tengers is a 2007 south african animated film written , directed and produced by michael j. rix .

it is the first full-length animation produced in south africa and uses the claymation technique .

the film is a satirical black comedy about life in post-apartheid south africa .

rix has said his intention was to make a film that was : " entertaining but not frivolous . political but not preachy .

sophisticated but not alienating . "

tengers

tengers
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tengers is south africa’s first animated feature film and is a dark social satire set in a contemporary south african context .
tengers by michael j . rix , jo day , phillip mathebula , anton schmidt | 684457884026 | dvd | barnes & noble®
the tengers were divided into white and black . white tengers came to be known as all - knowing , all - compassionate inhabitants of the western part of the upper world , akin to deities , while the fierce , ethnocentric black tengers , often invoked for power or vengeance , were seen as being from the eastern part of the upper world . thus came into being the pan - mongolian cosmology of the ninety - nine skies ( realms ) of the upper world , with fifty - five white tengers in the west and forty - four black tengers in the east . there is some talk in mongolia that so many new shamans are now being recruited by the spirits because of a war between these two spiritual regions ; but opinions differ widely , and conjecture over coffee and vodka can run wild .
billed as a small adult comedy with a big kid�s heart , tengers is the pet project of gauteng - based writer / director / animator and editor , michael j rix . michael wrote and storyboarded tengers in 1999 , and since then has put every spare moment into bringing the story to life through his own unique style of clay - mation .
andrew worsdale speaks to michael rix , the maker of tengers , south africa’s first feature length animated film , which takes a darkly humorous look at the realities of life in jozi .
tengers is a 2007 south african animated film written , directed and produced by michael j . rix . it is the first fulllength animation produced in south africa and uses the claymation technique .
your name your email recipient email enter a message i read this article and found it very interesting , thought it might be something for you . the article is called tengers and is located at urltoken
tengers is a 2007 south african animated film written , directed and produced by michael j . rix . it is the first full - length animation produced in south africa and uses the claymation technique .
south africa ' s first animated film ' tengers ' , that satirises life in contemporary johannebsurg , will have its local premiere as part of the africa on screen film festival at the end of may .
one of the best and most relevant south african movies in a very long time . . . tengers is a local movie that deserves our support because it is a pretty darned good one .
tengers is a movie starring adam callander , adran callander , and jo day . whilst working on
the great south african novel ,
an unemployed writer gets caught up in the harsh realities of life in the city of johannesburg .
in mongolian , one who travels the realms of the tengers is called a tengeri—“sky - dweller ; sky - walker . ” i like to think that luke skywalker , the young warrior - shaman jedi knight of the fictional star wars films , may have inherited his name from this tradition . interestingly , the bbc reports that in censuses taken in 2001 regarding spiritual beliefs , hundreds of thousands of people selected “jediism” as their faith of choice—such is the power of shamanism even in our modern myths and legends .
although his movie deals with serious issues , it’s very patriotic about those who live in gauteng with their resolute and sort of schizoid sense of humour about life in the sprawling city . “i think the underlying message of the film was always : we as tengers ( or south african even ) have become desensitised to the issues . but i also wanted the film to be hopeful , and reactive . if it stirs up feelings within one audience member who walks out thinking ‘i ' ve got to do my bit to help this situation’ , then i ' ve done my job . ”
the legend of the sky kingdom , despite laying almost certain claim to being africa ' s first stop - motion film , has never attracted much attention . at the time of this review it has only 25 votes on imdb . i had to order the dvd from the makers when i first watched it in 2009 , but nowadays you can stream it for $ 2 on amazon ( in the us ) , so if you ' re at all interested in the medium you should check it out . similarly south africa ' s little - seen claymation dramedy tengers , aimed at a considerably more adult audience , is currently also available .
he says he has many animation influences and is even a big fan of the old disney classics , “but unfortunately the success of these in the western world narrowed the scope of animation to be viewed as ‘kids entertainment’ . which in itself is ironic , because judging by disney ' s first feature snow white and the seven dwarfs , i don ' t think that was his intention . that movie has some seriously dark elements . sure , it was designed as pure entertainment , but i think it was originally intended for a more mature audience . the style of tengers was always supposed to be ‘a poor man ' s wallace and gromit ’ , very rough - around - the - edges , just like jo ' burg ! ”
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
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whilst working on
the great south african novel ,
an unemployed writer gets caught up in the harsh realities of life in the city of johannesburg .
