the common law is a 1931 american pre-code romantic drama film , directed by paul l. stein and produced by charles r. rogers .

based on robert w. chambers ' 1911 novel , this was the third time the book was made into a film , and the first during the talking film era .

the sexual drama stars constance bennett and joel mccrea in the title roles .

it was received well both at the box office and by film critics , becoming one of rko 's most financially successful films of the year .

the novel , the common law , had been filmed before in 1923 with corinne griffith starring .

the common law ( film )

the common law ( 1931 ) directed by paul l . stein • reviews , film + cast • letterboxd
on the whole ,
the common law
will prove a box office magnet .
constance bennett was at her best in her pre - code films like the common law .
common law cabin 1967 , classic american drama film . main actors were alaina capri , babette bardot directed by russ meyer .
this is not the case , copyright law is principally civil not criminal law . civil law requires a lower burden of proof , actually making it easier to prove infringement .
stock : general term for motion picture film , especially before exposure . film stock .
the law : there is some excellent discussion of law in this film . the title character herself raises the issue of spousal privilege and it is addressed in the movie . in short , a married ( as opposed to a common - law ) spouse cannot testify against the other spouse in a criminal proceeding .
copyright law originated in the united kingdom from a concept of common law ; the statute of anne 1709 . it became statutory with the passing of the copyright act 1911 . the current act is the copyright , designs and patents act 1988 .
usa network has made its decision on common law official , pulling the plug on the freshman drama . “i can confirm to those who have asked that we are not renewing common law , ” usa ’s svp ted linhart tweeted this afternoon . “thanks to all the fans who watched and expressed their support . ”
common law wi . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
lovely constance bennett and joel mccrea in common law one of the four movies that they share together on the silver screen . constance is a woman who lives . . .
we receive a large number of enquiries and these often highlight a number of common misconceptions and misunderstandings about copyright law . the following attempts to dispel the ‘top 10’ copyright myths .
crossover film : film that is initially targeted to a narrow specialty market but achieves acceptance in a wider market .
this highlights a common misunderstanding about what is meant by ‘public domain’ when referring to copyright work .
these are the most common type of employee . permanent employees have the full set of employment rights and responsibilities .
the common law
clara kimball young irresistible in seven - reel adaptation of robert w . chambers ' novel presented by lewis j . selznick . reviewed by ben h . grimm .
' i see the common thread in all these cases as the inflexibility of the crime of murder . ' [ getty ]
film production work includes film and video game production , but it doesn’t include production work on programmes initially intended for television .
lasch’s piece , which has been released online as a draft , describes how protections from arrest at courthouses were established centuries ago in english common law , and notes that the same common - law doctrine from england was used to form the foundation of the u . s . court system . only recently , with ice’s courthouse arrests , has the issue come up again in a serious way , lasch argues .
this guide is based on uk law . it was last updated in march 2008 .
mcgovern has strived for fairness and balance in the film : “that’s why i spoke to the families of victims , and they have commented on the even - handedness of the film , and the three have seen echoes of their cases in the film . ”
the next post in this blog is center for art law case updates and legal / art news .
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exclusive opening : a type of release whereby a film is opened in a single theater in a region , giving the distributor the option to hold the film for a long exclusive run or move it into additional theaters based on the film ' s performance .
fpm : feet per minute , expressing the speed of film moving through a mechanism .
based on greg giraldo ' s real - life experience as an attorney for a manhattan law firm .
many filmmakers hope to launch an ongoing film company with the creation of their first film . at the same time , they need to keep the investments of each film project separate in order to ensure that the profits from each film are distributed to the investors of the particular project . to accomplish both goals , a popular structure calls for the creation of two limited liability companies , one to serve as the ongoing film business and the other to serve as the fundraising vehicle for the particular project .
adapted from the independent filmmaker ' s law and business guide : financing , shooting , and distributing independent and digital films , a capella books ( 2d ed . 2009 ) ( reprinted with permission ) . jon garon is professor of law , hamline university school of law ; of counsel , gallagher , callahan & gartrell .
the film combines footage from an unreleased film entitled
swamp rose
made in 1960 by larry buchanan with later footage filmed by eric sayers . buchanan ' s footage was in color but the final film was released in black & white . see more »
sand ( 1920 ) , reportedly pres . woodrow wilson ' s favorite hart film
master : the final edited and complete film or videotape from which subsequent copies are made .
if you are an individual in need of advice : please note that our law firm does not tend to act for individuals , only for organisations . you can contact the law society if you need help finding a solicitor .
edge numbers : sequential numbers printed along the edge of a strip of film to designate the footage .
producers : pre - code rko ( vol . 1 ) - 5 - dvd box set ( the common law , lonely wives , kept husbands , state ' s atto , pre - code rko ( vol . 1 ) - 5 - dvd box set
the meyer law office’s gonzales says the emails are “alarming . ” “it’s clear that [ ice’s ] own agents are confused . ”
theatrical distribution fees : generally between 30 % and 40 % of gross film rentals .
still from the film click thumbnail for larger image . thanks to derek boothroyd for this scan .
wide release : the release of a film in numerous theaters usually 800 - 3 , 000 .
balance stripe : a magnetic stripe on the film , which is on the opposite edge from the magnetic sound track .
this was the first film produced by the clara kimball young film corp . , the company young and selznick set up after he was ousted from world . at 7 reels , it was the longest film she had yet made . it was remade in 1923 with corinne griffith and in 1931 with constance bennett .
. buchanan ' s footage was in color but the final film was released in black & white .
blow - up : optical process of enlarging a film , usually from 16mm to 35mm .
christopher lasch , who’s with the university of denver’s sturm school of law , has a forthcoming article in the yale law journal forum in which he discusses how the american court system is built on the understanding that people can tend to business at courthouses without fear of being arrested at them .
securing a distribution deal prior to production of a feature film in advance is a major plus point when raising finance : it demonstrates that there is a route to market for the film . feature film distribution differs from television in that often the best route to distributors is by appointing a sales agent , who then handles the distribution of the film in territories and liaises with the distributors in those territories . the sales agent will attend festivals and markets and sell the film in return for a commission based on a percentage of the money earned from the deal with distributors .
if the fixed - term reasons and details are not included in the written employment agreement , the employee might be considered by law to be a permanent employee .
the common law ( 1916 ) clara kimball young film corp . distributor : lewis j . selznick enterprises , inc ; selznick pictures . director : albert capellani . assistant director : henri menessier . scenario : beryl morhange . camera : jacques monteran and hal young . cast : clara kimball young , conway tearle , paul capellani , edna hunter , lillian cook , julia stuart , edward m . kimball , lydia knott , d . j . flanagan . 7 reels . this film is apparently lost
stripe : a narrow band of magnetic coating or developing solution applied to a motion picture film .
usa had already pretty much written common law off — it let the options on the cast , led by michael ealy and warren kole , lapse . additionally , craig sweeny , executive producer / showrunner on the first season , moved on , joining cbs’ new drama elementary as an executive producer . common law , about cops ( ealy , kole ) ordered into counseling , debuted in may to 2 . 48 million viewers . its freshman season , which aired on fridays , has averaged a little over 2 million viewers with a 0 . 6 18 - 49 rating to rank as the lowest - rated scripted series currently on usa .
the uk copyright law fact sheet outlines the copyright , designs and patents act 1988 , the principal legislation covering intellectual property rights in the united kingdom and the work to which it applies .
to film in private locations such as residential properties , you will need to apply directly to the property owner .
pan & scan : used to transfer a film to video for use on standard television because of the different image aspect ratio ( the ratio of the width versus the height of the image ) . the transfer camera focuses on a portion of the total film image . compare with letterbox .
you need permission to film in any of these locations and you will usually be charged a fee .
back end : profit participation in a film after distribution and / or production costs have been recouped .
sleeper : an unexpected hit . a film that audiences fall in love with and make a success .
according to hans meyer , principal of the meyer law firm , garcía did not fit into any of the courthouse removal categories , since his dui was a misdemeanor . in most cases — including garcía’s — meyer says dui charges do not meet the definition of an “aggravated felony” under immigration law . ( aggravated felonies often dovetail with felonies under state law and include things like murder , rape , drug trafficking , kidnapping and money laundering . )
author : creator , originator . under u . s . copyright law , the author may be the employer of the person who actually creates the work . see “work for hire . ”
day and date : the simultaneous opening of a film in two or more movie theaters in one or more cities .
the
billing block
is the list of names on the bottom portion of the official movie poster . in the layout of film posters and other film advertising , the billing block is usually set in a highly condensed typeface . a successful composer can negotiate for a larger size name .
synchronization : the positioning of a sound track so that it is in harmony with , and timed to , the image portion of the film .
