomime as the essence of the medium and analyzing chaplin ' s success in support of the contention .
the film ' s spoken text has three functions : emotive stimulation , integration of action with setting , and expository supplementation of the visual image .
the
complete
film , toward which sound , color , wide - screen , and 3 - d strive , runs counter to film ' s formative ( artistic ) tendency .
( 1980 ) the european influence on the coming of sound to the american film , 1925 - 1940 : a survey . in : cameron 1980 , pp . 136 - 180 .
interview on r . l . ' s work as a sound technician at the national film board of canada .
part one : opinions of 35 directors on the significance of sound in film experience . part two : on the significance of sound for filmic expression .
the film traces
a trajectory that corresponds in psychoanalysis to the child ' s transition from auto - eroticism to narcissistic identification with an other
.
also , veda ann borg overacts as a chunky matron who has eyes for ollie . one trivia bit in the film is that stan , on his accordion , played the popular song
maisey doats .
according to the film ' s press book , the pair deliberately cut back on wasteful gags to help with the wwii effort .
on the increasing importance of the musical director created by the coming of sound . also discusses changes in acting .
reveals the unusual and technical exacting requirements imposed by the sound effects in rko ' s the silver strike ( 1934 ) and the resulting synchronization of six separate recordings on the sound track .
a new standard volume indicator and reference level , ( 1940 ) by chinn , gannett , and morris . the classic ire paper on the development of the
vu meter
. includes the history of volume indicators , the engineering factors in designing the meter , and the text of the original standard .
carries montage theory over into sound film , beginning necessary
analysis of the nature of audio - visual phenomena
, including the concept of vertical montage .
[ span . : ] un film sonoro , un film musical , un film hablado : estudio de los subcódigos de la bande sonora . in : video - forum , 9 , dec . 1980 , pp . 69 - 127 .
suggestions of the dramatic and aesthetic possibilities of sound ; acoustic fading ; inscribing sound directly on the track ; modifications of the visual fade - out to meet the demands of the sound track .
the boys made a handfull of films after parting company with hal roach . which one do you think is the worst ? select the button next to the film of your choice , then select the
cast your vote
button at the bottom . remember , every vote counts but please only vote once .
( 1980 ) film form / voice - over : bresson ' s the diary of a country priest . in :
includes chapters on
the addition of sound
,
sound film processing
, and
sound reproduction
.
what factors determined the specific forms of the talking film ? interrelationships of economic and ideological determinations ( e . g . hollywood ' s response to the crash with escapist musicals , and social problem films whose bourgeois humanist ideology recuperates
problems
) . speech in film ensures and reinforces idea of individual as hero of the fiction . the space of continuity editing is the space of dialogue .
discusses the prevalence of dubbing singers and doubling dancers during the 40 ' s with special emphasis on the jolson story .
( 1976 ) problems in film history : how fox innovated sound . in :
rev . in : epd film , 12 , 1985 , p . 16 .
when the duo are in the hi - tech bedroom , and ollie rides the bed back out of the wall , the following sequences show that the rotating table is first clear , then has the pipe and magnifying glass back on it , then is clear again , and then has the chairs re - arranged .
analysis of some short films using vitaphone sound , 1926 - 1927 ; the films are seen as responding to the separate conditions within their domain as well as to historical , technological , and formal developments in the field of the feature film .
stresses the necessity for the complete integration of sound and image in talking films .
discusses the art and technology behind the brainstorm sound design created by frank serafine .
. 1964 , 224 pp . ( the technique of the movies . ) .
( 1977 ) the development of sound systems : the commercial era . in :
an experimental study of the measurement of auditory manifestations of stage fright by means of rating scale and film sound track technique .
( 1979 ) the coming of sound to the american cinema : a history of the transformation of an industry . in :
the film was later reworked into the plot of brooklyn orchid , one of hal roach ' s streamliners , made in 1942 and starring william bendix and joe sawyer .
capsule summary of technological developments ( e . g . , magnetic recording , multiple - channel , dolby ) in sound film subsequent to 1927 , to stress the separation of production of sound and image tracks , and the constructed nature of film sound .
aes celebrates 60th anniversary presents oral history to complement the written history below in
how the aes began
and
histories of the founding of the aes
.
an anthology from the pages the the
journal of the smpte
. berkeley , cal . / los angeles , cal . : university of california press 1967 .
they wanted to make a big noise and break windows , which they did every time they mentioned ulmer ' s name . it seemed like a joke and , to a certain extent , it was . americans didn ' t need to see any of ulmer ' s films to have an opinion about his work . a selective listing of his credits could induce dangerously loud laughter :
girls in chains ,
jive junction
and
the man from planet x ,
among others .
seven lectures on the technique and history of sound films ( beginning with the herschel - fitten thaumatrope in 1820 ) . contains a chapter contrasting the technique and aesthetic potentialities of the sound cinema with the mechanics of the stage . includes a comprehensive bibliography .
( 1986 ) der voice - over als subjektivisierende erzählstruktur des film noir . in :
, 13 , 1965 : special issue
die rolle des worts im film
.
( 1973 ) für eine funktion des tons im film ( 1967 ) . in :
( 1995 ) ton , film und polyphone ethnographie . erfahrungen aus hamar . in :
words and moving images : essays on verbal and visual expression in film and television .
[ excerpt : ] theory of the film : sound . in : weis & belton 1985 , pp . 116 - 125 .
( 1985 ) the technology and aesthetics of film sound . in : weis & belton 1985 , pp . 63 - 72 .
check out highlights from some of the best recent trailers including mandy , the predator , zoe , and the king of thieves .
( 1928 ) the reaction of the public to motion pictures with sound . in :
on syberberg ' s parsifal and the problems of dubbing the singers of opera films .
on the increasing importance and developments in the use of audio equipment for sound tracks .
in film production
dubbing
generally refers to audio material recorded after the shooting of the scene ( either because a line was poorly recorded originally due to extraneous noise on location , or because it ' s being dubbed into another language ) . in classic musicals , the numbers were pre - recorded ( i . e . recorded beforehand ) . then , during shooting the actors / singers would lip - sync to them . ( see the
lose that long face
number in the restored garland a star is born - - it demonstrates this technique . )
see esp . sect . i , ch . 3 ,
development of the dialogue film
, and sect . i , ch . 4 ,
the problem of universal appeal
( on the barrier of language and the production of multilingual films ) .
digital audio engineering standardization history at the aes : the history of the development of the aes digital audio standards , as given in the aes journal minutes and reports of the digital audio standards and technical committees between 1977 and 1984 , and in bart locanthi ' s 1986 summary of the committees ' work .
outlines the film ' s
tactical innovations
and their relationships to the traditions of radio drama . valuable discussion of principles of constructing acoustic space as developed in radio drama .
sound engineer t . p . discusses the conventionality of sound as a dimension in film ; also on
invisible
sound editing .
the story of the part played by warner bros . in bringing the sound film to the screen . see esp . pt . iii ,
production
, discussing the problems of adapting sound engineering to theatrical needs , and describing vitaphone ' s first sound stage ; on the emergence of spoken dialogue as a departure from musical recordings . see also pt . iv on
the talkie boom
.
praises idiosyncrasies of the voice . point is not to imitate codified techniques but to find the unique sound appropriate to the cinematic moment .
condemns the talkie ' s servile imitation of the stage and advocates terse dialog , improved synchronization , and the proper utilization of silence .
enquiry into muteness in the cinema . part of the article is given to a study of the mime in les enfants du paradise .
repr . : the soundtrack of the rules of the game . in : weis & belton 1985 , pp . 312 - 322 .
criticism of the primitive state of the talkies - imperfectness of timing and synchronization , mediocrity of dialogue , actors unaccustomed to the medium .
( 1927 ) silence : a dissertation on the virtues of silence and its indispensability to the art of the moving picture . in :
( 1983 ) tense , mood and voice in film . notes after genette . in :
( 1979 ) a few aspects on sound history and history sound in film . in :
on a new film made in ussr using images of varying sizes and also stereophonic sound .
another reason was that a pre - recorded song eliminated any unwanted background noise from the location - - it gave a
