why beauty matters is a 2009 british documentary film directed louise lockwood , written and presented by the philosopher roger scruton .

scruton argues for the importance and transcendental nature of beauty .

the film was a part of bbc 's project modern beauty season , which consisted of a number of programmes on the topic of beauty and modernity , broadcast during november and december 2009 .

why beauty matters premiered on bbc two on 28 november 2009 .

why beauty matters

en die partytjie was vet pret . . . . - hair & beauty matters
melanie has worked in the beauty industry since 1997 and in september 1999 realised her dream and opened her own salon , and beauty matters garforth was born ! soon after beauty matters rothwell followed .
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as it’s now 12 years since beauty matters arrived in garforth a thank you letter is long overdue .
why beauty matters is a movie starring roger scruton . contemporary philosopher roger scruton presents a fascinating argument for the importance of beauty in our art and in our lives , and explores what truly is and is not beautiful , regardless of its beholder .
60 min talking about why . it would be cooler if he asked what is beauty first then the hole film would change .
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we all know that beauty matters , but it’s not just your physical appearance that you should be worrying about - what about your inner beauty ? check out our guide for working on what’s inside .
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there is increasing interest in development in the district which will provide experience on a range of different planning matters . . . .
point is : all works of art can contain 3 kinds of beauty in varying degrees and levels . they usually contain at least two in varying levels . number 3 can be seen into anything which is why beauty can be so confusing .
beauty of videos matters too . . . . too bad it ' s in the wrong aspect ratio . it should be 16 : 9 but displays as 4 : 3 : (
beauty matters was born from a desire to provide unsurpassed customer care , in superior luxury surroundings , offering exceptional , results driven treatments . a place you feel truly proud to visit .
what i am only wondering about is the art that presents the beauty through uglyness . i truly think there is beauty in bukowski ' s work . through the harshness he shows me a vulnerability that i perceive as the beauty of being human . that ' s why i ' m questioning if the first appereance of art should necessarily be polished beauty .
rebecca joined beauty matters in 2011 , rebecca has magic hands , and her passion is holistic therapies and sports massage . her kind , gentle and hardworking nature makes her a real asset to the team .
the new zealand embassy is honored to welcome david trubridge to washington d . c for an exclusive
beauty matters
presentation followed by a meet the designer
hui
reception on wednesday , 18th may 2016 .
sometimes it feels as though functionality is all that matters in software design . but a focus on aesthetics shows people that we care about their whole experience .
communicate with , advise and support managers across the business on all hr matters in . that’s because we believe that among the things that matter most in . . .
i think he makes some great points . i am an artist myself , i enjoyed this a lot , i don ' t why everyone has to be so aggressive about this documentary .
elizabeth arden is a global prestige beauty company with an extensive portfolio of prestige beauty brands sold in over 120 countries . . . .
in not so engaging i must point out that it is not to be taken as agreement with the content of any matters raised in your correspondence ,
he added .
i think the documentary success in proving exactly the opposite . the conceptual artist explains perfectly to this guy why the concept of beauty had developed through time to be no longer an aim on itself , and he answers back with sorry . . stupid cliches . ego trip
all the team at beauty matters are fabulous professionals . every experience i’ve had in the salon has been a real pleasure , friendly , fun and relaxing without exception . there’s always a welcoming smile and great service no matter if you’re there for 10 minutes or 3 hours .
there is subjective beauty , like sexual taste , and there is a universal quality of a beauty that is mathmatical . beauty in art combines both emotional experesion and mathmatical order and in this way not all art is subjectively beautiful .
marie has been in the industry for 18 years and manager at beauty matters since march 2015 . marie works hard to maintain standards as well as undertaking lots of other behind the scenes duties . marie’s passion lies firmly in an inside out approach to beauty and skincare . marie will greet you with a warm welcome and guarantee your visit is second to non .
his designs are functional and sustainable , but they are also extraordinarily beautiful . people might not expect to find this kind of beauty in such extreme , harsh conditions , and some may even question whether it is a priority . when asked why a focus on aesthetics was important for these projects , he explained :
modern beauty was a season of programmes broadcast across bbc two and bbc four .
barbara has been with beauty matters since the very start in 1999 . barbara is trained in all of our advance techniques including advance electrolysis , collagen stimulation therapy , and cool peels and loves a skincare challenge . barbara is a big personality in the salon and one of our most popular therapist .