he - intersex - person - to - play - role - film - ponyboi / # gs . 6pmv5lo
feature film : full length , fictional films ( not documentaries or shorts ) , generally for theatrical release .
magnetic track : audio recorded on a film or tape that has been coated with a magnetic recording medium .
urltoken pack : pre - code rko : joel mccrea , constance bennett , lew cody , robert williams , hedda hopper , marion shilling , walter walker , paul ellis , yola d ' avril , edward everett horton , alfred santell , george archainbaud , lloyd bacon , paul l . stein , russell mack , pre - code rko ( vol . 1 ) - 5 - dvd box set ( the common law / lonely wives / kept husbands / state ' s atto , pre - code rko ( vol . 1 ) - 5 - dvd box set , the common law / lonely wives / kept husbands / state ' s attorney / the life of vergie winters : movies & tv
he adds : “i see the common thread in all these cases as the inflexibility of the crime of murder . murder is not open to interpretation by the judges and juries , and yet many people’s involvement in murder is tangential . ”
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roll - out : distribution of film around the country subsequent to either key city openings or an opening in one city .
display advertising : advertising which features art work or title treatment specific to a given film in newspapers and magazines .
i hope they believe it and i hope it angers them . i also hope the justice select committee ( which is investigating the law ) does something about it . ”
a woman , who quit being an attorney at her father ' s law firm to become a mediator , copes after her father ' s death .
double - system sound : the recording of sound on tape and picture on film so that they can be synchronized during editing .
overexposure : a condition in which too much light reaches the film , producing a dense negative or a washed - out reversal .
mcgovern explains the consequences of the law : “it actually entraps people . it’s a snare and they get involved in a murder case and they face life simply because it’s murder . ”
television spin - off : a television series or mini - series based on characters or other elements in a film .
common law rights allow users of public highways to “pass and re - pass . . . and to make reasonable use of it” . section 137 of the highways act 1980 restricts these rights where the use of the highway causes an “obstruction” to other users rights of free passage . if you are considered to be causing an obstruction then there is a risk that you will be stopped from filming .
you would like jimmy mcgovern , our most provocative tv writer . he doesn’t own a mobile phone , and is forever unsettling the establishment . he’s at it again with his powerful , new drama , called common .
findings : the 1957 version of witness for the prosecution is a wonderful romp through the olâ€™ bailey , the historic london courthouse . â the film has murder , romance , humour and suspense .
below - the - line costs : the technical expenses and labor including set construction , crew , camera equipment , film stock , developing and printing .
but the ' first real movie ' or commercially narrative film that gave birth to the genre was edwin s . porter ' s pioneering western the great train robbery ( 1903 ) . porter ( named ' the father of the story film ' ) was responsible for the one - reel , 10 - minute long film , shot - curiously - on the east coast ( new jersey and delaware ) rather than the western setting of wyoming . [ the first westerns were shot , until 1906 , on the east coast . ] porter had also directed and filmed edison ' s short publicity western - themed film a romance of the rail ( 1903 ) .
the first contract analyzed below is a standard pro - film producer form of agreement . it makes all the music a composer creates and records a work for hire for the filmmaker . it also gives the filmmaker the right to demand that the composer make an unlimited number of changes and revisions in the music without obligating the film producer to pay any additional compensation to the composer .
film rental : what the theater owner pays the distributor for the right to show the movie . as a rough rule of thumb , this usually amounts to about half of the box office gross .
it is important that exploitation of secondary rights fits in with the primary programme or film : it makes sense to ensure that the programme or film establishes the name in the minds of the public to give the merchandise a better chance of selling . however it is also important to ensure that the merchandising material is available to meet demand when it is high .
ifta : independent film and television alliance , a trade association of independent producers and distributors of motion picture and television programming worldwide .
film noir : dark , violent , urban , downbeat films , many of which were made in the 40 ' s and 50 ' s .
negative cost : actual cost of producing a film including the manufacture of a completed negative ( does not include costs of prints or advertising ) . it may be defined to include overhead expenses , interest and other expenses , which may inflate the amount way beyond what was actually spent to make the film .
common provisions in a secondary rights agreement will include approval rights over the material ( it is important that this does not risk the primary product ) , territorial restrictions on where products can be sold and provisions obliging any agent to account for commissions earned .
the law gives the creators of literary , dramatic , musical , artistic works , sound recordings , broadcasts , films and typographical arrangement of published editions , rights to control the ways in which their material may be used .
it is also important that the investment llc’s operating agreement grant the filmmakers latitude to be involved in other projects while making the film . in the film industry , filmmakers typically work on multiple projects simultaneously , but this creates a situation in which these projects may be competing for investor dollars , time , and attention , or even film festival admission . to ensure that the investors are fully aware of this reality , the operating agreement should specify that the services of the umbrella llc and its members are provided on a nonexclusive basis .
young cecil b . de mille ' s first motion picture was the squaw man ( 1914 ) , usually credited as the first feature filmed entirely in hollywood . [ de mille remade the film in 1918 and 1931 . ] even in the early days of the film industry , some real - life cowboys and legendary western figures appeared in films :
sequel : a book or film that tells a related story that occurs later than the original . a continuation of an earlier story , usually with the same characters .
workers involved with film production work are independent contractors ( unless they’re covered by a written employment agreement that provides they are employees ) .
a peek at who got costs : there’s no way to peek at costs without revealing the end , except to say that all goes well for everyone concerned , at least at one point or another . â ( a quaint feature of the film comes after the credits , when the audience is reminded not to reveal the end for those yet to see the film . )
if the work is of unknown authorship : 70 years from end of the calendar year of creation , or if made available to the public in that time , 70 years from the end of the year the film was first made available .
the common law ,
a seven - reel picturization of the novel by robert w . chambers presented by lewis j . selznick and clara kimball young film corporation , is truly a remarkable production . the appeal of clara kimball young in this picture is irresistible , and she is surrounded by an excellent cast . if the characters in mr . chambers ' s novel had walked out of the pages of his book they could scarcely have been more true to type than they appear in this picture . the seven reels are a quite faithful visualization of the sociological plot , with the exception that several of the more objectionable - - or what could have been made more objectionable - - situations are noticeable by their propriety .
treatment : a prose account of the story line of a film . usually between 20 and 50 pages . comes after an outline and before first draft screenplay .
gross receipts : studio / distributor revenues derived from all media , including film rentals , television and home video licenses , merchandising and ancillary sales .
this fact sheet is copyright © uk copyright service and protected under uk and international law . the use of this fact sheet is covered by the conditions of a creative commons attribution - non - commercial - no derivative works license .
negative pickup : a distributor guarantees to pay a specified amount for distribution rights upon delivery of a completed film negative by a specific date . if the picture is not delivered on time and in accordance with the terms of the agreement , the distributor has no obligation to license the film . a negative pickup guarantee can be used as collateral for a bank loan to obtain production funds .
technically , the managers of the umbrella llc have no direct relation to the investors in the film project llc , but the parties should not rely on this legal fiction ; each filmmaker should treat his duties to the investors as if he were a personal manager of the film project llc . the two - llc structure is not likely to immunize the filmmakers from their ethical and fiduciary obligations , described in chapter 3 , and should not be used for that purpose .
he agrees , it’s a little known law . “i will speak my mind . it’s because in london , it’s mainly young , black guys , and in the north we’re working class people , and nobody really cares .
porter ' s film was a milestone in film - making for its storyboarding of the script , the first use of title cards , an ellipsis , and a panning shot , and for its cross - cutting editing techniques . one of its stars with multiple roles , gilbert m . anderson ( max aronson ) , later took the name
broncho billy
anderson and became famous as the first western film hero - the genre ' s first cowboy . as in other genres , westerns quickly became character - driven and stars began to be developed .
most film investment companies are organized to make a single motion picture . but if the filmmakers know they are making a tent pole project— involving , for instance , a film , sequels , and video game tie - ins—the operating agreement can indicate that the manager has authority to retain earnings to invest in these additional projects . such authority should be very clearly specified .
processing : a procedure during which exposed photographic film or paper is developed , fixed , and washed to produce either a negative image or a positive image .
regional release : as opposed to a simultaneous national release , a pattern of distribution whereby a film is opened in one or more regions at a time .
the basic laws covering film and tv production payroll are similar to those that govern payroll for other businesses . but some wage - and - hour rules are made specific to the entertainment business in the california wage order for the motion picture industry . other provisions are made for specific crew member classifications , or for entire areas of production , in collective bargaining agreements negotiated by film and tv union locals . in this section , we examine some of the basic legal requirements for processing entertainment payroll , particularly in the state of california . we also define and explain some common terms in entertainment labor law , e . g . workweek , hours worked , regular rate of pay , the difference between a discretionary and nondiscretionary bonus , and the distinction between net pay and disposable pay . many of these rules and terms will be most useful in non - union payroll situations , but some will apply to union cast and crew as well .