clean
recording . example : a scene with a waterfall in the background - - if the song were recorded
live
( on location during photography ) the waterfall would compete with the voice . pre - recording a
clean
musical track and lip - syncing to it on location meant that there was no waterfall sound competing with the song . then , during mixing , the sound of a waterfall would be added - - with the benefit that the filmmakers now have total control over the waterfall because it is added later as a sound effect .
with speculations on the propagation , by the talkie , of english as a world language .
presents the editing of synchronized sound and action as a problem in the coordination of rhythms .
articles on the effect which the coming of sound had upon styles , acting , etc .
( 1982 ) structures of sound and image in the rules of the game . in :
demonstrates via historical and phenomenological arguments that sound is necessary to film , an integral part of the image . philosophical commentary on audiovisual representation .
( 1929 ) . laurel requested that the setting be changed to a turbulent plane , but producer sol wurtzel refused to accommodate him . at the end of the scene , you can hear the camera crew laughing in the background .
when laurel goes to turn off the light and accidentally sends hardy ' s bed into its hiding space in the wall , laurel ' s pipe and magnifying glass are on the table . laurel panics and begins pushing buttons . when he hits the button that spins the table into the floor , you can see the pipe and magnifying glass go flying . when the table returns , you can see they are still not on the table . but when hardy ' s bed comes back out of the wall and hardy falls from the bed , as the camera follows him , the table can be seen and the pipe and magnifying glass are sitting there .
[ rev . version : ] the coming of sound : technological change in the american film industry . in : weis & belton 1985 , pp . 5 - 24 . also in the second ed . of ballio ' s book .
regrets the triumph of the sound - track over the picture (
imperialism of spoken discourse
) and traces the development of this phenomenon . with reference to hitchcock ' s blackmail .
truffaut and his friends were promoting their politiques des auteurs approach to film criticism , a theory that dictated , among other things , that a film could be properly understood only if seen in relation to the director ' s entire work . the cahiers people were then in the bomb - throwing phase of their anti - establishment activism .
analysis of the potential aesthetic contributions of the sound film , defined as an independent form based on its own peculiar technique and incapable of reproduction in another medium . traces the origin of synchronized sound to the onomatopoetic musical scores of silent films , particularly to edmund meisel ' s compositions .
reviewed by john fell in : film quarterly 36 , 4 , 1983 , p . 60 .
sound motion pictures , recording and reproducing . with chapters on motion picture studio and film laboratory practice
( 1976 ) projet pour une sémiologie des relations audio - visuelles dans le film . in :
( 1939 ) some accomplishments of eugene augustin lauste - pioneer sound - film inventor . in :
( 1930 ) der film als forschungsmittel der technik . in : petersen 1930 , 20 pp .
london / basingstoke : macmillan ; london : british film institute 1985 , xi , 171 pp .
( 1990 ) lektüre des audiovisuellen . film und fernsehen als gegenstände einer erweiterten theaterwissenschaft . in :
rev . in : film quarterly 42 , 3 , 1989 , pp . 50 - 52 .
film - musik - musikbeschreibung . zur grundlage einer filmsemiotik in der wahrnehmung von geräusch und musik .
münster : maks publikationen 1994 , 309 s . ( film - und fernsehwissenschaftliche arbeiten . ) .
the double bill of
detour
and
the narrow margin
begins the film forum 2 ' s midsummer treat , a six - week retrospective titled
somewhere in the night : the auteur side of film noir .
it ' s not surprising that
detour
was also on the bill last week when the cinematographe opened its retrospective
film noir ,
which runs through july 23 . there ' s no need to know
girls in chains
or
jive junction
to be astonished by the merciless vision of the ulmer classic .
detour ,
which reportedly took six days to shoot and cost $ 30 , 000 , speaks for itself in its alternately laconic and gabby way .
repr . as history of the american film industry from its beginnings to 1931 . ed . by richard griffith . new york : dover 1970 .
attack on robert e . sherwood ' s commendation of the sound film . based on theories of münsterberg , faure , pudovkin , and eisenstein .
what , exactly , is film noir ? in recent years the term has been used more and more loosely until it ' s now being applied even to color films . even though the term ' s root remains fuzzy ,
noir - ish
is sometimes used as a modifier for any film whose characters are even faintly antisocial . my own unreliable criterion : if the cast includes claire trevor , marie windsor , evelyn keyes or gloria grahame , then the film is noir .
for reasons not easily explained , the existence of a
detour
remake seems absolutely in keeping with the whole film noir ethos - - sad , hustling and sinfully entertaining . where and when
analysis of the film ' s reflexive aural techniques and audiovisual editing . vertov ' s concept of audiovisual montage is more radical and subtle than eisenstein ' s . he invokes the
radio - ear
to break the spell of illusionism .
this site and its links - - use the search box at the top of this page .
sound engineer françois musy talks about the technical and aesthetical problems creating the track for prénom carmen .
early guide to the practical management of sound films from the projectionist ' s point of view .
( 1976 ) the coming of the talkies : invention , innovation , and diffusion . in :
the development of the tri - ergon system ; stages of invention , innovation , and diffusion .
( 1974 ) the art of the sound editor : an interview with walter murch . in :
statement on the sound film . in eisenstein ' s film form . new york : harcourt , brace 1949 , pp . 257 - 260 . repr . new york : dobson 1963 . other ed . : new york : meridian books 1957 .
twelve points related to the
bias against sound thinking
; enumerating levels on which this bias operates ( ideological , perceptual , textual , terminological , film - historical ) ; overviewing 1970s critical and theoretical writing on film sound . includes bibliography .
film noir is an elastic term . according to the film forum 2 , it can be applied to two exceptionally rich - looking films : orson welles ' s
lady from shanghai
( 1948 ) and charles vidor ' s
gilda
( 1946 ) , which are being shown on a double bill aug . 7 to 9 . the film noir seediness in each is almost entirely internalized , evident only in the lust , greed and other delightfully base motives that drive the characters .
interview with h . g . wells who registers his skepticism concerning the value of spoken dialogue . includes references to his pioneering film work with the inventor , robert w . paul , in 1895 .
. new york : film and sprockets society of the ccny art department 1937 , pp . 20 - 24 ( publication no . 1 . ) .
summarizes presentations at fall 1983 conference in birmingham on
sound cinema
, focusing on semiotics of film sound and the positioning of auditor / spectator .
it still isn ' t a great film . but it is a hell of a lot better than
vorschlag für eine serie kurzspielfilme . in : film - kurier , 108 , 9 . mai 1931 .
schriften zum film . 2 . der geist des films . artikel und aufsätze , 1926 - 1931 .
ms . [ north ryde : ] australian film and television school [ 1984 ] , 25 pp .
. münster : maks publikationen 1987 , 310 pp . ( film - und fernsehwissenschaftliche arbeiten . ) .
interview . excessive stress on dialogue renders the film slow and non - dynamic . asserts that the uses of silence , expressive sounds of nature , integral music , and the combination of visible and audible montage are problems receiving careful consideration in soviet cinema .
this article is issued from wikipedia - version of the 3 / 7 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
deals with the necessity of translation of films and analyses the process , both with subtitles and dubbing .
outline history of the technical development of the cinema concerning a camera which records both vision and sound .
( 1974 ) the taking of pelham 123 : the great train robbery acid sound trip . in :
analysis of the soundtrack ; music ; psychology of the seeing - hearing relationship . noises are primary .
[ sections on sound : ] film style and technology in the thirties : sound . in : weis & belton 1985 , pp . 37 - 43 .
, works well , with jack norton filling in nicely for what would have been an arthur houseman role back in the roach days . other borrowed bits also play well , and for the first time in what seems like ages , babe is back to doing reactions straight into the camera throughout the whole film .
( 1985 ) the felicity of ideology : speech - acts and the
happy - ending
in american films of the 1940 ' s . in :
( 1938 ) das problem des plastischen tons im film . vortrag vor der deutschen kinotechnischen gesellschaft . in :
[ engl . : ] theory of the film . character and growth of a new art . new york : dover 1970 , pp . 194 - 241 .
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a survey of the artistic possibilities inherent in three methodologies of synchronization : literal , unedited recording ; the purposeful control of sound , allowing the cinematic form greater freedom ; and the use of sound as expressionist accompaniment of visual images , as developed by the russian school .