and as much as i enjoy the religious discussions - why the hell does that topic keep coming up in this film ? our concepts of beauty have absolutely nothing to do with religion , belief in religion , or anything remotely related to it with small exceptions such as its necessary inclusion in plato ' s views .
jodi came to beauty matters as an apprentice in 2010 and soon developed into an amazing all round therapist . jodi is an amazing nail tech and now has new found passion for skincare and makeup since the introduction of environ and jane iredale makeup . jodi’s innocent and sweet nature will have you returning again and again
“we do not want merely to see beauty . . . we want something else which can hardly be put into words - to be united with the beauty we see , to pass into it , to receive it into ourselves , to bathe in it , to become part of it . that is why we have peopled air and earth and water with gods and goddesses , and nymphs and elves . ” – c . s . lewis
beauty is in the eye of the beholder and we as individuals have no right to label beauty as having one definition that suites our individual opinions or tastes and dismissing the rest .
it is also not clear as to why a decision to proceed with the allegation was made without the cooperation and corroboration of the alleged victim and without having formed some opinion with regard the credibility of the allegation that was referred ,
the report states .
i think it ' s a beautiful choice ! as long as you ' re comfortable , that ' s all that matters . but i ' m sure you ' re going to look stunning and all eyes will definitely still be on you .
broadcast during november and december 2009 , the modern beauty season examined the perception of beauty both in modern and classical art forms through a collection of films on bbc two and bbc four .
beauty has a lot to do with energetic self regard and that is why it can surrender a message of
inner beauty
through art . in the end when an artist produce a magnum opus , it is a reflection of his self that is seen in the piece , and if that self is tortured and dis - enchanted it will show those qualities and if that self is harmonius and spirited it will show those qualities . i consider beauty to mean love , those two words are reflection of each other in a pond of energy . az
“beauty is the first message you give the patient , that you consider them as equal . ”
without beauty , nothing else matters . “in my city , chicago , i have seen firsthand what happens when a focus on , say , housing fails to account for our human thirst for beauty , for the sublime , the emotionally enriching , the spiritual , ” gates says . if we build homes without culture , without a social agenda , we’re simply creating new kinds of problems — and we won’t come close to solving the ones we have .
i couldn ' t agree more ; there is a dearth of beauty in modern society . beauty is an international language recognized by everyone , not just black - clad pseudo - intellectuals drifting about .
8 steps to inner beauty | # dropdeadgorgeous | life links | dw | 12 . 03 . 2015
philosopher roger scruton is perhaps the foremost proponent of the theory that the world is going to hell in a handcart . in his polemical film why beauty matters ( bbc2 ) he looked profoundly uncomfortable in front of the camera , as if just being out in the modern world was giving him hives . his targets were modern art and architecture , which he believes are in thrall to a
cult of ugliness
, but he was not afraid to widen his scope .
it ' s not just our physical surroundings that have become ugly ,
he said .
our language , our music and manners are increasingly raucous , self - centred and offensive .
as for beauty i think it has been held up as a value for far too long . the lengths that people are driven to to become this type of
beautiful
is leading us down a worse road than what the art of today is . the plastic surgeries and beauty products being sold to us in this quest for beauty is somewhat unobtainable and shallow . we have been sold this idea of beauty for too long . not that i don ' t think that beauty does not hold its place because i find many art of today beautiful as many things in the world are but the beauty that scruton seems to be concerning himself with more to do with class and etiquette than what beauty is really about .
philosopher roger scruton presents a provocative essay on the importance of beauty in the arts and in our lives .
rachel joined beauty matters in 2005 as our apprentice and worked tirelessly to prove herself indispensable , which she did it . part of the fixtures and fittings she would say ! a great all round therapist with a natural flare for nails , waxing , facials and 3d lipo . rachel will greet you with a warm welcome and a nothing is too much trouble attitude , making your visit perfect .
beauty is in the eye of the beholder . scruton neglects to portray that beauty lies in truth . a painting doesn ' t necessarily have to portray a conventional homogeneous beauty , but rather one can find beauty in truth , no matter how shocking or grotesque it may appear to the audience . though i believe that some art today are without substance , it is because of consumer culture . if you try to look and understand the meaning behind some of the works of modernist and anarchist in the world of art you will find not just boundless beauty but unassuming truth in human life . i find scruton ' s search for beauty very presumptuous , arrogant , and very bias to a conservative idealism , which is ultimately the very opposite definition of beauty !