matthew keller didn’t notice the undercover ice agents until they had his client , antonio garcía , in handcuffs . as soon as he realized what was happening , the attorney with the meyer law firm pulled out his cell phone and started filming the arrest , which occurred on may 5 .
this is part of a series of book excerpts from the independent filmmaker ' s law and business guide : financing , shooting , and distributing independent and digital films designed to introduce filmmakers and others interested in creating content on the legal issues involved in the filmmaking process .
on the other hand , if the size of the project increases or if investors are brought in , it is very important that the filmmaker switch to a formal business entity . the worst choice is to ignore the problem and have the law treat the project as a general partnership . the decision to switch need not be made immediately . tax laws allow the sole proprietor to exchange the business for the assets of a new entity without paying a tax penalty . 2 but from the outset of the film project , the filmmaker should have the business management in mind , and she should work with a lawyer and accountant as early as possible so that the necessary business entity can be created when the filmmaker is ready .
if you think you are likely to cause an obstruction then you need to apply to film via the appropriate local authority , however we strongly recommend that you always inform the relevant borough film service if you are filming on their streets . if the local authority is not aware that you will be filming in the area then you can be asked to stop . if a member of the public complains and you don ' t have permission to film , then you may be asked to move on by police . some local authorities provide notices of no objection for small crew filming .
the required filings—the articles of organization—are often one - page fill - in - the - blank forms that must be submitted , along with a tax payment , to the secretary of state in the state in which the film company will be located . while simple to fill out , the articles of organization provide no information about how the business should be run . so in addition to this certificate , a film company llc should have a written , signed operating agreement that serves as the articles and bylaws of the organization .
multi - tiered audience : an audience of different types of people who find the film attractive for different reasons , and who must be reached by different publicity , promotion or ads .
slicks : standardized ad mechanicals , printed on glossy paper , which include various sizes of display ads for a given film , designed for the insertion of local theater information as needed .
in many states , the operating agreement may simply indicate that the manager—the filmmaker—has sole management authority , that there will be no meetings , and that the profits and losses will be shared in a specified manner between the manager and the other members of the llc . investors in the film company , however , may not wish to give such unbridled discretion to the filmmaker , particularly over the raising of capital or other financial decisions . one of the primary benefits of the llc is the opportunity to shape the business entity to reflect the nature of the investors’ interests and the filmmaker’s needs . because the filmmaker needs to encourage investment in the film—a very risky investment—the filmmaker should provide operational protections for the investor as a way of encouraging investment and demonstrating responsibility regarding the enterprise .
test marketing : pre - releasing a film in one or more small , representative markets before committing to an advertising campaign . the effectiveness of the marketing plan can thereby be assessed and modified as needed before the general release .
break : to open a film in several theaters simultaneously , either in and around a single city or in a group of cities , or on a national basis .
westerns are the major defining genre of the american film industry , a nostalgic eulogy to the early days of the expansive , untamed american frontier ( the borderline between civilization and the wilderness ) . they are one of the oldest , most enduring and flexible genres and one of the most characteristically american genres in their mythic origins .
mcgovern was approached by the mother of a teenager campaigning against the law who believes it has led to many injustices . his tv drama , about the stabbing murder of a teenager , has a fine cast , including jodhi may , robert pugh , sir michael gambon and daniel mays .
general partners : management side of a limited partnership ( the position usually occupied by the film ' s producers ) which structures a motion picture investment and raises money from investors who become limited partners . general partners make the business decisions regarding the partnership .
in the us , a notice was required to retain copyright on works published before january 1st 1978 , but this was the exception not the norm , and is certainly no longer the case . also , once the us signed up to the berne convention , us law was amended , and the use of copyright notices became optional on work published from march 1st 1989 .
platforming : a method of release whereby a film is opened in a single theater or small group of theaters in region and later expands to a greater number of theaters .
people described above who also perform promotional or advertising work , or provide promotional or advertising services ( on - set or off - set ) in relation to the film or video game production .
common law wife ,
a made - in - texas drive - in quickie directed by exploitation maestro larry buchanan (
mars needs women ,
etc . ) has it all : inept cinematography , bad acting , dubbing that ' s reminiscent of a sir run run shaw production , and , best of all , twisted , hate - filled characters like lusty old uncle shug , who wants to get rid of his aging common law wife , a shrieking harridan played by anne mcadams ( who would go on to have a lengthy career ) , so he can shack up with his niece , jonelle , who wants to get rid of him - - permanent - like ! jonelle ( stripper name : baby doll ) has been takin ' it all off in new orleans , and damn if they didn ' t cast a real stripper in the part ! no nudity here , just your garden variety sleaze and down - home depravity . they don ' t make ' em like this any more , which is either a good thing or a bad thing . . .
london is divided into 33 separate boroughs and each has its own borough film service ( bfs ) to deal with filming requests for all local authority managed locations . these include :
i love usa network . i mean lets face it , psych , burn notice , suits , white collar , etc . but they ' ve also had a few horrible shows . covert affairs anyone ? horrible ! i forced myself to watch that and still couldn ' t pay attention to its horrible plot . either way , i ' m getting off topic . common law is an amazing show . not too many shows / movies can make me bust out laughing while i ' m watching them by my lonesome . this , however , does an amazing job at that . of course the overall plot has been done before ; what hasn ' t , it ' s tv . you ' re bound to run out of ideas sooner or later . the white guy with a black sidekick or vice versa has been already , but regardless of that , this does a great job at entertaining . i can ' t wait to see more . overall , common law is a great show , great characters , as far as i can tell from the first 2 episodes , great relationships between the two main characters and the couples counseling thing is just hilarious . definitely worth the time !
almost all the essential elements or conventions of typical westerns were included : good guys vs . bad guys , a robbery or wrong - doing , a chase or pursuit , and a final showdown , all in a natural setting . the film ended ( or began ) with a stunning close - up ( the first ! ) of a gunman ( george barnes ) firing directly into the camera - and audience . it was the most commercially successful film of the pre - nickelodeon era .
the operating agreement establishes the rules for managing and operating the business . many of its provisions are common to every llc , and these provisions will be found in virtually every form book . they establish the name and place of business of the llc , regulate the admission and removal of participants , and provide for maintenance of capital accounts , terminations , and transfers of interest . nonetheless , there are a few additional issues of particular concern for the filmmaker .
letterbox : a process of film - to - video transfer that maintains the original film aspect ratio by matting the top and the bottom of the screen with black bars . standard tv’s have an aspect ratio of 1 . 33 ( 4 / 3 ) , while contemporary feature films have such aspect ratios of 1 . 66 , 1 . 83 , 1 . 85 , 2 . 33 and 2 . 35 . the more conventional transfer process is called pan & scan .
but the tone of city officials quickly changed when the meyer law firm published a video that captured undercover ice agents stalking the hallways of the lindsey flanigan courthouse on february 16 . after the video was released , city prosecutors had to drop nine domestic - violence cases after witnesses , presumably undocumented , said they were afraid to show up to court .
color temperature : the color in degrees kelvin ( k ) of a light source . the higher the color temperature ; the bluer the light , the lower the temperature , the redder the light .
double distribution fees : occurs when a distributor uses a sub - distributor to sell a film . if multiple distributors are allowed to deduct their full fees , the filmmaker is less likely to see any money .
for many independent filmmakers , the llc is the best choice for forming a film production company . it can be taxed as either a corporation or a partnership , and its operating agreement is more flexible than corporate bylaws for structuring the film company’s operations , but it limits personal liability as effectively as a corporation . another advantage of the llc and partnership forms is the ability to allocate gain , loss , deductions , and credits to participants in a way that maximizes their value to investors .
attorney advertising : the information provided in this new hampshire law firm web site is for informational purposes only and does not offer legal advice . use of this web site or e - mail does not establish an attorney - client relationship . past performance does not guarantee future results .
the terms of the film project llc should establish that the company’s activities are limited to the particular motion picture . the company is managed by the umbrella llc , so the operating agreement should be very clear regarding the authority of the manager—the managing company must have sufficient latitude to make the movie and clear direction regarding its authority to operate , and the role of the investor - members should generally be limited . this does not mean that the filmmakers are not obliged to update investors regarding finances , production , or distribution plans .
you should also ensure that you have the right to exploit secondary rights . for example , when you acquired permission to use a song in your film , did you also get permission to include it in a soundtrack ?
the introduction of characters , the facts of the murder and its defence , the arrest of the accused , the implausibility of a wifeâ€™s testimony in support of a husband and the ammunition to be used for the defence are all prologue to the final 30 minutes of the film . however , the final 30 minutes are what make this movie a classic . â it can be enjoyed by anyone who may be frustrated with the modern phenomenon of criminal investigations resolving everything without a trial .