al jols on and the jazz singer ; douglas fairbank ' s use of sound in the iron mask ( 1929 ) ; and the fox comedies and newsreels .
( 1978 ) the sounds of silence and things that go
flash
in the night . in :
emphasizes the necessity of limiting oral commentary in instructional films to informative briefs which stress action and advance continuity without distracting attention from the visual image . discusses the advantages of precise synchronization of word and image as opposed to timing which permits the sound track to anticipate the picture .
analysis of authority of tense , voice - over , images ; relationships among the film ' s dramatic
i
, narrative
i
, and camera .
sous les toits de paris has unusual sound hierarchy - music , speech , noise - which is upset only during climax in the narrative . critical terminology for sound space needs to include
off - track - sound
to parallel off - screen visual space . analysis of clair ' s use of spatial dimensions of sound and speech .
now new yorkers have a chance to judge for themselves what ulmer is all about .
detour
( 1945 ) , the vienna - born director ' s 68 - minute chef - d ' oeuvre , opens a five - day run today at the film forum 2 on a bill with richard fleischer ' s
narrow margin
( 1952 ) . the good news :
detour
really is some kind of great movie , not a masterpiece , but one of the defining films of the seductive genre the french critics called film noir .
linda loredo , who plays mrs . laurel , had appeared in several foreign - language versions of several previous short films . this was her only part in an english language laurel and hardy film . she died of peritonitis shortly after the film ' s completion at age 24 .
studies the ways in which the complex events of the coming of sound affected production practices of the independent hollywood production companies ( known as
poverty row
,
indies
, or
quickie productions
) .
defines sound montage as the interaction of simultaneous visual and aural images , deriving its peculiar quality from the concreteness of the picture and the generalized quality of the sound . finds the capacity of sound for evoking mnemonic images , termed
aural flash - backs
, more effective than visual flash - backs , citing the music in a nous la liberté ( 1931 ) as an example .
. new york / london : routledge 1992 , vi , 290 pp . ( afi film readers . ) .
( 1979 ) semiotics
ante litteram
: notes on pirandello ' s reactions to sound film . in :
review of yale franch studies , 60 , 1980 ( = spec . issue on
film sound
) .
sound and microphone characteristics ; sound balance for speech and music ; film sound editing ; etc . includes glossary .
special section : articles and interviews on dutch cinema in the 1930 ' s on the occasion of the festival and exhibition
berlijn - amsterdam 1920 - 1940
.
discusses flaubert ' s
cinematic
use of aural imagery . compares the complex function of sound in madame bovary to the device of the soundtrack in motion pictures .
the classic and usual technique was to pre - record all the songs before actual production of the film . this was done for several reasons , the main one being that during a musical number people are typically moving around a great deal , and if it were recorded with a boom ( overhead ) microphone during shooting , the distance between the singer - - usually doing some sort of dance moves - - and the microphone would constantly vary , creating a vocal track that
comes and goes .
in a piece about fritz lang ' s
you only live once
( 1937 ) , truffaut once wrote that everyone in it
is both criminal and victim .
that ' s another serviceable definition . think of walter neff ( fred macmurray ) and phyllis dietrichson ( barbara stanwyck ) , the double - crossing lovers in billy wilder ' s matchless
double indemnity
( 1944 ) , which is in neither of these retrospectives .
and many claims of
firsts
have sprung from the mists of time . this article seeks to set the
sound man n . b . discusses the work of the boom operator and his relationship to director and cameraman .
can films still be international after the coming of sound ? see weinberg ' s comment in the same issue .
if they tried ( and they did - - a time or two ) to record the number live , not only would they have a heck of a time trying to follow the actor around the stage with a mic , and have to have an orchestra present , but the pacing of the song would invariably vary ever so slightly from take to take . then , if this happens , the film editor has a heck of a time assembling the final edited song , because for an editor everything must match and that includes the pacing of a musical number . by lip - syncing to a pre - recorded track , the pacing of the musical number stays exactly the same from take to take and shot to shot , so that in the editing room everything can fall properly into sync .
francis ford coppola / the godfather combs , richard . “coppola’s family plot : the godfather variations . ” film comment 38 . 2 ( 2002 ) : 38 - 44 . ferraro , thomas j . “blood in the marketplace : the business of family in the godfather narratives . ” the invention of ethnicity . ed . werner sollors . new york : oxford university press , 1989 . 176 - 208 . phillips , gene . godfather : the intimate francis ford coppola . lexington : university press of kentucky , 2004 .
it ' s possible that one of the reasons
detour
works so well is the almost complete absence of other people . extras appear in some scenes , but most of the time the world looks abandoned , if not quite empty . the moral system is so rotten that al feels guilty when he should be shaking his fist at god , or maybe a policeman . although this is quintessential film noir , the landscapes are mostly shades of pale gray .
following a historical section on the technological and economic domination by the united states ( paramount ) and germany ( tobis ) of early french sound film production , analyzes the seminal influences of renoir ' s naturalism ( la chienne ) and grémillon ' s poetic realism ( la petite lise ) .
( 1933a ) asynchronism as a principle of sound film . in : pudovkin 1933 , pp . 155 - 165 .
( 1933b ) rhythmic problems in my first sound film . in : pudovkin 1933 , pp . 166 - 174 .
errata and addenda in : film comment 14 , 6 , nov . - dec . 1978 , p . 79 .
the squalor and hopelessnes of the lives it depicts are perfectly reflected in the financially pinched physical production . ulmer can persuade the audience that al and sue are walking up riverside drive late at night with the help of a fog machine and the periodic sightings of lampposts . there are a few location shots , photographed just outside hollywood , but most of the exteriors were done in a studio with rear projection .
as a sort of postscript to the ulmer film , and to neal ' s career ( he died 18 months after his release from prison ) , the film forum 2 will present a three - day run ( july 31 to aug . 2 ) of wade williams ' s brand - new remake of
detour ,
starring tom neal jr .
there is also something incredibly romantic both about the extreme degree of fatalism expressed in much film noir , and about their doomed heroes , who would not get themselves in the dreadful fixes they do without some kind of fatally romantic flaw .
( 1988 ) the pursuit of sound : radio , perception , and utopia in the early 20th century . in :
( 1983 ) researching and restoring pioneer talking pictures : the 70th anniversary of the theatrical release of kinetophone . in :
( 1989 ) on the track of the vitaphone short . in : bandy 1989 , pp . 35 - 41 .
that was the usual response when , in the late 1950 ' s and early 1960 ' s , francois truffaut , jean - luc godard and their cahiers du cinema associates would cite edgar g . ulmer as one of the hollywood masters who had been cruelly neglected , not only by the major companies but also by the american critics and the public .
the programs at both theaters are primarily devoted to movies that seldom turn up on television or in the video stores , and that demonstrate the enduring vitality of the mostly modest - budget melodramas regarded in their own day as b pictures .
alan crosland / the jazz singer carringer , robert l . the jazz singer . madison : university of wisconsin press , 1979 . knapp , jeffrey . “‘sacred songs popular prices’ : secularization in the jazz singer . ” critical inquiry 34 . 2 ( 2008 ) : 313 - 335 . rogin , michael . “blackface , white noise : the jewish jazz singer finds his voice . ” critical inquiry 18 . 3 ( 1992 ) : 417 - 453 . rosenberg , joel . “what you ain’t heard yet : the languages of the jazz singer . ” prooftexts : a journal of jewish literary history 22 . 1 - 2 ( 2002 ) : 11 - 54 .
sergei eisenstein / battleship potemkin eisenstein , sergei . film form : essays in film theory and the film sense . new york : meridian , 1957 . minden , michael . “politics and the silent cinema : the cabinet of dr . caligari and battleship potemkin . ” visions and blueprints : avant - garde culture and radical politics in early twentieth - century europe . ed . edward timms . manchester : manchester university press , 1988 . 287 - 306 . nichols , bill . “ battleship potemkin ( 1926 ) : film form and revolution . ” film analysis : a norton reader . ed . jeffrey geiger . new york : w . w . norton , 2005 . 158 - 177 . wenden , d . j . “ battleship potemkin : film and reality . ” feature films as history . ed . k . r . m . short . london : helm , 1981 . 37 - 61 .
reprints from the french ciné - magazine , nos . 4 - 5 , 1930 . includes articles on stars of yesterday , the paramount cinema in paris , by chaplin , impressions from a film trip to america ( by maurice bessy ) and an article on the
new phenomenon of sound
.