beauty should be the starting point of everything . “at every level of the human experience , we are looking for the beautiful , something that gives priority to our souls , not just our physical needs , ” says gates . “we drink in nature , we yearn to commune with the beautiful , we crave the sublime , so that’s why the starting point for everything i do is the beautiful , not the practical . ”
beauty is an everyday thing . it happens everywhere all the time , even in a pile of bricks . i feel sorry for him if needs his beauty to be force fed by a botticelli on a silver tray .
quick : make a list of the things you need every day . your first thought is probably what’s practical : food , a roof over your head , your health . we value these things so much that we say all human beings deserve them . artist theaster gates ( ted talk : how to revive a neighborhood : with imagination , beauty and art ) wants to add a new item to the list . here , he makes the case for why we should treat beauty as a basic service , and happiness as a metric of success .
beautymatters have been bringing you some of the best beauty brands at the best prices for over 10 years . .
the beauty in that song was the sorrow for her dead son or husband because of how much she loved him . that would make you feel compassion communion a sense of oneness which is love , beauty . arts just a word
beauty is an everyday thing . it happens everywhere all the time , even in a pile of bricks .
the tusla audit noted there was
no evidence
to suggest the alleged victim met a social worker after she met the counsellor in 2013 or after the file was changed the following year . the review said it was
not clear
why the senior tusla official looked at the original file rather than the correct version amended in 2014 .
we are bringing so many wonderful beauty and hair products to ireland so we can all share them together . we ' ve brought you brands like ar457 , ren , butter london . . . oh my goodness , too many to name . . . i think we may have over shopped on this occasion . but hey , what ' s ours is yours and your happiness is what matters here at beautymatters . ie . . . .
i like it . . . there is beauty in it ! looking at a baby , loosing someone , and falling in love actually made sense in me . an affirmation of old adage that real beauty is in the eye of the beholder .
i think we are losing beauty and there is a danger that with it , we will lose the meaning of life .
and if you had asked for the point of that ? you would have learned that beauty is a value , as important as truth and goodness . then in the 20th century , beauty stopped being important . art increasing aimed to disturb and to break moral taboos , it was not beauty but originality , however achieved and at whatever moral cost , that won the prizes .
art critic and broadcaster matthew collings presented a mischievous guide to beauty from the earliest points in history through to the present day .
i see beauty in the ugly . its the same thing . this guy see it differently but shouldn ' t speak for everyone
they will promote our fantastic events , products and services , including our beauty club and account cards to customers . . . .
the truth , as always is somewhere in the middle . however subjective beauty may be there is a universal basis to it . why is a baby - elephant cute while a baby - lizard creepy ? ? we
look
thru filters that we have evolved to host . mass influence is what defines the locus of evolution . its fate is determined by the workability . . . what i mean to say , perhaps 2000years back a puny , baby - faced , male artist was never likely to get a mate as compared to a agressive muscular brut . but things change . today we have something called a bank account ! ! definition of beauty and ' attractive ' change .
beauty is an emotion , or a product of emotions . saying beauty exists with the universe devoid of humans is like saying that you would have the concept of a penalty shootout in football , sans the existence of the game itself - a crude example , but you do get the point . there is no beauty in the universe per se . it is you and me who find the vastness of the universe poetic and beautiful .
the site lies on the cotswold scarp within the cotswolds area of outstanding natural beauty ( aonb ) adjacent to the a417 road . . . .
i was so moved by this notion . it put into words something that had been hard for me to articulate over the years i had spent working on highly utilitarian designs for google , youtube , and now facebook . great design solves a real problem and improves people’s lives . it can also be accessed and used with a minimum of confusion and strife . but companies , especially high tech companies , have struggled with whether or not beauty really matters . if you get the two first parts right , won’t people be satisfied ?
you’ve already guessed it , the concept of beauty isn’t limited to having high cheek bones , whopper boobs or more timely , that perfect thigh gap . outer beauty does matter , though . it really is as brutally simple as that . telling ourselves it doesn’t is counterproductive - and an outright lie . beauty impacts the course of our careers , the size of our salaries , the attractiveness of our partners - and all too often our own self - esteem . but the term beauty doesn’t only encompass the visual . “if you know and love the entirety of a person - their face , body and soul - the outside beauty perhaps becomes less relevant and a different kind of attractiveness overshadows the rest , ” philosopher tobias hürter tells life links .