to maximise revenue the distributor is likely to want the right to sell the full range of media . this will include standard tv , pay tv , interactive tv , online transmission and video / dvd . the distributor may also look for secondary rights in the programme or film , such as merchandising , soundtrack etc .
stills : photographs taken during production for use later in advertising and / or publicity . stills should be in a horizontal format , and should list such information as film title , producer / director and cast below the photo .
retroactive pay is a delayed payment for work which has already been completed . the most common reason is ongoing labor negotiations . while negotiations are being reached , the employer continues to pay the employees at their established rate . when the negotiations are over , and there is a clause that entitles the employees to a wage increase on a set date , the employer is required to make up the difference with a retroactive pay check . media services calculates all retroactive payments for its clients , based on union agreements .
not long into the common low , constance bennett strips just off screen in a memorable expression of pre - code sexuality . the display is relatively tame , but under joseph breen , even suggested nudity was unwelcome in hollywood . director paul l . stein titillates the audience with a shot of bennett’s naked leg just before pulling the camera back far enough so that he can show her figure using only distance and clever blocking to obscure her body . beyond the scene’s appeal in its unabashed eroticism , it is a fitting entrance for a woman who is wrought to be modern and appealingly unapologetic . she has live - in relationships with at least two separate men over the course of the film , which was undoubtedly worthy of…
usually , the central plot of the western film is the classic , simple goal of maintaining law and order on the frontier in a fast - paced action story . it is normally rooted in archetypal conflict - good vs . bad , virtue vs . evil , white hat vs . black hat , man vs . man , new arrivals vs . native americans ( inhumanely portrayed as savage indians ) , settlers vs . indians , humanity vs . nature , civilization vs . wilderness or lawlessness , schoolteachers vs . saloon dance - hall girls , villains vs . heroes , lawman or sheriff vs . gunslinger , social law and order vs . anarchy , the rugged individualist vs . the community , the cultivated east vs . west , settler vs . nomad , and farmer vs . industrialist to name a few . often the hero of a western meets his opposite
double ,
a mirror of his own evil side that he has to destroy .
meyer suspects that the data represents only a fraction of all ice arrests in colorado that occurred over those seven months . “my suspicion is that it’s not even close , ” he says after reviewing the foia documents . “we’ve probably represented thirty people in detention in those seven months , and we’re just one law firm . ”
a key provision in any composer agreement is the section that addresses the ownership rights in the music . in a typical composer agreement , the producer and the composer agree in a signed writing that the music created and recorded by the composer is deemed to be a
work for hire
, and that the producer owns all rights in such , including both the underlying music and the recording . this provision also states that , if for any reason the music created and recorded by the composer is not deemed a
work for hire
under federal copyright law , the parties agree that the composer has transferred all rights in and to the music , as well as the recordings of the music , to the producer .
with feature films , first time producers are often shocked by the tiny percentage of revenue they actually see from distribution . the exhibitors ( cinemas ) will deduct almost half of the revenue off the top and then from the balance comes off the distributor ' s commission and costs before any of the investors in the film start to recoup their investment . only after the investors recoup does the producer see any profit . most low - budget feature films in the uk never reach the stage of generating a profit .
the first feature - length western was lawrence b . mcgill ' s six - reel arizona ( 1913 ) . the first film to feature an all - native american cast was hiawatha ( 1913 ) , made by the colonial motion picture corporation and based on longfellow ' s poem .
the undersigned further acknowledges that in the event of any breach by company of this certificate , the undersigned will be limited to the undersigned ' s remedy at law for damages ( if any ) and will not have the right to terminate or rescind this certificate or to enjoin the distribution , exploitation or advertising of the picture or any materials in connection therewith , that nothing herein shall obligate company to use the undersigned ' s services or the work in the picture or to produce , distribute or advertise the picture , and that this certificate shall be governed by the laws of the state of new york .
the second agreement is much more composer - friendly . it is not a work for hire agreement . instead , the composer merely grants the filmmaker the right to use the music in his movie and retains all other rights , except that the composer agrees not to license the music for another full length film for a period of time . in addition , the second contract limits the time that the filmmaker can make the composer make changes to two days after the composer delivers the final mix . it also provides for a
kill fee
if the filmmaker decides that the music delivered by the composer is unacceptable .
under the ccpa ( consumer credit protection act ) earnings , for the purpose of defining disposable pay include salaries , commissions , bonuses or other compensation . they also include payments to a retirement and pension program . disposable pay is not net pay . net pay is the result of subtracting all deductions from gross pay . disposable pay is derived by deducting from gross pay all deductions required by law , including federal and state taxes . not included is deductions for health insurance , retirement plans , credit unions , bonds , other wage attachments and voluntary deductions . the computation for disposable pay varies from state to state . where state and federal differ , employees are protected by whichever law is the most protective of the employee .
foreign sales : licensing a film in various territories and media outside the u . s . and canada . although canada is a foreign country , american distributors typically acquire english - speaking canadian rights when they license u . s . rights .
finally , the operating agreement should set forth all the structures for recoupment of investments and profit participation , as well as the fees paid to the umbrella llc for the management of the film project . while the operating agreement does not take the place of financial disclosure documentation , the two documents will closely resemble each other in many regards . this should allow the attorney to draft the two documents together , saving time and money . and since the operating agreement works as a blueprint for the operations of the company , it should also make it easier for the filmmakers to meet their obligations to their investors .
window : period of time in which a film is available in a given medium . some windows may be open - ended , such as theatrical and home video , or limited , such as pay television or syndication .
' bad films ' : one - and - a - half - star ( out of five ) film ratings by ' the motion picture guide ' ( jay robert nash and stanley ralph ross , cinebooks , inc . ; 1927 - 1983 )
opportunities have never been greater for generating revenue from the exploitation of film and television rights . producers have more media than ever over which to deliver content to consumers . it is important to get distribution deals right so that exploitation generates rewards for the producer as well as the
middle men .
the key terms of a contract between a film producer and a composer are : ( i ) whether the composer will be responsible for recording as well as writing the music ; ( ii ) the fee payable to the composer ; ( iii ) the time schedule for the delivery of the music ; ( iv ) the composer ' s credit ; ( v ) how a composer would be compensated if there is a soundtrack album ; and importantly , ( vi ) the permitted use and ownership of the music itself .
a second risk flows from the need to draft an operating agreement for each llc . as with a corporation , standardized llc operating agreements found in form books may not be appropriate for independent filmmakers . each company will have its own investment strategies , distribution plans , and expectations regarding sequels and other projects , and these specifics should be reflected in the operating agreement . some productions , for example , will restrict the movement of additional capital into the llc to protect the original investors . ( more often , however , film investors are not concerned about the size of other parties’ investments , as long as all the funds raised are used exclusively to make the film . )
final cut : the last stage in the editing process . the right to final cut is the right to determine the final version of the picture . usually the studio or the financier of a picture retains final cut .
filming the exterior of a building does not infringe its copyright . this means that you do not need copyright from the building ' s owner to film its exterior but you may need to get permission from the relevant authority or property owner based on where you have physically placed your camera in order to shoot .
completion bond : a form of insurance , which guarantees financing to complete a film in the event that the producer exceeds the budget . completion bonds are sometimes required by banks and investors to secure loans and investments in a production . should a bond be invoked , the completion guarantor may assume control over the production and be in a recoupment position superior to all investors .
70 years from the end of the calendar year in which the last remaining author of the work dies . *
i bought this because it contains some rare films , at least on dvd . it is the only version of
the common law
i have come across , for instance . however , the picture quality on these dvds is not good . focus is soft , and they lack details . don ' t know if they were taken from video tapes , or 16mm prints , if they used a soften / unsharp filter to compensate other quality problems , or they just did a 2nd rate job with the scans . but regardless of why , these do not have the video quality i expect from dvds . not alpha video bad , but not warner archive acceptable either . if this were a discount set , i would have given it a better rating . but the set is not cheap , and i expect more when paying for more . buy this only if the softness of the video is acceptable to you at this price .


shall we dance ? ( shall we ダンス ? sharu wi dansu ? ) is a 1996 japanese film .

its title refers to the song " shall we dance ? " which comes from rodgers and hammerstein 's the king and i .

it was directed by masayuki suo .

shall we dance ? ( 1996 film )

tied with kyôko kishida for haunted school 2 ( 1996 ) and yatsuhaka - mura ( 1996 ) .
shall we dance ?
swept the japanese academy awards in 1996 , and was the sleeper hit of 1997 ' s sundance film festival .
looking for movie tickets ? enter your location to see which movie theaters are playing shall we dance ? ( 1996 ) near you .
japanese gentle comedy
shall we dance ?
(
shall we dansu ?