back to the future part ii is a 1989 american science-fiction adventure comedy film directed by robert zemeckis and written by bob gale .

it is the sequel to the 1985 film back to the future and the second installment in the back to the future trilogy .

the film stars michael j. fox , christopher lloyd , thomas f. wilson , and lea thompson and continues immediately following the original film .

after repairing the damage to history done by his previous time travel adventures , marty mcfly ( fox ) and his friend dr. emmett " doc " brown ( lloyd ) travel to 2015 to prevent mcfly 's future son from ending up imprisoned .

however , their presence allows biff tannen ( wilson ) to steal doc 's delorean time machine and travel to 1955 , where he alters history by making his younger self wealthy .

the film was produced on a $ 40-million budget and was filmed back-to-back with its sequel , part iii .

filming began in february 1989 after two years were spent building the sets and writing the scripts .

two actors from the first film , crispin glover and claudia wells , did not return for the final two .

while elisabeth shue was recast in the role of wells ' character , jennifer , glover 's character , george mcfly , was not only minimized in the plot , but also was obscured and recreated with another actor .

glover successfully sued both zemeckis and gale , changing how producers can deal with the departure and replacement of actors in a role .

back to the future part ii was also a ground-breaking project for effects studio industrial light & magic ( ilm ) : in addition to digital compositing , ilm used the vistaglide motion control camera system , which allowed an actor to portray multiple characters simultaneously on-screen without sacrificing camera movement .

back to the future part ii was released by universal pictures on november 22 , 1989 .

the film received mixed reviews from critics and grossed over $ 331 million worldwide , making it the third-highest-grossing film of 1989 .