3 . beauty : this can be resolved by dividing it into 3 categories . * one is
elegance
, like the elegance of a good chess game - cunning , intellectual , witty - this is the kind of beauty duchamp describes . * second is banal beauty - think kitsch , koons - its very
sweet
because it complies completely to being conventionally
pleasant
to the biased eyes . the banal is predictable , sweet , pleasant , not very individual ( think barbie ) , and thus flat , accessible , blunt , and unchallanging . * third kind of beauty is beauty as revealing otherness : opposite of # 2 . the beauty of infinite particularity , that seems to
arrest
or
shift
the consciousness ; it maintains a mystery that perpetuates the longer one gaze . it seems to be completely
itself
rather than mere imitation or mass - production .
. art critic waldemar januszczak flew the flag for modern art , as he argued that art today is as interested in beauty as it always has been .
wilde ' s ideas are very interesting , and i think beauty is underrated , but beauty is a hell of a lot more than just what looks pretty . i personally find many derelict buildings beautiful , and anything that can truly disturb me is also usually beautiful , due to the incredible emotion it evokes .
an agruement to be made is , holywood , popstars and fasion have taken over the need for beauty . . . in the appetite for this you can see the need for beauty . . . but film and foto do not capture it realy . . . it ' s cheap and lazy . . . .
there is in fact tons of beauty , even at times the traditional beauty of scruton , in contemporary art . his presentation feels to me like propaganda against contemporary art . there is a high chance that people who are not actually informed of the artworld of the day would be swayed to a strong opinion against it .
hehheh . beauty . art . sympathetic but not the same . art can be ugly , but beauty , obviously , cannot . . although beauty is found in chaos , violence and tragedy , as well as harmony , silence , and urltoken day i was playing some coltrane and my friend declared
this music is ugly !
. i was amazed that not everyone could hear what i was hearing . was i just deluded to think coltrane was cool and that i was cooler for listening to him ? turns out , i had learned something about beauty then . it ' s always out there if you ' re willing to see it
a 1 hour long rant about modern art . beauty is not absent from todays world at all , we just made room for some ugly . deal with it .
too simplistic for me . i can ' t believe it just ended without even exploring beauty in a contemporary context . what of janet cardiff ' s forty - part motet ? or olafur eliasson ' s weather project ? there is so much contemporary art out there that explores beauty in such incredible ways ! this guy is an idiot !
in the 20th century , scruton argues , art , architecture and music turned their backs on beauty , making a cult of ugliness and leading us into a spiritual desert .
in the 20th century , scruton argues , art , architecture and music turned their backs on beauty , making a cult of ugliness and leading us into a spiritual desert .
aesthetic practitioner , beauty therapist ( full - time ) . you ' ll be passionate about giving great customer service , every time , no matter what . . . .
beauty , as with art , will stand the test of time . when the noise of ugliness and talent - less , pretentious , self - serving shit subside , those great works of beauty will still be there to remind us that there is something more to art than causing materials to represent an idea . however interesting and innovative it may be .
i think what he wants is more humanism and beauty is the result of it . modernists have ruined it all . we need a school of classical architecture in europe immediately !
too simplistic for me . i can ' t believe it just ended without even exploring beauty in a contemporary context . what of janet cardiff ' s forty - part motet ? or olafur eliasson ' s weather project ? there is so much contemporary art out there that explores beauty in such incredible ways ! this guy is an id * * t !
at anytime between the 1750 and 1930 , if you had asked educated people to describe the aim of how poetry , art or music . they would have replied , beauty .
i can see the beauty in his pitiful attempt at clinging on to his disapprobation toward others ' incoherence to the bourgeois aesthetic of ' beauty ' ( which we all know is relative ) who have been seemingly producing incendiary works that apparently challenge the authoritative aspect of what is acceptable and what is permissible as insider art , from an outsider ' s perspective .
it is not that we are losing beauty , it is that we are homogenizing beauty and it ' s opposite together . we are more and more allowing everything as art , inhibitions are dropped in all fields . it is left to the viewer to chose , the way a gardener would chose among the million of flowers and shrubs which he uses to decorate his surrounding .