2 of 2 people found this review helpful . was this review helpful to you ? yes no | report this
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
a jobless writer discovers that life in johannesburg can be brutally unforgiving as he struggles to finish
the great south african novel
in this claymation comedy .
© 2018 snagfilms inc . , 665 broadway , suite 700 , new york , ny 10012 made in nyc .
the film has already played on the international festival circuit to wide critical acclaim , and won the best animated feature award at the diy film festival in los angeles last year .
the inspiration for the production was mick jackson�s la story , written by steve martin . within the confines of a very funny comedy , martin is able to convey the day - to - day occurrences , rituals , hopes and fears associated with living in the sprawling metropolis of los angeles , california . commenting on his inspiration , rix says one specific scene leaps to mind when he remembers the film :
since leaving film school in 1996 , michael has been involved in numerous productions for south african television . insert writer , director , animator and editor on shows such as options , arts unlimited , rise up and read , red bull flugtag , sanlam money game , golf digest tv and ultra simple golf , as well as numerous music videos , commercials and corporate training films . michael also wrote , directed and edited man in the street , a feature film screened at the cannes film festival in 2003 .
is south africa’s first animated feature film and is a dark social satire set in a contemporary south african context .
whilst working on “the great south african novel , ” rob , an unemployed writer , gets caught up in the harsh realities of life in the city of johannesburg .
rob eventually falls into a bit of luck . soon after , however , it seems that someone is trying to make his life shorter ! the lottery service trying to save on their payouts , or someone he knows trying to get their hands on the winning ticket ?
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urltoken
entertaining but not frivolous . political but not preachy . sophisticated but not alienating .
the time has come for a satirical take on what it means to be south african , and what it ' s like to live in a society of constant flux , forever juggling the morals and ideals you were handed growing up , with the reality of day - to - day life as a ( gau ) tenger .
one of those local films you should see , but not out of some sense of patriotic duty but because you ' ll laugh out loud a lot .
darkly comic , then tragic and finally moving . . . a unique film .
if you find a character in the database that is not shown here , please edit that character ' s page adding
tenger
as their origin . see also : the tenger gallery
ulgen real name ulgen aliases ulgan relatives tengri ( father ) , gaea ( mother ) , erlik , kuara . . .
ay real name ay relatives tengri ( father ) ; gaea ( mother ) ; erlik , koyash , kuara , ulgen ( brothers . . .
kuara real name kuara relatives tengri ( father ) , gaea ( mother ) , erlik , koyash , ulgen ( brothers . . .
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the official behind - the - scenes on south africa ' s first ever animated feature film , including exclusive interviews with the animated cast and crew .
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this entry is trivia , which is cool and all , but not a trope . on a work , it goes on the trivia tab .
from left to right : nicholas brendon as xander , sarah michelle gellar as buffy , charisma carpenter as cordelia , and alyson hannigan as willow . not numbered , and playing his actual age : 42 - year - old anthony stewart head as giles , who is definitely not a teenager .
, except without 25 - year - old teenagers and 35 - year - old parents .
) , for one good reason : they ' re often played by actors who are at least a few years older . this dates back to the earliest days of hollywood , if not further , making it
this happens when dealing with teenage characters in the range of 14 - 18 years old , especially in dramatic shows . if younger , casting usually tries for children actors , and if older it is simply far less noticeable . if a show or movie carries a greater focus on the adults rather than the kids then they will usually avert this . this ought to be horribly distracting , but by and large , television audiences have learned to manage . it is so ingrained into our mindset that almost all aversions end up being notable .
it can sometimes result in a paradoxical effect : teens that look more like actual teens ( either with real teenage actors or in animation ) are described as looking
too young
( see reality is unrealistic ) . conversely , actors in their early - to - mid - twenties , especially those who make their name in these kinds of shows , often have difficulty being taken seriously playing characters their own age . very specific actors can pull it off , usually attributing it to the character being older than they look . in other cases , some stories work with this because a key plot point may be the character does not actually look their age and are trying to pass off as older than they really are . but with no such luck hollywood will get by with appropriate clothing , hairstyles , makeup and mannerisms .