back to the future part ii

futurequote has a collection of quotes related to back to the future part ii .
[ ii ] quoted in back to the future part ii production notes , universal pictures , 1989 .
see also : why crispin glover never did back to the future part ii .
today is the future from ' back to the future part ii . ' where is my hoverboard ?
back to the future part ii ( 1989 ) d . robert zemeckis , 107 minutes
bunnies : back to the future back to the future uploaded by mr . pink
today is the future from ' back to the future part ii . ' where is my hoverboard ? | big think
back to the future in actual . . . back to the future uploaded by don
[ iii ] marc shapiro , “back to the future part ii” , starlog 149 , december 1989 .
[ iv ] marc shapiro , “back to the future part ii” , starlog 149 , december 1989 .
[ viii ] marc shapiro , “back to the future part ii” , starlog 149 , december 1989 .
[ xi ] quoted in back to the future part ii production notes , universal pictures , 1989 .
back to the future - 2015 ver . . . back to the future uploaded by jacob
back to the future ii was closer to the mark when it came to home entertainment .
back to the future part ii plot holes - movie plot holes - where suspension of disbelief comes to die .
hd : it does . but it’s frankly not as good . back to the future part ii even goes back to back to the future part i , when marty goes to 1955 to sneak around his first - part counterpart . it’s so cool !
back to the future part ii is a 1989 film directed by robert zemeckis , starring michael j fox and christopher lloyd . it is the second part of the back to the future trilogy .
as part of the collection
back to the future 25th anniversary trilogy
.
a 2015 police escort , according to back to the future ii ( 1989 ) . universal
here are 10 back to the future ii inventions that are available for purchase today .
great scott ! was the only thing “back to the future part ii” predicted accurately about the future the . . . chicago cubs being champions ?
of course , now everyone — save me — loves back to the future part ii and cannot stop talking about the imagined future and back to the future day . who am i to argue ?
it took eleven months for this movie and back to the future part iii ( 1990 ) to be filmed back - to - back .
back to the future part ii at vidtaggr - regularly updated trivia and information viewed in real - time with the movie .
looking for movie tickets ? enter your location to see which movie theaters are playing back to the future part ii near you .
[ xiv ] bob gale and neil canton , back to the future part ii audio commentary , universal pictures , 2002 .
[ xvii ] bob gale and neil canton , back to the future part ii audio commentary , universal pictures , 2002 .
in 1989 , back to the future part ii predicted 2015 would be the year we all got automatically adjusting jackets and hoverboards .
i never really liked the frenetic , overloaded back to the future part ii and always thought that most critics agreed with me .
from academy award® - winning filmmakers steven spielberg and robert zemeckis , back to the future part ii proves true excitement is timeless .
back to the future part ii
made some incredible predictions in the ' 80s for what the year 2015 would look like .
back to the future part ii is a 1989 movie and is the second part of the back to the future trilogy . it is the sequel to the first movie in the trilogy , back to the future . it was directed by robert zemeckis and written by zemeckis and bob gale . this movie and the third part of the trilogy , back to the future part iii , were filmed simultaneously and released six months apart .
back to the future part ii was shot under the working title
paradox
. this was done to try to lessen the amount of publicity .
read empire ' s review of the godfather part ii . buy the film now
the film trilogy had a number of screenings around the world to celebrate the day marty mcfly and doc brown traveled to the future in ' back to the future part ii . '
in back to the future part ii , when marty and doc have travelled back to the alternative 1985 , we learn that the doc has been committed several years before .
[ xiii ] zach schonfeld , “here’s the original futuristic concept art from back to the future part ii” , newsweek , 10 january 2015 .
split screen comparison of shots from the end of
back to the future
with shots from
back to the future part ii
. some shots altered for time match . . . .
in october 2015 , back to the future part ii ' s predictions may not have all panned out , but the film remains a delight .
having finished production on
back to the future part ii ,
zemeckis , along with michael j . fox , christopher lloyd , lea thompson and thomas f . wilson immediately began work on
back to the future part iii .
what can filmmakers expect from the further adventures of marty and doc ?
back to the future part iii ,
says zemeckis with a grin ,
picks up where ' back to the future part ii ' leaves off . . .
in a new interview with crispin glover , he reveals his reasons for not reprising the role of george mcfly in back to the future part ii .
i love back to the future part ii ' s sheer level of ambition , for starters , because few sequels can match it in that regard .
bd : in the back to the future part ii version of 2015 , no one would have to ask that because they’d still be making more jaws films .
crazy piano ! back to the futu . . . back to the future uploaded by baluh the alchemist horse
that ' s because in
back to the future part ii ,
marty mcfly ( michael j . fox ) sets his delorean time machine to that day to check on his future family .
overall , the praise for back to the future part ii was somewhat measured . ebert said it
lacked the genuine power of the original .
he added :
marty mcfly ( michael j . fox ) tries out a hoverboard in the 1989 movie
back to the future , part ii .
( video still )
from the present , to the future , back to the present , then back to the past . one great ride !
new collectible ' back to the future part ii ' levitating miniature hoverboards to debut at the wizard world philadelphia comic con , benefiting the michael j . fox foundation for parkinson’s research
he played the role of george mcfly in back to the future , but declined to participate in the sequels – though footage from the first film featuring him was reused in back to the future part ii ( with glover being billed in the closing credits as ' george mcfly in footage from back to the future ' ) .
hd : i see your rule . so you’re saying that marty in part ii should pass out when he sees marty in part i ?
while some have been content just to parse the predictions back to the future part ii made about 2015 , others got their kicks falsifying the date marty and doc traveled to the future , the better to fool unsuspecting grandparents on facebook .
' back to the future part 2 ' : designing a future for 30 years ago in the classic movie back to the future part ii , michael j . fox ' s marty mcfly travels forward 30 years to oct . 21 , 2015 . is life like the movie predicted ? maybe . but was it ever supposed to be ?
two years were spent building the sets and completing the scripts for this film and back to the future part ii ( 1989 ) . they were both filmed over the course of eleven months . this film was being edited while back to the future part iii ( 1990 ) was being filmed .
in
back to the future part ii ,
marty mcfly and doc brown travel to the year 2015 , a world filled with flying cars , hoverboards and kitschy 1980s nostalgia .
the delorean dmc - 12 from
back to the future ii
is pictured in detroit on jan . 14 , 2014 .
lea thompson reprised her role as marty ' s mom , lorraine baines - mcfly , in
part ii
and
part iii .
these are questions i ought to answer on my own time before i claim any more of yours . today is the day marty mcfly traveled to in the film back to the future part ii .
michael j . fox , who reprises his role as marty mcfly , filmed
back to the future part ii
and the television series
family ties
simultaneously , just as he had four years earlier with
back to the future .
fans flocked to theaters on wednesday to celebrate oct . 21 , 2015 : the day that “back to the future’s” doctor emmett brown and marty mcfly touched down in the future . well , their future is now our past , and some of the things that “back to the future part ii” predicted have not come to pass . most [ … ]
back to the future part iii was filmed in california and arizona , and was produced on a $ 40 million budget back - to - back with part ii . part iii was released in the united states on may 25 , 1990 , six months after the previous installment . part iii earned $ 244 . 5 million worldwide , making it the sixth - highest - grossing film of 1990 .
back to the future part 2 official trailer # 1 - michael j . fox , christopher lloyd movie ( 1989 ) hd
the scene where marty mcfly finds his new toyota in the garage and jennifer parker meets him at his house as doc brown arrives from 2015 was shot twice , for both the end of back to the future and the beginning of back to the future part ii .
the real difference between the drones in
back to the future part ii
and the drones we have right now ? in the movie , people don ' t seem worried about them .
read empire ' s review of back to the future . buy the film now
a 30th anniversary edition of the back to the future trilogy is now available .
when marty mcfly was sent 30 years into the future as part of the plot in
back to the future part ii ,
he arrived in a time when where there were hoverboards zipping around , people wore self - lacing shoes and flying cars were the norm .
in back to the future part ii , marty mcfly ( michael j . fox ) slips on his nike sneakers and rides a mattel hoverboard in front of a texaco gas station .
about back to the future part ii getting back was only the beginning as the most spectacular time - travel adventure ever continues in back to the future part ii - the sequel that proves lightning can strike twice . picking up precisely where they left off , marty and doc launch themselves to the year 2015 to fine - tune the future and inadvertently disrupt the space time continuum . now , their only chance to fix the present is by going back to 1955 all over again before it is too late . from the academy award - winning filmmakers robert zemeckis and steven spielberg , back to the future part ii is part of one of the most successful trilogies ever and is an unrivaled adventure that stands the test of time . for more information , visit urltoken .