and standard in art these days is all about money . no need to lay it at the feet of the artists . beauty and taste are all in the eye of the beholder .
contemporary philosopher roger scruton presents a fascinating argument for the importance of beauty in our art and in our lives , and explores what truly is and is not beautiful , regardless of its beholder .
laura came to us in 2009 as our apprentice . laura is a great all round therapist and loves all things beauty . she specialises in lvl and nouveau lashes and gives a great massage too .
well , i am reminded of the old question
if a tree falls in the forest , and no one is there to hear it , does it make a sound ?
what i ' m suggesting is that there is an inherent beauty in the cosmos . . whether we percieve it or not . that beauty ( although its ' perception is in the eye of the beholder , and subjective to our experience of it ) is the essence of the universe and will always be long after the last human dissapears from the earth . beauty is . art on the other hand . , is different . like football would not exist without the players or fans , art , and the appreciation of it is a human product . art is a conduit ; an expression which can reveal beauty . a stained glass masterpiece is beautiful , but loses its ' meaning without the sun . the majesty of the sun is revealed by the art as the beauty of the glass is revealed by the light
his precis of the history of theories about beauty , from plato to kant , only served to soften his case . there ' s a reason people don ' t think of the world as
intrinsically meaningful
any more : because it isn ' t . he talks approvingly of the beauty to be found in nature , in the ordinary and the everyday . he demonstrates that beauty can be wrought from ugly things , but refuses to accept that modern art can be a testament to all this . i thought he inadvertently made a better case for tracey emin ' s bed than she ever did .
the author is right . beauty is objective . factually , light - skinned western europeans are the most beautiful humans . this causes problems for the ugly . salvation for the ugly lies in appreciating absolute beauty in nature and relationships , don ' t whine . as muddy waters put it :
you can ' t spend what you haven ' t got , you can ' t lose what you never had
.
but beyond that , the purpose of the novel is to point out the flaws in victorian society . the attacks on marriage , the church , morality , and the blatant homosexual themes were : a ) very very offensive ( wilde was imprisoned for the gay stuff ) and b ) clearly serve a purpose beyond beauty : wilde was pointing out the hypocrisy of his audience . clearly there is more there than beauty .
although none of these qualities fully grasp the complete essence of beauty and no complete definition exists one can peel away the outer layers of the onion and reveal the substratum of aesthetic objects using the aforementioned tools .
if you love someone , looks are only one part of the package . the beauty of their mind , heart and smile will also be a factor . good thing we can work on these , too .
what do you think is beautiful a content old lady or man or an old lady or man trying trying to look 30 . beauty is in the eye or the face of the beholder he touched on that ,
i like how scruton suggests that beauty is dead , but i believe that it is not because of two reasons : 1 . beauty is infinite , it is found in an uncountable amount of places , people , nature . . . . . but our appreciation of it is lacking in the western world , so our expression of it sucks . 2 . expression of beauty changes by whatever region you are in the world , and the best work of beauty is found in where it is most appreciated . after all , the dark ages were the greatest period of art , architecture , scientific , and medical achievements for the middle east , and there discoveries in this era continue to benefit the world today . the question is . . . has the ship sunk for the western world only to sprout in china / asia , south america , africa , middle east ?
this documentry is useful , rodger scruton takes you on an ego trip and putting up and concluding a common , false , understanding of the world and beauty . the fall is obviously spiritualism , in which he uses as a golden ticket , whenever he approaches a difficult area somewhere in his argument underlies . . the unknown beauty of god . this shows perfectly how not to go about a philosophical undertaking of art and beauty . now if this documentry got you thinking but you have enough sense to know its nonsense , i can recommend two books : the invention of art - larry shiner . art and aesthetics : the insitutional theory of art - george dickie . have fun .
art should be taken to heart by the meaning of the word art itself ,
techn ?