) directed by masayuki suo with koji yakusho and tamiyo kusakari in leading roles .
not to be confused with the 1996 japanese film by the same title , or its 2004 american remake .
shall we dance ?
opens friday , october 15 , and is rated pg - 13 .
[ us ] shall we dance ? ( 1996 ) : a repressed accountant finds a way to open up his world . trouble is , he can ' t tell anyone about it .
' ' shall we dance ? ' ' concludes this year ' s new directors / new films series .
[ us ] shall we dance ? ( 1996 ) : a repressed accountant finds a way to open up his world . trouble is , he can ' t tell anyone about it . : netflixbestof
the new
shall we dance ?
stars richard gere as chicago lawyer john clark and jennifer lopez as paulina , a dance instructor .
nothing against richard gere and jennifer lopez in shall we dance 2005 , but mr . aoki steals the show and reminds us that we should always maximize our effort on the dance floor .
shall we dance ?
is rated pg - 13 ( parents strongly cautioned ) . it includes mild sexual innuendo .
in response to this , realizing he is in a film and the other character just said the title of the movie , he restates
shall we dance .
shall we dance ?
remains blissfully untethered to reality . dance in the movies has always been synonymous with transcendence , as characters step out of their mundane lives into a wonderland where time stops .
shall we dance ?
is a gaudy , sequined invitation to freedom .
los angeles , california ( cnn ) - -
shall we dance ?
, an american remake of the sweet 1996 japanese film of the same name , is an ill - fated attempt to translate a wonderful foreign - language film for american audiences - - and it falls apart on its own , too .
unlike the recently released taxi , shall we dance ? is not an aggressively bad remake of a foreign film . still , giving this version a pass and tracking down a copy of the original film would better serve movie watchers .
unfortunately , lost in translation has already been used as a film title recently , as it could very much be used to describe shall we dance ? , an american remake of a critically acclaimed 1996 japanese film . those familiar with the original version will find no real surprises here , as this americanization apes its source’s every story beat .
an interview with masayuki suo , the writer - director of the japanese hit movie
shall we dance ?
could best be termed a multimedia affair .
shall we dance ? proves that japanese film makers can fashion charming , feel - good movies every bit as effective as their hollywood counterparts . unlike the australian comedy , strictly ballroom , which used ballroom dancing competitions as arenas for romance and satire , shall we dance ? uses them to explore one man ' s struggle for freedom from the suffocating repression that characterizes japanese society . this is a film for anyone who prefers to leave the theater smiling .
something is missing in the life of john clark , he just can’t figure out exactly what it is until he follows a beautiful dancer , jennifer lopez , to dance studio and becomes a secret ball room dancer . shall we dance ? is a remake of a japanese 1996 film , shall we dansu ? at first glance i would’ve never had realized that susan sarandon and richard gere had never shared the big screen together . there true life chemistry and friendship is obvious even on film . gere and sarandon spoke to latino review about their roles on this contemporary romantic comedy . below is what they had to say to us .
featured in contact / this world , then the fireworks / a simple wish / 4 little girls / the big sleep / shall we dance ? ( 1997 ) . see more »
attention monday . i ' m officially adding jack black ' s mixtape dance to my morning routine and it shall defeat you .
nevertheless , subplots excepted , shall we dance ? navigates the tricky waters of the dramatic comedy with surprising ease . writer / director masayuki suo , who has designed the film primarily as a heartfelt tale of one man ' s solution to a mid - life crisis , keeps shall we dance ? fresh and free of heavy melodrama by leavening the script with universal humor . and the ending satisfies in part because it doesn ' t conform to all the expected clich├ęs .
shall we dance ?
doesn ' t work as a remake , and it doesn ' t work on its own . its missteps turn the delicate footwork of the original into a clunky thud .
the story eventually grows a tad redundant , but this is an extremely enjoyable , self - assured little film . or , at the risk of getting cute enough to have a blurb printed on a movie poster ,
shall we dance
is very light on its feet .
we suggest utilizing this song , and dance routine , as a victory dance after your next promotion at work , or switch things up perform the dance routine in hopes of securing a promotion at work .
newsboy : paper , read all about the secret marriage ! peter : did you hear that ? we ' re about the only two people in the world who don ' t think we ' re married . linda : we don ' t think we ' re not . we both know we ' re not . peter : except me . i ' m beginning to have my doubts .
more than steps : salaryman masculinity in masayuki suo’s shall we dansu ( 2004 ) | 24 frames of silver : a cinema blog for the soul by lee o .
and then ask her if it was as good for her as it was for you .
shall we dance ?
is a reasonably close remake of
dansu wo shimasho ka
( aka
shall we dansu ?
) , a 1996 japanese film that set box - office records at home and won audiences around the world . if you ' ve seen it , you know precisely what happens in the hollywood version , but the movie is a star vehicle ; the plot isn ' t the point , gere and lopez are . when they dance together , it ' s a reminder that when dancing became rare in the movies , so did a lot of grace and sexiness .
well , perhaps it ' s unfair to compare the american
shall we dance ?
with its japanese counterpart , just as it ' s often unfair to compare a movie with the book it ' s based on .
try it yourself : we suggest a fully committed interpretation of this dance using seth rogan and paul rudd as your muse .
this film is not only out of step , it has two left feet .
' ' shall we dance ? ' ' inevitably incorporates that very important dance competition toward which it might be expected to build . but to its credit , this isn ' t a film about ' ' rocky ' ' - style winning . though its proficient style can be slickly uplifting , mr . suo ' s film also offers gentle thoughts about feeling responsible to one ' s partner and enjoying the exultation of dance . ' ' dance is more than just the steps , ' ' says the school ' s kindly senior teacher . ' ' feel the music and dance for sheer joy . ' '
sure , the dance skills may be from the 80 ' s , but this learning to dance montage captures the repetition and payoff of a process we call all relate to .
miramax films will almost certainly back shall we dance ? with a sizable advertising campaign - - of all the distributor ' s late - spring releases , this has the most potential to be a crowd pleaser . the pleasant emotional aftereffects are a testimony to suo ' s ability to fashion a story whose appeal reaches far beyond the shores of his native country . shall we dance ? promises a convivial evening at the movies , and a rare chance to mix culture with pleasure .
we wouldn ' t recommend a shot for shot reenactment of this performance , from an insurance standpoint , but we would absolutely suggest learning the hustle .
i mention these mundane facts because i can ' t discuss shall we dance ? without thinking of kumiko . sometime during my college years , she lent shall we dance ? to me , and i watched it with my family over break . it was one of the first non - fantasy japanese films i watched , and it made a deep impression on me at the time , and helped inform the movie review i would write for a small - town newspaper about the 2004 remake a few years later . long before i would move to japan and join a dance club there , or visit kumiko ' s family , i watched this warm little gem . all these memories shimmer and merge as i consider shall we dance ? now—but even without those memories , the movie is well worth watching .
we’re interested in your feedback on this page . tell us what you think .
the japanese film shall we dance ? debuts on dvd with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of 1 . 85 : 1 . the japanese soundtrack is rendered in dolby digital surround . english , french , and spanish subtitles are accessible . supplemental materials are limited to a preview of the film ' s american remake . this dvd was released the same day as the dvd of the remake that featured richard gere and jennifer lopez
shall we dance is a very exciting look at living life through dance with great performances by koji yakusho , reiko kusamura , and the nearly show - stealing naoto takenaka . it takes time to warm up to tamiyo kusakari , but once she changes , you will love her performance as well . regardless to whether you’ve seen the richard gere - jennifer lopez version , this is truly one japanese film to check out .
among the secondary characters who give ' ' shall we dance ? ' ' its color are a buffoonish fat man , a comical short man , a brassy and overbearing woman who turns out to be secretly very kind , and one of sugiyama ' s fellow accountants who leads a lively hidden life . bald and meek by day , he dons a wig and ruffled shirt at the dance academy to become a flamboyant , clowning latin lover . ' ' shall we dance ? ' ' holds forth the sunny possibility that beyond the most timid exterior there may be a tangoing walter mitty to be found .
the best film i have ever seen . you don’t have to like dancing to appreciate the acting , music , humour & a little sadness that flows throughout this brilliant film . excellent !
nner and deborah kerr ' s dancing in the 1956 film
the king and i
.
we are pretty sure there aren ' t many ladies out there who would want the men in their lives to dance the tango , or look a little antonio banderas like in the process . then again , we could be mistaken .
a lovely film with a story that stands up in its own right , so it doesn ' t matter whether you ' re a dance fan or not .
writer / director masayuki suo , whose previous film sumo do , sumo don ' t also picked up a japanese academy award for best film in 1992 , has focused on making a film for an audience which remains largely uncatered for - the middle - aged professional . as a result shall we dance ? is far warmer than most of the japanese films showcased abroad , and its simple - minded escapism is hard to resist . it is colourful and buoyant , moving and inspiring , and still , a few years after the initial critical clamouring has subsided , just as strong as ever .
this award - winning japanese film is a fun delight about living life through the art of dance , and it would be the inspiration for a 2004 hollywood remake .
lovely film , just a shame it ' s the short version . but a good buy anyway .
when jon favreau and heather graham were filming their swing scene in the 1996 miramax pic , swingers , they probably had no idea that the scene , and the movie , would help contribute to the 90 ' s swing revival .