named for dawson ' s creek , which was notorious for it — james van der beek ( 20 ) , katie holmes ( 18 ) , and joshua jackson ( 19 ) playing 15 - year - olds ( at the time of the pilot ' s filming ) . 17 - year - old michelle williams was the only one still high school aged . in season two , the new main character jack was 16 , and actor kerr smith was 26 . while maybe not the worst case example ( jack aside ) , it is a joke that has filtered into the cultural mindset regarding the show .
by and large this trope requires some research , you can ' t know for certain that an actor / actress is a certain age unless you scour around wikipedia or im db . also consider that production time may vary greatly from release of the movie or airing of the episode . the actors are of course younger during filming . timeline issues sometimes make this more apparent , as 5 seasons of a tv show may only cover one year within the context of the story , making an actor who was an aversion become a straight example over time . consider also that the exact age of the character may also be in question ( a generic
high schooler
can be anywhere from 14 to 19 ) . in the case of voice acting that field has nothing to do with appearance and everything to do with vocal performance , as such only notable aversions are mentioned ( consider what the point would be to list examples of race lift in voice acting ) . this is also part of why we have crossdressing voices .
ultimately realize that there is nothing fundamentally wrong with this trope ; all forms of entertainment are about the illusion . what matters is if you believe in the character . at the same time this is not about age discrepancies , just being three or four years older doesn ' t necessarily mean the production is
trying to pull a fast one
on the audience . if anything finding a 19 year old to play a 17 year old is well ahead of the curve .
compare age lift , age inappropriate dress , and three month old newborn . contrast hollywood old , playing gertrude , underage casting , and children voicing children . see also artistic age for an intentional drawn equivalent . cross - dressing voices is more - or - less the animated version of this trope , as partially explained above . also used to avert a stage mom situation .
while this is usually not an issue with animation , it becomes somewhat noticeable when idol series , like marginal number 4 and uta no princesama , have the voice actors perform concerts in - character . though , some of them definitely look the part , like unicorn jr . ' s shouta aoi and toshiyuki someya ( both 30 at the time of the franchise ' s first big concert ; their characters are 15 and 16 ) . somewhat subverted with the third member of the trio , alto , who ' s supposed to be 16 , but looks so much like his voice actor that he seems older , even in the animation .
the esper sisters tatsumaki and fubuki from one punch man are both 28 years old and 23 years old respectively , but their japanese voice actresses are not . aoi yuuki , tatsumaki ' s voice actress , is a year younger than saori hayami , fubuki ' s voice actress .
something similar happens in the spaniard dub with male actor ricardo escobar ( 15 - year - old edward ) and female actress blanca rada ( 10 - 12 year - old edward ) . rada voices ed in most flashbacks , but in some short ones ( two - three lines tops ) , escobar keeps voicing little ed . the results are kinda jarring , since even though escobar ' s voice is believable for a teenager ( although a kinda deep voiced one at that ) , it definitely isn ' t for a little boy .
the english dub actor chris patton has played the younger versions of two of his characters as well : joshua christopher in chrono crusade ( who was played by a woman in the japanese version ) , hajime aoyama in ghost stories ( who was also played by a woman in the japanese version ) and fakir in princess tutu . in the audio commentary for chrono crusade , it ' s revealed that they used a mixture of chris speaking higher and some editing to make it work .
similarly , in the dub of naruto , yuri lowenthal voices sasuke even when he was a kid and later he voiced simon of tengen toppa gurren lagann both before and after the time skip , though not in the distant finale ( which happen the same in the original language as well ) . the same goes for rossiu , though only in the dub ( while in the japanese version he retains a female voice actor even when we briefly see him in his fourties )
every single main male character over the age of 10 is voiced by a male actor , and most of them are believable . javier balas , naruto ' s voice actor , explained in an interview that it was done like that because when the series arrived to spain , in japan the manga had already reached the
. hence , they casted so every character could keep their voice actors after that point .
which happened for all characters . . . except sasuke . before the time skip he was voiced by adolfo moreno , a 30 - something voice actor famous for voicing ash ketchum from pokémon , sora from kingdom hearts ii and scott pilgrim , among many others . however , after the time skip he was replaced by eduardo bosch , whose voice sounds way more mature . . . so much that some people believe they overdid it .