: which means
mastery of a craft
pushing the human skills to their limits and creating worlds of beauty inside them .
this is what the architectural designs of tamassociati are trying to teach us : that beauty is the first message we give the people for whom we are designing : they are our equals , and we care deeply about their experience .
but where’s the line between enjoying beauty and being content with yourself ? what about life links’ isis and all that silicone ? have the 1 . 5 million people who underwent cosmetic surgery in brazil in 2013 made an unwise decision ?
both salons have experience great growth surpassing melanie’s expectations , with clients still returning from the very first week of opening . melanie’s energy and enthusiasm for the beauty business drives her to constantly look for innovative and original ways to improve the client experience . melanie pushes the boundaries of what is expected in a beauty salon and has added treatments such as colonic hydrotherapy and 3d lipo to the treatment menu , with a focus on health & wellbeing and results driven treatments .
hitlers idea of beauty regarding art was consistently the concept of the
the brave soldier
. his attempt was mixing art and propaganda . not an attempt at rewriting classicism . he would have i ' m sure if he dominated .
scary conservative , unimaginative documentary on the art viewing and making experience . he didn ' t deal with the fact that artists are trained to respond to , deconstruct , and dismantle the work of their predecessors i . e . duchamp . . . . so scruton , in his bizarre , limited , anachronistic bubble of beauty , fails to acknowledge that the history of beauty evolves , as sure as the after - market prices for great masters works will increase . . . .
i had watched the mona lisa curse ; it discusses the modern function of art as a commodity or economic functionary as art loses its aesthetic value to its new role as a vehicle as speculative trade objects . money has become the transcendent essence of art . . the correlation between artful rendering of beauty as a spiritual or godlike experience always seems to make the intellectuals uneasy as it defies quantification . the perciever is sensually overwhelmed , awestruck by a sensation which is indescribable in words . he ' s in the sublime . the words theoretical or industrial or even aesthetic cease to apply to the feeling , it ' s a rush but this is about beauty . . if humans suddenly vanished , what is art ? nothing . it ceases to be . but is there still beauty in a universe devoid of humans ? a beauty of cosmic dynamic perfection eternally transmuting even without the judgemental egotism of the puny human mind ? ha ha , what do you think ?
somewhere this took a really silly turn for me . i was completely agreeing with him , but then his baseless arguments finally ate away at me . the most basic and powerful element of beauty is that it is subjective . the end .
concepts of beauty change over time . technology has shifted social interpretation of beauty to something different just as man ' s relationship to man has changed - utlitarianism has in fact changed how we view the world and one another . art is merely an extension of how man views the world at any point in time . profitability and disregard for humanism is now reflected in modern art . rothko was trying to alert society to its inevitable destruction through the atomic bomb - hence he committed suicide . destruction of all natural resouces bit by bit for the sake of consumerism . we would be wise to give this documentary serious weight or there will in fact , be nothing left to appreciate - much less argue about what is meant by beauty .
we must invest in higher quality design systems and standards for visual design . efforts like google’s material design show that companies can prioritize the value of beauty in software design . we must partner with our engineering colleagues to ensure that we make the fit and finish of interfaces something that can be done reasonably fast so it doesn’t fall on the editing floor . and we must understand that beauty is going to mean different things to different people , depending on the problems a given product is looking to address .
using the thoughts of philosophers from plato to kant , and by talking to artists michael craig - martin and alexander stoddart , scruton analyses where art went wrong and presents his own impassioned case for restoring beauty to its traditional position at the center of our civilization .
beauty can change how people act . people act differently around beautiful things , says gates . “if you’re in an environment where there’s a bunch of waste on the ground , it’s easy not to care for that place , to add your filth to the existing filth . by making a place beautiful , which often means simply peeling back the layers of what is already there , we remove the distractions . we are able to see the existing beauty more clearly , and we are able to start to begin to care . ”
a documentary to be watched only for old ladies after sunday service . what makes a work of art is the pursuit of the sublime and the sublime includes both beauty and ugliness . even the most perfect artistic production includes ugliness . the
david
' s real value as a work of art may be more in the fact that it expresses the frustration to achieve complete beauty ( the ideal ) than in its seemingly perfect features . plato ' s influence has done a lot of evil both in history and in art .
i agree with scruton ' s premise that beauty is far more important than society today gives it credit for . i myself have thought about
form follows function
and how that should not necessarily be the case . i do , however , find scruton ' s idea on what beauty is or can be quite narrow . a favorite recent movie of mine , no country for old men , deals primarily with the ugliness of the world , yet i find it to be an extraordinarily beautiful film . examples like that abound .
beauty of form can also be seen in the interaction of simple components . alliteration and anaphora in literature ; cadenza , repetition and nuance in music ; symmetry in the face of a beautiful woman ; the elegance of a mathematical proof are all appreciated through their formal structure .