the writers certainly got the part about the ' 80s nostalgia right . but what about the other stuff ? we talked to bob gale , who wrote
back to the future part ii
with director robert zemeckis , about how their vision of the future looks now that 2015 has arrived .
the interior of the delorean dmc - 12 from
back to the future ii
is pictured in detroit on jan . 14 , 2014 .
hd : exactly . back to the future would not fly in north korea .
back to the future part 2 official trailer # 1 - michael j . fox , christopher lloyd movie ( 1989 ) hd - youtube
“back to the future part ii” airs today on esquire network at 2 : 30 p . m . and 10 p . m . and discovery family at 9 : 30 p . m .
our list of nerdy things you might have missed in back to the future part iii begins on the next ( and final ) page .
the advent of the fax machine felt like the future when “back to the future part ii” was made , but in the time since , the internet happened , and the only place you’re likely to find one now is in a landfill . so when marty mcfly sr . gets fired in 2015 and several faxes pop up around his house , “part ii’s” vision of the future feels even more comedic than intended .
what ' s entertaining about back to the future part ii is the way christopher lloyd , as doc , breathlessly tries to figure out what ' s happening as he flies through time trying to patch everything together again .
back to the future day took in an estimated $ 4 . 8 million at the global box office , with marathon screenings of the universal trilogy held around the world on the date — oct . 21 , 2015 — that michael j . fox’s marty mcfly and christopher lloyd’s doc brown traveled to the future in back to the future part ii .
box office : ' back to the future ' day earns $ 4 . 8m worldwide
box office : ‘back to the future’ re - release zooms to $ 4 . 8 million worldwide
carter says time - travel stories are more about the time in which they were made . and what was big in the late ' 80s when back to the future part ii was made ? buying stuff .
michael j . fox played marty mcfly in the
back to the future
trilogy .
michael j . fox models the fir . . . back to the future uploaded by don
and a campaigner trying to restore hill valley ' s clock tower even seems to be using a tablet in one of back to the future ii ' s other scenes .
back to the future part ii
came out 25 years ago in 1989 , and remains one of the most beloved time travel movies of all time . ( no offense , bill and ted . )
here ' s the thing : back to the future part ii had no idea what 2015 would look like . but it sure had fun imagining it , and that ' s all we could have wanted .
so , like a lot of people , i re - watched back to the future part ii recently in honor of “back to the future day . ” while it’s undeniably a fun and enjoyable film from a trilogy i have always loved , here’s an issue with back to the future ii that i just simply couldn’t avoid : the writers utterly failed to deal appropriately—or intelligently at all—with the character of jennifer , marty’s girlfriend , in the second film of this series .
in the dvd extras of back to the future part ii ( 1989 ) , robert zemeckis had said that he really did not want the movie to take place in the future . that is because he felt that every time that a movie takes place in the future , it is mis - predicted .
upon its release , back to the future was a critical and commercial success . the film earned a rating of 96 % on rotten tomatoes [ 2 ] and a score of 86 on metacritic . [ 3 ] during its theatrical run the film grossed more than 380 million dollars worldwide . [ 4 ] the success promoted two follow up films back to the future part ii ( 1989 ) and back to the future part iii ( 1990 ) .
today is october 21st , 2015 , the day that marty mcfly travels to in the future in back to the future part ii . it’s # backtothefutureday . to celebrate , i woke up my brother harry in los angeles and forced him to talk about th e film with me .
more time periods are visited in back to the future part ii ( 1989 ) than in any other back to the future movie : the good 1985 , 2015 , 1985 - alternate , 1955 , and 1885 . although the last one was not visited until back to the future part iii ( 1990 ) , the trailer for part iii is shown just before the closing credits , so in a way , it could be considered part of this movie as well . the
original
1985 , in which back to the future ( 1985 ) starts , is only represented for less than a second - - in the part iii trailer , we see marty and jennifer reuniting outside her house from the end of the film .
michael j . fox and christopher lloyd reprise their roles as marty mcfly and
doc
emmett brown in
back to the future part ii ,
a steven spielberg presentation of a robert zemeckis film .
claudia wells , who had played jennifer parker in back to the future , opted to drop out of acting in 1987 after her mother had been diagnosed with cancer . the producers reluctantly cast elisabeth shue for the part , which required re - shooting the closing scenes of back to the future for the beginning of back to the future part ii . a comparison of both films reveals that shue appears to be considerably older than wells ( and slightly taller than michael j fox ) .
and while you ' re checking out the stars from 30 years ago , we have a look at where they are now . here is the cast of
back to the future part ii
then and now :
back to the future re - release scores $ 1 . 7 million at domestic box office
origins : one of the more memorable details of back to the future ii ( 1989 ) , the second entry in the back to the future trilogy , were the incredible hoverboards depicted in that film . in a futuristic tie to the original back to the future , the sequel ( set thirty years in the future from the original , in the year 2015 ) featured airborne hoverboards , a 21st century updating of the skateboard marty mcfly opportunistically “invented” in 1955 to escape a gang of pursuing bullies . but unlike the earthbound versions of bobbysoxer times , these back to the future ii boards could fly .
synchronize your watches . the future is coming . . . back .
griff ' s
pit bull
hoverboard was originally to be called
mad dog
to foreshadow his character in back to the future part iii ( 1990 ) .
most of the
back to the future
cast returned to reprise their roles in the sequel , which was shot back - to - back with a third film , completing the trilogy by 1990 .
when going back to 1955 , the time circuits flicker to 1885 for a second , which is where
doc
is sent when struck by lightning and where marty goes in back to the future part iii .
that ending was simply a joke ,
adds bob gale , referring to the scene that closes
back to the future
and serves as the start of
back to the future part ii .
we all thought it was appropriate for the heroes to go flying off into the proverbial sunset and off to a new adventure . how could anyone predict a movie is going to be as successful as ' back to the future ?
'
the 1989 film ' back to the future ii ' did not correctly predict chicago would be the winner of a 2015 cubs - marlins world series match - up .
in back to the future part ii , marty mcfly ( michael j . fox ) slips on his nike sneakers and rides a mattel hoverboard in front of a texaco gas station . courtesy of the kobal collection hide caption
memory is a funny thing , especially when you ' re dealing with time travel . things get lost , mixed up , views get distorted . take my perspective on back to the future part ii , a film i ' ve been forced to revisit thanks to the arrival , on wednesday , of the official back to the future day .
is heard briefly in
it ' s clara ( the train part ii ) .
although the primary theme of time alteration from
michael j . fox saw a 2015 that featured a chicago cubs world series victory in a scene from the 1989 motion picture ' back to the future ii . '
it would be remiss not to add , of course , that this is the only film where michael j fox plays his own daughter . it led to guffaws when i saw the film on the day it first came out , but it now feels part of back to the future part ii ' s charm .
other cool stuff for back to the future fans includes the upcoming blu - ray and dvd re - release of the back to the future trilogy . we’ve featured this before , but gale has revealed a special feature we weren’t aware of before . the fourth disc in this set has a new featurette called doc brown saves the world with christopher lloyd reprising his role as the scientist and explaining why the 2015 we’re living in now isn’t the same as the one we saw in back to the future part ii . back to the future day
while makeup was used to age the cast for
part ii ,
here ' s what the cast members actually look like 26 years into the future and what they have been up to since .
another star of all three films , thomas f . wilson , played biff tannen and griff tannen in
part ii .
motor giant lexus has teased back to the future fans with a video of a functional hoverboard .
box office : ‘back to the future’ re - release earns $ 4 . 8 million – variety
bd : chili’s is not the future . chili’s is an alternate future we need to escape .
there’s a whole back to the future day coming up next month , on october 21st , 2015 . as fans of the time traveling franchise will tell you , that’s an important date in the movies as it’s the exact day and year that marty mcfly ( michael j . fox ) and doc brown ( christopher lloyd ) travel to in the future in back to the future part ii .
the three films received a limited theatrical engagement re - release timed to back to the future day , oct . 21 , 2015 , which was the day doc and marty arrived at in the future in back to the future part ii . the screenings made $ 1 . 65 million from 1 , 815 north american theaters , and $ 3 . 2 million abroad for a total of $ 4 . 85 million worldwide on wednesday . the back to the future films will continue to show through the weekend .
although
back to the future part ii
only represents fox ' s seventh starring role in motion pictures , his previous films are a diverse body of work , encompassing the worlds of light comedy as well as intense drama .
great scott ! it ' s future day ! in back to the future , doc brown sets the time circuits for 25yrs in the future . . that day is today ! # futureday
elijah wood played a bit part in the 1989 film , ' back to the future part ii , ' playing