( cnn ) - -
shall we dance
is an utterly charming japanese comedy about the healing powers of spinning a partner around a ballroom . but the film somehow avoids being as precious as i fully expected it to be . it isn ' t really fair to suggest that the movie ' s main subject is dance , though . as much as anything else , it ' s about the healing powers ( and poetry ) of simple self - expression .
that point in a movie where we are treated to a montage filled with great music , great moves , and great visual storytelling . we assembled 50 of our favorite dance sequences , and the dances that fit them . who knows ? instead of watching the next dance scene , maybe you can make your own ?
this is that other dance number from singin ' in the rain . donald o ' conner shows that gene kelly wasn ' t the only talent in that iconic film .
this movie blew me away . the lead actor is incredible and the film tugs at the heart strings .
shall we dance ? received a 93 % rating from rotten tomatoes ( fresh : 28 , rotten : 2 ) . roger ebert stated in the chicago sun times that shall we dance ? is
one of the more completely entertaining movies i ' ve seen in a while—a well - crafted character study that , like a hollywood movie with a skillful script , manipulates us but makes us like it .
critic paul tatara noted that
it isn ' t really fair to suggest that the movie ' s main subject is dance , though . as much as anything else , it ' s about the healing powers ( and poetry ) of simple self - expression .
( wikipedia )
accessibility concerns ? email us at accessibility @ urltoken . we would love to hear from you .
for moments of forceful and dramatic movement , we suggest tango . when that drama turns to passion , we suggest the argentine tango . in either case , wear black to finish the look .
try it yourself : we recommend lindy hop . . . but at a slightly slower pace .
while there are plenty of great dance scenes from the full monty , this one seems to capture the essence of this article . in addition , we ' re sure that every reader can relate to public dance practice moments like this .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
lee o . is an avid film enthusiast who specializes in hollywood film history , critically examining films of any country and era and putting it in its historical context – while also conveying what it means to her . she is a film studies graduate at a southern california university , with a concentration in the relationship between history and media .
the parts of shall we dance ? that are done well , are done very well , muting the negative impact of certain less successful elements . one of the most interesting aspects of the film for a western viewer is that we ' re offered an opportunity to peer through an open window into japanese society , especially as it addresses issues of intimacy . for those of us who are used to the idea that dancing is an integral part of the cultural fabric , understanding how the japanese view this activity can cause a shift in perspective .
there was a dance… kind of a store - front dance place , up there , upstate . and i was going there , two , three , four , five times a week . that was three or four months before we started shooting .
despite the country ' s long cinematic history , commercially successful releases from japan are pretty rare on this side of the world . put simply , japanese culture seems far too alien and too damn odd to resonate much with western mainstream audiences , which is what makes the universal appeal of shall we dance ? all the more fascinating .
but the film asks for this comparison . for one thing , it would have us believe that its cast of cross - cultural misfits is somehow making the same type of rebellious social statement as the dancers in the japanese film .
loved this film and great performance by richard gere and susan saranden . . . . . . brilliant ! ! !
shall we dance
is a sweet , gently - told tale about a man ' s defeat of his mid - life crisis . it all goes down smooth , and is wall - to - wall with dancing , both terrible and majestic . rated pg . 136 minutes , but goes by quickly . cha - cha - cha .
' ' shall we dance ? ' ' also has a more western mantra in its frequent evocations of ' ' the king and i , ' ' complete with talk of yul brynner and deborah kerr . the title song is played inspirationally , while vague strains of ' ' hello young lovers ' ' filter through tender moments between sugiyama and mai .
the last third of
shall we dance ? ' ' provides audiencepleasing payoffs that could make this film as popular as
strictly ballroom , ' ' and the most successful japanese film at the western box office since
tampopo
10 years ago . but it is the opening material that fascinates . to seek out the secret of a beautiful woman in a window is much more interesting than to discover the secret . familiarity dissipates eroticism . of course i realize i am asking the impossible : of course sugiyama will mount the stairs , and so of course there must be a story .
i adore this film and am really disgusted that the version released here is nearly half an hour shorter than the one shown in japan . if the dvd company ever looks at this site - please can we have the complete film . if the mutilated version is this good ( and it is wonderful ) how much better to have the whole thing .
a film criticism blog for the classics , the classics - in - the - making , and the never - classics .
shall we dance ? is not without its share of flaws , however . several subplots are largely ineffective , due in part to the director ' s unfortunate tendency to use caricatures to generate both sentiment and comedy . several supporting characters ( especially an overweight dance student named tanaka and a wild latin dancer named aoki ) are poorly - developed types whose primary purpose appears to be to act as foils for some of the film ' s more elaborate jokes . and , while this humor does generate laughs , it results in ill - defined individuals whose dramatic effectiveness is diluted .
the dance scenes are beautifully shot with vibrant color and depth in terms of choreography . kudos goes to toshio watari , who served as the film’s dance choreographer . he makes the cast look exciting , even takenoko has to dance latin in a very comical flamboyant kind of way . all these elements of story , characterization , and movement truly mesh well and it is clear why it would win the best film as well as 13 other awards at the japanese equivalent of the academy awards in 1997 .
as a public service , even if you can salsa to classic r & b music by full force , we suggest that you do that outside of a kid n ' play dance routine battle .
this list collects every film from the starting list that became they shoot pictures don ' t they ' s 1000 greatest films . this…
veteran koji yakusho is great as accountant shohei , who starts out fascinated with the lead dance instructor only to realize that something has sparked him and that’s dancing . one may seem annoyed for the first half of the film with tamiyo kusakari’s lead character of dance instructor mai . the reason is because in the first half of the film , she is more stone - faced and stern . however , an hour into the film , when she smiles for the first time after being impressed with shohei’s improvement , it is clear that “the teacher can also learn from the student” .
we ' re told that it is
beyond embarrassing
for a husband and wife to dance , and to dance with someone else is
even more shameful .
in other words , don ' t be looking for repeats of
bandstand
the next time you ' re in tokyo .
i told my roommate about the film and how nice it is so we had planned on seeing it tonight . however , i gotten into a mood where i was listening to
fuck and run
by liz phair on repeat all day . so yeah .
despite a few plodding moments , most apparent in an unnecessarily long - winded denouement in which the various threads of the story are rather hamfistedly tied up , the film is a delight from start to finish . the characters achieve a degree of buoyant absurdity that is quite endearing and the fact that they are so deeply expressed in terms of their physicality rather than by language is what gives shall we dance ? its cross - cultural appeal . suo ' s film , particularly in the colourfully vivacious dance sequences , is packed full with visual detail , taking in each of the characters and their individual dancing styles . from his first awkward steps onto the dance floor , sugiyama ' s emotional journey from respected but unfulfilled office drudge to an assured and valued member of the dance school is uplifting in the extreme . perhaps the most exhilarating aspect to the whole thing is that all of the characters look as if they ' re enjoying themselves so much .
pingback : that dame upstairs : a film noir primer | 24 frames of silver : a cinema blog for the soul by lee o .
it was funny , sad and happy . the film moved along at a gentle pace and all of the characters were very well played .
no . ( laughs ) i don ' t think i ' ve danced at all . when we finished dancing , we had a wedding reception , the year after we got married , because we finally had time to do it . and my wife and i had kind of a wonderful spotlight dance , and my wife had been taking lessons from one of the teachers also , one of the guys that was in the movie . her family had always told her that she couldn ' t dance , and she got up with me , and we started doing all the dips and twirls , and all the things , and her family was just beside themselves . it was a very emotional kind of coming out for her , to do that in front of her family . it was pretty great .
although i had seen the 2004 hollywood remake of this film , it had been some time and i couldn ' t really remember much outside the fact that a middle - aged man takes dance lessons from an attractive younger woman .
shall we dance , a remake of the popular 1996 japanese movie of the same name , could have easily gone off the deep end . it’s a rare man , who in the midst of a midlife crisis , walks away sexually unscathed after becoming attracted to a beautiful—younger—woman . here , he dances cheek to cheek with her on more than one occasion , and pines after the idea of her ( he feels as though her soulfulness and sensual sadness might give meaning to his own sense of melancholy ) , but he refuses to take things to a carnal level . similarly , it’s a rare wife , who , distanced from and deceived by her husband , and offered another man’s attentions , firmly walks away with nary a flirtation .