it’s irrational , subjective and makes life worth living - the world revolves around beauty , be it our perception of beautiful people or objects . but what is it , really ? we asked some people in the know to find out . ( 27 . 02 . 2015 )
now more than ever , beauty is being talked about , invested in , and strived for . as the dresden hygiene museum asks
what is beautiful ?
in its latest exhibition , dw sheds some light on the perennial question . ( 16 . 04 . 2010 )
beauty begets beauty . “in my neighborhood , we used to feel the constant threat of violence hanging over our heads , ” says gates . “now , summer’s coming and instead everyone’s talking about the next barbecue , when we’re having our block party . the hunger for cultural programming , the creativity generated on our block allows people to embrace the possible . we’ve become a positive beacon shining a light to show what’s possible . and yet all we’re doing is providing a platform for the skill , talent , love and genius of those who are already there . ”
he believes the essence of art is to convey beauty . that does not imply aristocracy or exclusivity . he uses as an example what children attempt to strive for when they create art as an example of the inner meaning it has for us all . you have completely misunderstood him .
as we’ve been trying to tell you - beauty is more than just looks and physical features . the way we view ourselves is a decisive factor in how beautiful people think we are - both inside and out . getting a nose job doesn’t automatically make you happier - and there are
today art is nothing but a commodity ( i apologize if i sound like robert hughes ) , but the fact many works of classical art today are bought and sold by the super wealthy mearly on the basis of investment without any regard for the intrinsic
beauty
of the work .
i disagree with scruton regarding art . he wants art to be aristocratic and exclusive ; he thinks only certain people can be artists and only certain things can be art . he then contradicts himself and says
beauty is an ordinary everyday kind of thing . ordinary things made beautiful .
so beautiful to see someone so sure of something , who totally snubs out anyone else who may find beauty in other things , make himself look like an ass , when in fact it was his last attempt at trying to make a beautiful quality documentary , starring himself , before his retirement .
i personally do think that beauty is scare in the production of anything in the current world , simply because we live in a utilitarian world that has become very individualistic . most modern artists want to be considered revolutionary , as their focus seems to be more on being recognized for an idea that they invented , instead of simply trying to present the beauty or the essence of something . their art is simply a means to an end , the end being the appreciation of their inventiveness or creativity or randomness by others . i think that a piece of art should be an end in and of itself .
established by natalie pearson in 1995 the salon benefits from over 80 + years of combined experience within the beauty industry . the salon is run by a highly skilled team of eight therapists who all take a huge amount of pride in their work and take every measure to ensure their clients needs come first .
i must say that i agree with the man . to be surrounded by beauty and coherence in the shape it is presented in is for me a fundamental need . i feel in a way connected with my surroundings and my human nature . i know this sounds pretentious , but i can not explain it other words .
oh it ' s so beautifully well constructed when he opens the film discussing ( and being placed among and interacting with ) ' beauty ' as a relic of the past . it ' s also beautiful how he attributes the birth philosophy to the greeks as if philosophy had never existed within cultures prior 2000 years ago .
) . i ' m not a big fan of showing off my curves , and i ' ve had some major disagreements with my mother about how i look in my wedding dress ( she thinks i look fat in it ) , and as much as you ' d like to ignore comments like that , it ' s your mom and , well . . . mom ' s opinion matters . anyway , that long story aside , i ' d really like to be comfortable for dancing to our band after dinner , and i couldn ' t say no to this adrianna papell dress as a reception option - & dollar ; 65 ! i would likely have it hemmed to be short . what do you guys think ? it ' s a black tie optional affair , but i ' d dress it up a bit with fun shoes and jewelry .
people are awakening to this tyranny of the ugly . we ' re on to the elitists who interpret esoteric meaning in meaningless works by untalented , fatuous hacks hunting for grant money , or who foist clunky , soviet - style architecture onto graceful historic towns to squat there belligerently amidst the beauty like dung in the sistine chapel .
all the complaints below sadly prove how pointless can it be to speak the truth to those who live from a lie . mentioning the eras of art , definition of the term beauty , even hitler . . . really ? don ' t we all live surrounded by hideous malls , highways , kitsch ? what more evidence do you need ? accusing him for saying that art is an aristocratic value of some kind , while you are the ones perceiving art as something restricted for galleries - because otherwise you wouldn ' t even recognize it , as mentioned . think about it ; why does everyone travel to paris ? to see the
historic center
right ? you don ' t get a lot of suburbia on your postcards do you ? so forget about the galleries and conceptual art , forget about scruton if you wish it ' s all unimportant , the important thing is that everything is u - g - l - y . pretending to be modern , pretending to be new . . . have you ever seen a modern building which looks good with an aged facade ? neither have i . art has always been a direct image of it ' s society . in this era , it ' s all a big lie . nothing more than a lie .