it ' s probably worth noting that greg ayres ( the actor of negi from negima mentioned above ) has been cast three times in dubs for young characters voiced by akira ishida in the original : kaworu nagisa of neon genesis evangelion , chrono of chrono crusade and satoshi hiwatari of dn angel . in fact , greg himself tends to be a walking example—he was originally hired as a voice actor in the first place because his natural voice sounds so young
sixteen - year - old tsukiyono omi of weiss kreuz is played by yuuki hiro , actually the oldest of the four lead voice actors of the series ; his youthful voice means that he is often cast as cute , young boys .
was played by his male actor , ryo horikawa in his young appearances . most dubs use a female actor for this role , but the funimation english dub , like the japanese version , used his adult actor ,
christopher sabat also voiced the child form of piccolo in dragon ball , while in most other versions including the original japanese version cast a woman for this part .
( with a few exceptions which were old enough to be played by a male in both versions ) .
this trend was followed by most of the other dubs worldwide ; in fact , the japanese version seems to be the only one in which shinji was voiced by a woman , which some fans perceive as lost in translation , as his effeminacy was a major point in his character development .
other male teen characters were also voiced by men in the original japanese : touji suzuhara , voiced by tomokazu seki ; kensuke aida , voiced by tetsuya iwanaga ; and , as mentioned above , kaworu nagisa , voiced by akira ishida .
the 2008 yatterman series marks the only time in the franchise ' s entire history ( the live - action movie aside , for obvious reasons ) that gan / yatterman - 1 had a male actor ( hiroyuki yoshino in this case ) ; otherwise , he had a female actress .
the adventure of sinbad ova has 14 - year - old sinbad and drakon being voiced by the same actors who play their 30 - year - old selves in magi , which just sounds unnatural combined with the more cartoonish art style .
nate , a fifth grader from yokai watch is voiced by 40 year old johnny yong bosch .
princess principal : in - universe - dorothy is 20 years old , and undercover as a high schooler . ange lampshades it by saying her class must be very kind .
flip flappers : toto in the original japanese version was played by a woman to give him the pre - adolecence voice while the dub gave him a matured male voice .
although there ' s generally no actual casting involved , many fanfics involve describing teenaged characters ( both existing and new ) in terms that don ' t fit with their ages . sometimes there actually is casting , when the author creates banners or pictures for the cast , and generally uses
teen
models or actresses in their early - mid 20s .
in the author ' s notes of my immortal , tara gilesbie suggested that gerard way ( ! ) should play draco in the next harry potter film . gerard was almost 30 at the time .
butter up of the actingverse in my little pony : friendship is magic fanfiction plays fluttershy , and is a full adult , unlike the child stars who play the other characters .
one that didn ' t happen : j . d . salinger once wrote that the only adaptation of the catcher in the rye he would permit would be with himself , then well into his 30s , playing the 16 - year - old lead .
john green , perhaps as a shout out to the above , tweeted that he would be playing augustus in the fault in our stars as an april fools prank .
alice cooper , born in 1948 , has been singing
i ' m eighteen
for over 30 years .
bryan adams had a hit with
18 till i die
in 1997 , at the age of 37 .
pat benatar , born in 1953 , built an entire discography around singing about how
we are young
back in the 1980s . the video for
love is a battlefield
( which has the
we are young
line in question ) , where she plays a teen runaway . she was 30 at the time she made the video .
marilyn manson , born in 1969 , has been singing , in a first person narrative , of being a disgruntled youth , since 1994 when he was 25 .
korn have made a career out of teenage angst and high school ostracizing ; so far they ' ve been at it since 1993 , being at the time 22 years old plus .
madonna ' s early musical career centered around insinuating that she ' s a troubled youth , being a material
girl
who was
like a virgin
and juggling youthful crushes and youthful rebellion and wants to know
where ' s the party
, contrasted with tougher issues such as whether or not her
daddy
would be angry that she ' s pregnant , and running away from home because
daddy
is abusive . she was 25 years old when she released her self - titled debut . 3 years after that , she still considered herself young enough to kiss a 13 - year - old in the music video for
open your heart
, but her critics disagreed .
belinda carlisle had a youthful - sounding voice and used it to make references about being a
kid
in
school
finding love for the first time with her band the go - gos . in the late 1980s , she became a solo artist at the ( relatively ) mature age of 29 , replete with air - brushed album covers to make her look like someone born after 1958 .