sugiyama is developed as a low - key , likable character who fills the role of the japanese
everyman .
his relationship with mai proceeds along a natural path , shunning romantic hyperbole in favor of a refreshingly believable tangle of feelings . watching both sugiyama and mai grow as a result of each others ' influence is one of shall we dance ? ' s subtle pleasures . ultimately , the results of all the dance competitions pale in comparison to understanding the unique relationship that develops between these two .
this dance sequence can sometimes get lost in the majesty which is james cameron ' s titanic . this sequence showcases how a dance can bring people closer , and put a smile on
some would argue that in 1992
strictly ballroom
paved the way for popular dance television shows and movies today . after watching this final dance it would be hard to disagree .
we know life happens , so if something comes up , you can return or exchange your tickets up until the posted showtime .
looking to impress your love interest ? we suggest you take jon cryer ' s approach and
try a little tenderness
.
try it yourself : we suggest a vintage hustle , or a romantic rumba . polyester clothing and perfect hair are both optional .
japan may not recognize ballroom dancing , but if masayuki suo ' s film is any evidence , it knows about midlife crises set to music .
by the end of the film i had a big smile on my face and my heart felt warm . it was just what i needed .
in the romantic comedy
shall we dance ? ,
jennifer lopez , in full sizzle , minces no words in evoking what ballroom dancing is all about . instructing richard gere in the rumba , she defines it as
a vertical expression of a horizontal wish .
and in the too - brief sequence in which they meld as an iconic dance - floor couple , they approach the swooning grace of fred astaire and cyd charisse , whom the movie holds up as ultimate dancing partners afloat in pure rapture .
good media discernment is about guarding our eyes and hearts before we watch or listen . and it ' s also about grappling with the entertainment we do see or hear . that ' s why the plugged in blog is devoted to guarding , discussing and grappling .
there are victory dances for accomplishments like touchdowns and promotions , but what kind of victory dance comes to mind when you score in the bedroom for the first time ? we nominate this clip from the 40 year old virgin .
try it yourself : this song is not a traditional sounding mambo , and while we think mambo and salsa are both fantastic dances to learn , use this song only to pay tribute to this dance , and nothing else .
i find myself revisiting this movie as i prepare to return to japan in just over a month . the film reminds me that there is so much more to japan than monsters and ninjas and samurai or shining robots and bright anime action . japan is made up of beautiful people , good friends like my dear friend kumiko , and fine art expressed in a wide array of styles . shall we dance ? proffers a hand to westerners , asking them to experience a different side of japan with a well - crafted , heartfelt story . i would extend the same invitation .
unfortunately , midway through the movie the plot kicks into high gear , demanding the drama quotient be ratcheted up as john’s wife discovers where he has been sending his wednesday nights . the film swings from light comedy to dour drama and never fully recovers its balance in time for the climactic dance competition scene . the original film much more competently balanced its dramatic moments with lighter , comic beats .
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conventional as it may be ,
shall we dance ?
offers genuine delights . the fact that paulina is uninterested in romance with john comes as sort of a relief , freeing the story to be about something other than the inexorable collision of their genitals . it can be about how john feels about his life , about why it might be useful for a middle - aged lawyer to jump the rails and take up ballroom dance . and about the gallery of supporting characters , who get enough screen time to become engaging .
that is not the case in the 2004 american remake - - and the lack of subtext drains the film of the heartfelt power of the original .
any attempt to reinterpret this untouchable dance scene with uma thurman and mr . travolta would only bring a world of pain to you courtesy of a certain marcellus wallace . . . and we wouldn ' t wish that on anyone .
i took up dance a few years ago , and like the hero of this film , i yearned to do it , but felt quite awkward about it . the film accurately portrays how dancing draws you in . you think you ' re doing it for one reason , but you soon find yourself dragged in a different direction . the film is very japanese , so you get lots of perspectives that reflect that society . this means it goes places you don ' t expect . i loved the authentic detail , the insight and the humour . it ' s romantic and realistic , which is a wonderful achievement - one of my top dance films !
try it yourself : conventional wisdom says to learn the hustle , but if you want to stick it to someone in your next disco dance battle , might we suggest taking a closer look at ben stiller ' s far out moves .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
watched this version in a film appreciation class in college before the gere version came out . i agree with you completely that this version is much better .
mix jitterbug with everything that jack black is doing , and you could clear any dance floor forever .
as much as i like shall we dance ? , however , it has always bothered me that shohei’s relationship with his wife did not take a more central role . of course , their marriage is shown as important to the story , and hideko hara gives a good performance as the rather spurned wife masako . however , she seems almost always to be pushed aside for the centrality of dance , or shohei’s relationship with mai or toyoko . at the end of the film , the main tension is not about shohei reconciling with masako , but rather whether shohei will go and see mai one last time . the impression , then , is to make it seem as if shohei’s fleeting relationship with mai is actually more important than the lifelong commitment he has made to his wife . further , masako is mostly cut off from shohei’s dance activities throughout the film , and she is treated more as someone who exists in order to ultimately encourage shohei to live his life rather than someone whose feelings really matter very much . shohei never confesses to masako that his dance passion was initially enflamed by an extramarital lust for mai , and when he “makes up” with his wife towards the end , the main purpose of the reconciliation seems just as much to be a means to reignite shohei’s interest in dance ( which he gives up for a time ) as it is to reconnect with his wife . the blasé way in which shohei and masako’s relationship is treated in the film is the biggest flaw in the film , in my opinion .
our family doesn ' t go to the movies until we go online and check out your assessment of a given film . i think this is the best christian media review website that i ' ve found , and i recommend it to my family and friends . keep up the good work !
it takes an awful lot of fancy footwork from mr . suo to sustain the idea that the main source of his characters ' excitement is the rhumba . but the cheery , squeaky - clean ' ' shall we dance ? ' ' unfolds in broadly heartwarming fashion and uses the dancing school strictly to rekindle tired spirits . sugiyama ' s fellow dancers , each of them somehow both goofy and poignant , develop a new sense of fellowship in their secret community . and the dancing , as in ' ' strictly ballroom , ' ' is filmed with a wishful fred - and - ginger sweetness that gives the film a studiously effervescent mood .
q - - at the end of the film , has mr . sugiyama ' s ballroom dancing experience helped define his life ? has it made his family stronger ?
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richard gere shines as the bored mid life man who wants more from life and joins a dance class .
one can never have enough ammunition in the disco dance battle arsenal . watch this for a full resupply .
at the start of ' ' shall we dance ? , ' ' a japanese businessman goes to a ballroom dancing school so furtively he might be visiting a bordello . ' ' in japan , ballroom dancing is regarded with much suspicion , ' ' an opening title explains . yet 42 - year - old shohei sugiyama ( koji yakusyo ) is so unsatisfied by his wife , child , house , car and accounting job in a sterile office that he desperately needs a change of pace .
when i first heard of this film , i assumed it would just be a boy - meets - girl flick . instead it has more complexity than that , while still remaining a gentle , easy - to - watch film the comedy elements maintain the gentleness , with few ' jokes ' per - se , but a sense of underlying humour that still allows for genuine feeling and emotion to surface and play it ' s part . a lovely feel - good film , with some good dancing in it .
we are all spoiled children of the digital graphics in cinema today . we can spot bad effects , wires , and any other devices meant to deliver believable magic . so , to see a movie over 30 years old that can deliver a
wow
moment , it definitely belongs on this list .
if you ' re a seller , you can increase your sales significantly by using fulfilment by amazon . we invite you to learn more about this programme .
while an overriding theme of the film centers on the importance of enjoying art for art’s sake alone , as with most dance films , there is a dance competition—though winning said competition is never of huge importance to the plot . instead , the competition helps to spur shohei on to learn dance more , and to work with the often - prickly toyoko as his partner , and mai ends up coaching them to do their best . interestingly—again , unlike most dance films in america—the leads never learn particularly flashy moves , and dancing is not reduced to just the equivalent of a special effect—pizazz included simply to wow audiences . instead , dance is shown as something warm and beautiful , bringing people joy , not just gymnastics to a beat .
paso doble ! that dance that brings out a different , bullfighter side , in all of us . ole !
a - - it is somewhat embarrassing for japanese people to dance together , men and women , like westerners .
both films are about the healing powers of self - expression . but the original also had strong cultural touchstones regarding dance . public displays of affection , and the close proximity of bodies required for ballroom dancing - - even between a husband and wife - - are considered shameful in traditional japanese culture . the dance students in the original film defied their tightly bound society with a powerful act of nonconformity .
tequila
is a classic mambo , or salsa , depending on your mood . we recommend saving the pencil thin suit and platform shoes strictly for show .
tom cruise ' s career skyrocketed after dancing around in his underwear , while people stood by watching with their pants on . we should all reconsider our strategies .