video game boy
in a scene with michael j . fox . at eight years old , it was his first big role , and the next year , he played a much bigger part in the oscar - nominated film ' avalon . '
when the future marty mcfly attempts to play his guitar , he plays part of the main riff of
power of love
by huey lewis and the news , the theme song for back to the future ( 1985 ) .
they include
teen wolf ,
back to the future ,
light of day ,
the secret of my success ,
bright lights , big city
and
casualties of war .
within weeks of the completion of
back to the future part ii ,
fox , along with co - stars christopher lloyd , lea thompson and thomas f . wilson , continued the saga of marty mcfly and doc brown in
back to the future part iii .
christopher lloyd and elisabeth shue appeared in back to the future part iii ( 1990 ) , twenty bucks ( 1993 ) , and piranha 3d ( 2010 ) .
in back to the future part ii , there is a scene where old biff exits the delorean . here he seems to be in a lot of discomfort . he breaks his cane too . he just made himself a rich man , shouldn ' t he been seen coming back happy ?
you may have heard that marty mcfly traveled in time to today ' s date . what you might not know : he did so in back to the future ii , not i
not the answer you ' re looking for ? browse other questions tagged plot - explanation time - travel back - to - the - future - part - 2 .
as bob gale mentions in the audio commentary , he said that the trailer appearing to advertise back to the future part iii was taken from the device used to advertise the four musketeers within the three musketeers .
computation of ac - dc system disturbances . part ii - derivation of power frequency variables from convertor transient response - ieee journals & magazine
in back to the future part ii , doc picks up marty in 1985 and takes him to 2015 . then old biff realizes the delorean is a time machine . old biff steals the delorean and travels from 2015 to 1955 to give the 1955 version of himself the 2015 sports almanac .
yes , there were hoverboards , drones , wearable tech , videoconferencing and even a baseball team in miami . back to the future part ii also brought back george mcfly , the father of the protagonist traveling to oct . 21 , 2015 , which as everybody knows , is this date in history .
ben dreyfuss : today is october 21st , 2015 . happy back to the future day , harry .
bd : my real problem with back to the future 2 is that it really makes no sense .
back to the future re - release scores $ 1 . 7 million at domestic box office | urltoken
box office : ' back to the future ' day earns $ 4 . 8m worldwide | hollywood reporter
this is a list of known filming locations used in universal studios ' back to the future trilogy .
[ i ] ian nathan , “back to the future : the oral history” , empire , april 2010 .
[ ix ] ian nathan , “back to the future : the oral history” , empire , april 2010 .
[ xxi ] ian nathan , “back to the future : the oral history” , empire , april 2010 .
back to the future - behind the scenes - secrets of ( 1985 ) - michael j . fox hd
more importantly , back to the future ii speculated on what 2015 was going to look like , and there is nothing fandom loves more than picking apart the object of its affection for sport .
nike just announced a self - lacing shoe called the hyperadapt 1 . 0 , bringing to life the dream that sneaker fans have shared since back to the future ii premiered almost 30 years ago .
another interesting aspect of
back to the future
( 1985 ) and its successor
back to the future part ii
( 1989 ) is that the character of jennifer parker is played by different actresses in the two movies . claudia wells was unable to reprise her role in the second movie due to health reasons , so elisabeth shue took on the part . since
back to the future part ii
starts with the last scene from
back to the future ,
the scene had to be re - filmed . this re - enactment was pretty accurate , so when i saw
back to the future part ii
in the movie theater , i believed it was the same scene with the same actress . it wasn ' t until i saw a back - to - back broadcast of these two movies on television that i realized the closing and starting scenes were different . i thought it would be cool to do a side - by - side comparison of the two versions of the scene , so the remaining pictures in this ced feature provide seven such comparisons . a lot of subtle differences can be spotted , like marty ' s watch and the stickers in the windows of the house .
for those of you too busy putting on your self - tying nikes , back to the future part ii is the 1989 sequel to 1985 ' s wildly popular back to the future starring michael j . fox and christopher lloyd . the former is a teenager in 1985 and the latter is an aging , mad scientist . they have a delorean time machine . the movie was made without a thought of a sequel , which is why the name of the second movie , with its part ii , has always rankled me .
the actor talks about how the makers of back to the future fooled audiences into thinking he was in the sequels .
even though the action of ' back to the future , part ii ' requires doc to resort to a blackboard at one point just to explain where in time he and marty have been and where they will be going , it manages to be giddily and merrily mind - boggling rather than confusing .
ever since back to the future part ii came out and tickled my fanciful soul with the nike air mag , i ' ve been waiting to get my hands on a pair . they ' re finally real and oh my god they ' re so dreaaamy .
the 1987 film back to the future ii correctly predicted that the florida marlins would win the 1997 world series and that the cubs would play florida in the 2015 world series . see example ( s )
back to the future part ii commenced shooting on 20 february 1989 . the film begins with a recap of the original back to the future ’s final moments . this required a reshoot due to claudia wells’ replacement with elizabeth shue , and during this second shoot a few lines received minor changes . the aerial footage of clouds during the film’s opening credits was actually shot for the 1984 clint eastwood film firefox , and re - purposed for back to the future as a cost - saving measure .
1955 ! doc : no ! it can ' t be ; i just sent you back to the future ! marty : no , i know ; you did send me back to the future . but i ' m back — i ' m back from the future . ( beat ) 1955 ! doc : great scott ! ( he faints )
i think they were probably right . even robert zemeckis in more recent times has admitted that it ' s the film in the trilogy he ' s probably the least happy with , given how quickly he had to edit it . it ' s no secret that back to the future part ii and back to the future part iii were shot back to back ( just one of the ways in which the films were ahead of their time ) , and that truncated the post - production time available on the second film . furthermore , you can imagine the zemeckis was in the editing room trying to focus on the second film , whilst having to make lots of decisions about the third . often , he ' d had to fly to the set of part iii , before hopping on a plane back to sort part ii out . it ' s pretty amazing it came out this well at all .
back to the future is an american fantasy comedy film about a teenager who travels back in time . it is the first film in the time traveling trilogy .
today , ' back to the future ' would be a hollywood laughingstock . . . until it hit netflix
fans flocked to theaters on wednesday to celebrate oct . 21 , 2015 : the day that “ back to the future ’s” doctor emmett brown and marty mcfly touched down in the future .
it ' s back to the future day - the date marty and doc crashed the future in the second of the three time - hopping sci - fi adventure films .
several video games based on the movies were released . see back to the future video games for a list .
hd : i think we settled this . you just hate movies and back to the future is the best .
it ' s the day that
back to the future
fans have been waiting almost three decades for .
[ xix ] ryan gilbey , “how we made back to the future” , the guardian , 26 august 2014 .
the 30th - anniversary “back to the future trilogy” on blu - ray is available today online and in stores .
oct . 21 , 2015 , is when the first act of back to the future part ii is set . in the sequel , marty mcfly goes forth and back in time , and complications ensue . it ' s a 2015 that ' s different from the one we know now — but not that different .
rejoice , nerds : today is october 21 , 2015 , which means it ' s officially the day marty mcfly and doc brown arrived from the past in the 1989 film back to the future ii .
bd : okay , okay , he killed the shark . but let’s get back to back to the future part ii . there is no jaws 19 in the real world . and , like , outside the theater the shark hologram eats marty mcfly , and we don’t really have that sort of thing at theaters now and days either .
the theatrical version had a teaser for back to the future part iii ( 1990 ) . some later versions do not have a teaser at all , only showing
to be concluded
, and skip to the credits . some have
to be concluded
followed by
back to the future iii
. some cable versions retain the teaser for back to the future part iii , but , of course , do not say
coming summer 1990
. it was , however , added back to the film for its digital download and blu - ray versions . see more »
‘there was a lot of stuff going on at home , ’ said wells , ‘my mom was diagnosed with fourth stage cancer and that was right before back to the future ii and back to the future iii were to be filmed so i backed out of those films to deal with the turmoil at home . ’ [ vi ]
back to the future part iii : the deluxe edition original motion picture soundtrack music composed and conducted by alan silvestri everybody has been waiting for this one ! and now’s the time ! we’re just nine days away from back to the future day on october 21 and we are thrilled to announce our 2 - cd 25th anniversary edition of alan silvestri’s rousing western finale to the back to the future trilogy … back to the future part iii : the deluxe edition is here ! they ' ve saved the biggest trip for last as the most popular time - traveling movie trilogy ever comes to a rousing conclusion in back to the future part iii ! stranded in 1955 after a freak accident , marty mcfly ( michael j . fox ) discovers he must travel back to 1885 to rescue doc brown ( christopher lloyd ) before he becomes smitten with school teacher clara clayton ( mary steenburgen ) . now , it ' s up to marty to keep doc out of trouble , get the delorean running , and put the past , present and future on track so they can all get back to where - and when - they belong . from the academy award - winning filmmakers steven spielberg and robert zemeckis , back to the future part iii is a spectacular grand finale to the timeless blockbuster series . the epic conclusion of the back to the future saga is now complete ! limited edition of 5000 copies