cyndi lauper , another 30 - something in the 1980s who got famous about singing about being a
girl
instead of a woman .
pete burns was 26 when he released his album
youthquake
and the other members of british new wave band called
dead or alive
were in their late 20s and early 30s .
the beach boys continued to sing love songs to teenage girls even after they became middle - aged , bearded , creepy men . not counting the unreleased track
lazy lizzy
, in which brian sings about stalking an underage girl , the most pedo - worthy track to appear on a beach boys disc was undoubtedly
hey little tomboy
— made even worse by a bootlegged outtake in which the boys seem bent on gang - raping the title character .
at the age of 26 , katy perry played a 13 - year - old high school student in the music video of her song
last friday night ( t . g . i . f . )
.
several of taylor swift ' s videos , such as
fifteen
,
you belong with me
, and
the story of us
, in which she plays high schoolers . minor examples earlier , as she wasn ' t that much older than her characters , but it ' s started getting played more and more straight as she gets older ( though to her credit , she doesn ' t look it ) .
van halen ' s members were in their late twenties when they came out with the song
hot for teacher
, where david lee roth describes himself not as a college student , not as a high school student , but what sounds like an elementary school ( an american school for pre - teens ) student , lusting after his teacher . the video averts this by having scenes depicting the band as actual children , as well as being blatantly comedic in the first place .
20 - something ke $ ha has made an entire discography over referring to herself as a young girl who believes herself to be a rebel who is living on the wild side despite her vanilla bubblegum antics , especially her song
die young
( which has endless references to her youth ) or the video for
tik tok
( which has her living with her parents and riding a bike because she ' s too young to drive ) . her debut album , animal , was released in 2010 when she was 23 .
in the music video for
stupid girls
by p ! nk , she rather convincingly portrays a 16 - year - old girl ( purging in the bathroom during a school dance ) , as well as other characters covering a wide age range . she herself was 27 .
in the music video for
sixteen military wives
by the decemberists , the band members portray a high school model un . they all look at least ten years too old for the role . however , most of the actors in the video who aren ' t band members look plausibly teenage , and one of them is clearly in fact too young .
the music video for fancy , featuring 24 - year - old iggy azalea , 22 - year - old charli xcx , and their equally adult friends portraying teen characters from the high school film clueless .
the song and video for gwen stefani ' s
hollaback girl
, which depicts gwen as a high - schooler . she was 36 .
in her video for
mickey
, toni basil portrays a high school cheerleader . she was 39 at the time .
rob halford of judas priest mixed this with boomerang bigot on the group ' s 1986 synth - metal album turbo , which included songs about how teenagers are
wild
,
hot
and crazy
and adults are uncool . most blatantly , there ' s the line
we don ' t need no , no , no , no parental guidance here !
halford was in his mid - thirties when he wrote and sang that line , making him more like a cool young uncle than a hip teen .
in the music video for
bad
, michael jackson , who was 29 at the time , plays a high school student .
hustle ' s monster bono was only six years younger than his
father
, the great muta , and was seven years older than his mother , yinling the erotic terrorist .
tna did a storyline where
father
james mitchell claimed to be the father of abyss . . . except taking into account their relative ages meant that mitchell was only 9 when abyss would have been born .
bull nakano produce empress featured a 50s & 40s & 30s & 20s & 10s five on five tag team match with a wrestler on each side for each age group , except for one of the 10s was dramatic dream team ' s cherry , who had claimed to be 18 eight years ago and would logically would be 26 .
kelly kelly evoked this , even though her character was intentionally written to subvert it . when hired to appear as an
exhibitionist
on ecw on scifi in the late spring of 2006 , barbara jean blank , born in 1986 , was not yet 20 ( her birthday is in december ) and looked even younger than that . the commentators and other performers frequently called attention to the fact that kelly was
underage
, even though 20 is comfortably over the age of consent in the united states and most european countries ; they were merely trying to emphasize that she was the youngest person on the entire roster . as if those innuendoes weren ' t enough , kelly was also paired romantically with mike knox , a man so gargantuan that he looked more like her father than her boyfriend - and who acted like her father , too .
quite common with shows involving puppetry that have characters who represent children . the most notable example is sesame street , which has several characters who are supposed to be children , but sound like adults .
in pokemon live , the characters are pre - teens . the actors . . . aren ' t . kind of inevitable , really .