i think it ' s sad how deffensive artists are about their point of view . whatever the modern art concept of beauty is , it ' s undeniable that we did lost something of value along the way of revolutionizing the field . a sense of wonder with the object of art per se , not only the idea behind it .
not only has art made a cult of ugliness , architecture too has become soulless and sterile and it ' s not just our physical surroundings that have become ugly . our language , our music and our manners are increasing raucous , self - centered and offensive . as though beauty and good taste have no real place in our lives .
like in every century , decade and or year there are seasons and cycles to certain artistic inclinations which will predominate over others . at times artists will become more interested in exploring certain realistic or mundane topics for example , at other times the imaginary becomes more relevant , at times the primitive , minimalistic and essential becomes the trend of exploration , at other times maximalism and creating larger - than - life art becomes the focus . in these last 30 years , pop art has predominated in music and in the visual world , but who knows what lies on the horizon . it could be an amalgam of classical art , modern , surrealism , electronic , and even more . basically art follows as many themes as it can explore , it is first and foremost always subject to the ' laws ' of freedom . that ' s why one can never truly pinpoint or discuss on these topics but from a highly personal vantage point which at times can be very narrow in perspective .
all my points up until now are not to say that i agree with scruton on everything though . indeed , he claims that louis sullivan , through his quote , “form follows function” has facilitated the single largest crime against art and society yet – modern architecture . i have to disagree with this . i find beauty in modern architecture and completely agree with sullivan’s quote and dislike the idea of someone who has not formally studied architecture or design critiquing a foundational idea , it leaves a bad taste in my mouth . because thus person has not been formally trained , they do not know the purpose or arguments behind that quote or the reasoning for it . i do not think beauty is the goal of all things . function is a goal that can be beautiful and functional , but in our modern society where money rules all , beauty is not always achievable and one must do what they can with what they have – and there is beauty in that . scruton claims tnat things that aren’t beautiful but have function soon lose function because they are ugly . this is an interesting thought to me and i do not have a response to this . it is something that i must mull over and consider , it is incredibly interesting and i am sure i will watch this video many more times through my life . i can see this influencing my design ethic for the future .
while watching the video , i could not help but think that the movement from beauty as aim of art to originality as the aim , began around the time of the renaissance with humanization of art . the way i see it , the more we humanize and focus on how movement and all other artistic elements are seen by the artist , we move further away from god , or spirituality at all . we’ve gone from one end of the spectrum ( medieval times ) to the other ( postmodern , shock art ) . as evidence of this idea , is the quote , “…through the pursuit of beauty… we also come to understand our own nature as spiritual beings . ” ( scruton , 3 : 00 ) additionally , the video made me think of how much humans rely on structure and things that are larger and more important that ourselves . i believe it necessary to have some order and have something to be achieved – beauty . without the pursuit of something higher than ourselves , we walk around without purpose making this meaningless art .
as a graphic novelist , maquette sculptor and so called ' modern ' artist i don ' t like being called a village idiot by you or by anyone because i don ' t conform to what renaissance era definition of beauty you think we all should enjoy . the 20th century was about freeing art for expression , not just conforming to the church .
yes to scruton . i don ' t want to pretend that i admire or even understand why a urinal could be considered as art . i see it to be utterly ironic that common things by their nature of being common , can now pass as something sublime , and thus something worthy of admiration . i personally think that to be called an artist nowadays wouldn ' t give you enough merit or satisfaction in pursuing such career since any man can make a straight line and declare it as a fine work of art . frankly speaking and i bet majority will agree , one could only feel pride in their work if they know that they are cut above from the rest - that is if their works are done not only with originality and creativity , but also with expertise and skills cultivated and honed through years of serious studies ( unless they ' re exceptionally gifted ! ) . it ' s very sad that not everyone could be doctors and save lives , but everyone could be artists and pretend to save lives .


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

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

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

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

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

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

a doll ' s house ( 1973 losey film )

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