contains variations of
skateboard chase
,
hoverboard chase
, and
back to the future
.
the ledge on the clock tower that doc broke in back to the future ( 1985 ) is still broken in 2015 .
best sound bill varney b . tennyson sebastian ii robert thirlwell william b . kaplan
the two of them go back to 1955 . doc advises marty to wait until biff of 2015 gives his younger self the almanac so that he can go back to the future with the time machine .
goldie wilson ii ( shown in promotional posters and the city - greeting sign . )
back to the future was content to travel from 1985 back to 1955 , but back to the future part ii zipped every which way , just because it could . writer / director robert zemeckis and co - writer bob gale went from 1985 to 2015 , back to an alternate 1985 for a dystopian nightmare sidebar , and then further back still to the 1955 they had crashed in the first movie . it is a hugely ambitious movie that envisions several parallel worlds all at once , and even if it ' s not always successful , it can ' t be faulted for a lack of imagination .
very futuristic and broad in direction , back to the future part ii is adventurous , even though it doesn ' t compare to the impact the first installment provided . fox and lloyd once again partner up and make a great team in zemeckis ' sci - fi picture . 4 / 5
was ' back to the future ii ' right about cubs ? chicago ' s division - series win brings cubs a step closer to 1989 film ' s 2015 reality . check out this story on urltoken urltoken
most movies set in the future jump far enough ahead to be completely removed from modern society , or at least don ' t peg a specific date to the action at hand ( see : the martian , her ) . but back to the future part ii had to be close enough to 1985 that marty ( michael j . fox ) could collide with his future self . the first film leapt 30 years into the past , so it only made sense to leap 30 years into the future in the second .
plus , in addition to the we’re going back celebration coming in october in los angeles , the city will get yet another tribute to back to the future in march of 2016 when secret cinema brings their huge , interactive screening of the movie to the united states . be sure to keep your ear to the ground for anymore cool back to the future stuff on the way .
one scene from back to the future part iii ( 1990 ) was filmed during the shooting of this movie . after filming the scene where doc and marty return from the future to
1985a
and drop jennifer off on her front porch swing , the cast and crew waited for daylight and filmed the part iii scene where she is awakened .
take that : the fake shark from jaws 19 , alluding to the jaws franchise and its not - so - well - received sequels , especially jaws : the revenge , which came out between part i and part ii and was ripped apart by critics .
college humor did a parody of what part ii ' s 2015 sequence would be like if 2015 as it ' s turned out for real was used .
screenwriters bob gale and robert zemeckis imagined a creative and vibrant future filled with flying cars and gadgets . marty mcfly and doc brown ' s time - traveling adventures in “back to the future part ii” helped the film gross $ 118 . 5 million at the u . s box office . their predictions 26 years ago today have become part of pop culture history . click on the gallery to see what became a reality .
jeffrey weissman , the poor man under the crispin glover latex in back to the future part ii , tells gaines that his fellow actors didn ' t exactly welcome him with open arms ; in fact , they barely bothered to learn his name . thompson even took to introducing him to people as
the guy playing crispin
.
people have been clamoring for marty mcfly ' s future nike ' s from back to the future part ii for years now , but nike has done nothing about it . until now . they aren ' t releasing the actual shoes from the movie , unfortunately , but they are releasing shoes
inspired by
those future kicks . it ' s a start . click to see the full sneaks .
in the back to the future trilogy , the
present
date is october , 1985 ( 2015 is the future , 1885 and 1955 are the past ) . exactly 25 years later on october 26 , 2010 the back to the future trilogy was released on blu - ray in a 25th anniversary edition .
premiere 2 - cd release of expanded alan silvestri soundtrack for middle installment of incredibly popular back to the future trilogy .
today , ' back to the future ' would be a hollywood laughingstock . . . until it hit netflix - cnet
discuss : today , ' back to the future ' would be a hollywood laughingstock . . . until it hit netflix
again , it ' s picky , but there ' s a point in back to the future part ii when older jennifer meets younger jennifer . yet , surely older jennifer would know that younger jennifer was in the house ? and surely , therefore , she would be expecting her to be ?
for back to the future : making the trilogy ( 2002 ) , parts 1 , 2 and 3 . for the trilogy .
the cleverest part of back to the future part ii for me is when we scoot back to 1955 , and zemeckis weaves in a recreation of the enchantment under the sea dance with footage from the first film . this is brilliantly and confidently done , made in an era where computers could only help so much . zemeckis plays happily with moments from the first movie , and whilst there ' s no requirement for familiarity with the original to enjoy part ii , this is the sequence where you really feel the benefits of watching part i so many times . what ' s more , it ' s very much an example of technology being used for the sake of the film , rather than the other way around .
doc . brown comes back from the future and claims that he needs marty and jennifer to follow him in order to save their future children . this is one of the most retarded things ever put on a screenplay . if your children are in danger in the future and you go in the future to save them ; when you are coming back to the present nothing that you did in the future changed anything . you will still have to save them again when the present will reach the future moment .
the production of this film ( and of back to the future part iii ( 1990 ) ) was delayed for three years because robert zemeckis was busy making who framed roger rabbit ( 1988 ) .
“back to the future ii” was full of tech we drooled over . while the hoverboard , flying cars and instant pizza hut are some way off , marty mcfly’s nike shoes with power laces are going to become a reality .
donald o . mitchell , gregg c . rudloff , elliot tyson , russell williams ii
sequels are common in hollywood . good sequels are much rarer . back to the future part ii , released in november 1989 , is arguably one of the most inventive and jaw - dropping sequels ever made . the noted astronomer and science communicator carl sagan once told its director that it was ‘the best movie ever made on the science of time travel’ . that crown has since arguably been passed on to shane carruth’s labyrinthine thriller primer , but even so back to the future part ii remains a landmark in american science fiction cinema , and a sequel of which its creators can rightfully be enormously proud .
the colonial theater , 227 bridge st . , phoenixville , has a single showing of “back to the future part ii” tonight at 7 : 30 . adults , $ 9 ; seniors , $ 7 ; children , $ 5 . for more information , call 610 - 917 - 1288 .
since back to the future part 2 accurately predicted the political rise of trump , maybe that means real hoverboards will be on the way soon , too . hey , take your silver linings where you can .
back to the future part iii is a 1990 american science fiction western comedy film and the third and final installment of the back to the future trilogy . the film was directed by robert zemeckis , and stars michael j . fox , christopher lloyd , mary steenburgen , thomas f . wilson and lea thompson . the film continues immediately following back to the future part ii ( 1989 ) ; while stranded in 1955 during his time travel adventures , marty mcfly ( fox ) discovers that his friend dr . emmett
doc
brown , trapped in 1885 , was killed by biff tannen ' s great - grandfather buford . marty decides to travel to 1885 to rescue doc .
additionally , for part ii , there was an addition to the scene with biff tannen witnessing the delorean take off , fly up the street and back , and then explode in light and wind . this scene sets up his motives in 2015 .
when doc brown ( christopher lloyd ) and marty mcfly ( michael j . fox ) blasted their delorean into the future at the end of the 1985 cult classic sci - fi film and landed in hill valley at the start of 1989 ' s
back to the future part ii ,
the date was october 21 , 2015 - - which just happens to be today !
as the below matrix shows , though , not all of back to the future ' s predictions were total shots in the dark .
the shooting of the back to the future sequels , which were shot back - to - back throughout 1989 , reunited much of the crew of the original . the films were shot over the course of 11 months , save for a three - week hiatus between filming of parts ii and iii . the most grueling part was editing part ii while filming part iii , and zemeckis bore the brunt of the process over a three - week period . while zemeckis was shooting most of the train sequences in sonora , gale was in los angeles supervising the final dub of part ii . zemeckis would wrap photography and board a private plane to burbank , where gale and engineers would greet him on the dubbing stage with dinner . he would oversee the reels completed that day , and make changes where needed . afterwards , he would retire to the sheraton universal hotel for the night . the following morning , zemeckis would drive to the burbank airport , board a flight back to the set in northern california , and continue to shoot the film .