we only saw each other a little bit . i know jennifer from before this movie , actually , because her agent at one time was also tim’s agent . so she played videogames with my boys way back when . they’ve spent time together and i know her . i really like jennifer . we hung out more in the trailers . we were only in the one scene at the end . and i ran into her once at the dance studio because at one time they had me in to learn the waltz . i think she’s just very exotic and obviously a great dancer and very sexy and a good actor . i think she brought a lot to the movie . you believe her as a dancer and as somebody whose life’s tragedy revolves around the dance contest . it’s not everybody you could believe that of . i’m sorry that we didn’t work more together . they usually just allow two women per film , and they usually don’t work together . that’s just the way things work out in the scenarios , and that was true in this one .
directed by peter chelsom ; written by audrey wells , based on the film by masayuki suo ; director of photography , john de borman ; edited by charlie ireland ; choreography by john o ' connell ; production designer , caroline hanania ; produced by simon fields ; released by miramax films . running time : 106 minutes . this film is rated pg - 13 .
nice feel good film but the ending where the inference is that anyone in a partnership cannot do anything unsexual outside of the partnership is just a bit too hollywood for me . it would have been so much better if the film had had a different ending with the couple acknowledging that sometimes to develop they have to something individually . in the end hollywood trash .
every dance television show on tv opens with some type of group dance number , a formation . watch this sequence and see for yourself if the shows of today may have taken some inspiration from this iconic scene from 50 years ago .
how many of us wish that we could throw away social and cultural obligations and be free ? most of us , i suspect . shall we dance ? is not a movie about dancing . it is about learning about ourselves , recognising what we are looking for in life and having the courage to go in search of it . mr sugiyama is a middle - aged member of a japanese society where ballroom dancing is viewed as unsuitable behaviour . one day mr sugiyama sees a beautiful girl leaning out of the window of a dancing acadamy . he is fascinated by her and eventually signs up for dancing lessons . he is ashamed of his dancing and afraid of ridicule . he hides the fact that he is attending dancing classes from his colleagues and family . there is a hilarious scene in the mensroom at the office when sugiyama and watanabe , a workmate who also dances , are interrupted practising some dance steps . there are many other funny and warm - hearted scenes . the ending is not a fairytale , but it leaves the viewer feeling good . this movie helped me to understand the japanese people a little better . it is a warm and very worthwhile film to see .
the dancers in the film get together at a local watering hole after their lessons and discuss what they ' re doing as if they ' re training for guerrilla warfare . this is dance as an act of nonconformity , and they ' re exhilarated that they have the guts to take part in it .
side # 1 - - 1 . to dance or not to dance [ 2 : 34 ] 2 . mr . suglyama , workaholic [ 6 : 19 ] 3 . two left feet [ 11 : 35 ] 4 . group lessons [ 3 : 58 ] 5 .
one - trick rumba
[ 7 : 31 ] 6 . free consultation [ 4 : 59 ] 7 . sensei [ 3 : 43 ] 8 . not giving up [ 4 : 04 ] 9 . too good to dance [ 8 : 40 ] 10 . toyoko ' s breakdown [ 1 : 05 ] 11 . no hesitation [ 6 : 34 ] 12 . reason to dance [ 6 : 06 ] 13 . amateur competition [ 3 : 40 ] 14 . waltzing for an audience [ 10 : 00 ] 15 . letter from mai [ 6 : 09 ] 16 . apologies accepted [ 7 : 14 ] 17 .
shall we dance ?
[ 8 : 54 ] 18 . credits [ 4 : 02 ]
i tend not to be drawn to films described as ' heartwarming ' . ' life enhancing ' or ' magical ' but as this is a japanese film , i had no need to worry . no chance that , whilst being all of that the film would not also be realistic . true there is much sentiment but not false sentiment and the heartwarming moments are genuinely touching , nobody is tugging at the heart strings , we simply feel for the characters because they are so well drawn and we have become involved . simple enough story describing a normal japanese salaryman ' s gradual involvement in ballroom dancing but so well photographed and written that we find ourselves both laughing at and with the participants . fairly slow build and no dramatic finale , just one beautifully told tale that will involve and amuse even the most hardened yakuza movie fan , or anyone else for that matter .
whether you ' re trying to get your kids to take dance lessons , or not sure how to explain your dance hobby to your friends and family , take a look at this scene from jamie bell in the classic , billy elliot .
our hope is that whether you ' re a parent , youth leader or teen , the information and tools at plugged in will help you and your family make appropriate media decisions . we are privileged to do the work we do , and are continually thankful for the generosity and support from you , our loyal readers , listeners and friends .
a successful but unhappy japanese accountant finds the missing passion in his life when he begins to secretly take ballroom dance lessons .
while a few broadway audition leaps may seem more appropriate , you could dance a tango or swing to this travolta classic .
24 frames of silver : a cinema blog for the soul by lee o . is a film critique and history blog that will post at least every sunday , and potentially days in between .
clark ' s wife , of course , does become suspicious about his behavior and discovers his secret by hiring a private detective . the film ' s resulting confrontation and anti - climax at chicago ' s biggest ballroom dance competition - - where john ' s secret if finally exposed - - feels embarrassing rather than heartfelt .
: peter ' s show makes it clear to linda that he sees her this way . arthur helpfully drives it home by telling her ,
he said if he couldn ' t dance with you , he ' d dance with images of you .
initially released in its home country in 1996 , it picked up an impressive 13 japanese academy awards . whilst on its us release , where it was distributed by miramax , it pretty much cleaned up to become one of the highest - grossing foreign language titles of all time ( though through a loophole in the rules , was deprived of a best foreign language academy award nomination in 1997 because it had already been shown on television in japan the previous year ) .
it ' s an incredible novel . i ' m amazed at how many people have read that . myla goldberg wrote the script . if we pulled this off , it should be a terrific film . they found an amazing little girl to play… it ' s really about my daughter , it ' s about the girl . who is quite magical , and her magic is expressed through spelling .
as humans , we place a premium on the original versions of things . it ' s very difficult to remake a classic and have it receive any positive reviews . this song and dance from young frankenstein took the original , killed it , and brought it back to life as a tap dancing monster of a hit .
try it yourself : if you wanted to go the authentic route , please share the video with us . if you wanted to go for something a bit more practical , we suggest merengue .
richard gere plays john clark , not an unhappy man , in
shall we dance ?
he loves his wife and daughter , he enjoys his job as a lawyer , and when his wife gets that funny look in her eye and asks him if everything is ok , he says sure , of course , everything is fine . but there is something missing . one night as he is returning home on the l train , he notices a woman standing alone in the window of miss mitzi ' s dance studio . there is something intriguing about her solitude , her pensive attitude and , let it be said , her figure . a few days later , he gets off the train , walks into the studio and signs up for classes in ballroom dancing .
there are several minor plot lines concerning the lonely members of the dance class , and a couple of them probably could have been cut , but the characters are all nicely written , and of the performances are thoroughly enjoyable . sugiyama ' s growing relationship with the beautiful instructor is at the heart of the film , and it develops in quite unexpected ways .
well , i ' ll probably see you all in about four or five months on ' bee season . ' which is a small film . as functional as these people are , that ' s about dysfunctional people .
john goes to the dance club with his son evan . as the camera enters the club , john ' s son evan and his girlfriend are dancing in the crowd . in the next shot , they are sitting with john just getting ready to go out onto the dance floor .
now , we ' re supposed to feel that gere ' s character is afraid his wife will somehow assume his need to dance is a sign of being unfulfilled in their marriage , rather than going against a social norm . and there ' s also that annoying little emotional involvement with paulina , which is somehow not supposed to be sexual .
agree , really fun movie . i also watched it in a japanese cinema university course . i minored in film studies , and took a lot of cinema courses in university . the japanese one was by far my favourite .
some people prefer the limelight in the center of a lighted disco floor , for the rest of us - dance the hustle on the sidelines .
but then , on just another hazy ride on the train , he sees mai ishikawa gazing distractedly out the window of a local ballroom dance studio . he is enchanted . each ride in the train , he looks for her , sees her , longs for her . despite how dance is frowned upon in his culture , he goes to dance class—not because he really wants to dance , but because he is taken by mai’s beauty and he wants to be with her . he tells his wife nothing , tells his coworkers nothing—he just goes , disappearing every wednesday night . mai rejects shohei’s advances , however—disgusted that he would dance out of infatuation for her beauty rather than for the love of the art itself . shohei decides to learn to love dance for dance’s sake , and throws himself into learning how to properly cut the proverbial rug in order to show her he is not so shallow , and , in the process , develops a real love for ballroom . but by this time , his wife has hired a private investigator to follow shohei , and much more is at stake than just a turn on the dance floor . his whole life may come crashing down because of his secrets .