, 26 - year - old edward rutledge was played by then - forties john cullum . there ' s even a line in the play about how rutledge is the youngest man in congress . but who cares about that when you ' ve got cullum ' s beautiful soaring baritone ?
done for artistic reasons in the golden ticket , an opera based on charlie and the chocolate factory — to emphasize charlie ' s innocence and kindness compared to the other kids in the story , he ' s the only character played by a kid . the four brats and several jealous tots who are at hand for the factory opening are all played by adults .
in wicked the age range of the leads elphaba and glinda is about 18 - 23 years , and sometimes there are actresses those ages that play them ; but more often than not the roles are given to women in their late - 20 ' s to mid - 30 ' s , and sometimes even older .
the 2015 broadway production of gigi has 26 - year - old vanessa hudgens playing 18 - year - old gigi . coincidentally , leslie caron was the same age when the original film was made . on the other hand , the role of gaston , who was played by 36 - year - old actor in the film , is being performed on broadway by corey cott , who ' s only 24 !
in the novel of les misérables , fantine only reaches her mid 20s , while grown - up cosette and éponine are only about 16 or 17 . in the musical , cosette and éponine tend to be played by actresses in their 20s , while fantine ' s actresses tend to be in their 30s or older . this is even the case in the 2012 film version , with 30 - year - old anne hathaway as fantine , 27 - year - old amanda seyfried as cosette and 22 - year - old samantha barks as éponine .
due to the fact that hamilton covers such a long period of time—1776 to 1804 not including the prologue covering the first 19 years of alexander hamilton ' s life—this was pretty much a necessity . however , by far the most blatant example occurs with alexander ' s eldest son phillip . he ' s the only one of the hamiltons ' eight children with a role in the play ( the other kids are mentioned but he ' s the only one who appears ) , and the same adult actor plays him at both 9 years old and 19 . it helps that his original actor , anthony ramos , has a smaller frame , boyish face , and higher vocal range , making it much less distracting than , say , having the hulking baritone okieriete onaodowan ( hercules mulligan in the first act , james madison in the second ) in that role .
hamlet is a tough call . according to the play , he just interrupted his studies at wittenberg , so he ' s not even graduated college . but elsewhere , the play mentions him as being in his thirties . maybe shakespeare couldn ' t do maths very well . plus , the role of
hamlet
has acquired a reputation as being sort of the
crown jewel
of an actor ' s career , so you ' ll find men cast as hamlet when they ' re in their thirties or older , usually at the height of their fame . it may be an aversion , though , as plenty of older men went to study at university later in their lives and still do today .
it ' s very rare that you ' ll see a production of romeo and juliet where romeo is seventeen , much less one where juliet is barely fourteen . leaving aside the challenges of mastering shakespeare ' s language and characters , the subject matter ( including a rushed marriage , murder , and suicide ) is dark and bracing enough as it is . sometimes the production will just age lift juliet by a few years , even if the actors are still out of their teens .
likewise , cio - cio san in madame butterfly is supposed to be fifteen in act i and eighteen in the later acts . but considering the difficulty of her role , she requires a master performer with a fully developed voice , so she ( and many other opera ingenues ) are dawson casted .
puny humans has emma , a pre - teen , played by a mid - 20s actress , albeit a short one older than they look .
spring awakening is about early high - school - aged students ( fourteen or fifteen years old ) having sex . the script calls for simulated masturbation , a light bdsm scene , and a sex scene in which the original broadway choreography calls for the female and male lead to briefly appear topless and bare - butted , respectively . even if individual productions choose to omit the nudity ( as colleges often will if appearing in plays is a requirement to graduate from certain majors ) , the subject matter and language still make dawson casting a safe bet .
most productions of the king and i , including the film , apply this trope to anna leonowens and playing gertrude to the king , presumably to make their battle of wills feel more evenly matched and to enhance their unresolved sexual tension . the real anna was in her late 20s or early 30s ( though she most likely claimed to be younger than she was ) when she came to siam , while king mongkut was nearly 60 , but they ' re usually both played by performers in their mid to late 30s or 40s .
the teenagers in final fantasy viii look to be in their early to mid - 20s . since the game is supposed to be like an american - style high school drama and was made at the height of squaresoft ' s period of trying to be ' cinematic ' , it comes across as an intentional stab at creating the look of a dawson - cast movie . this is especially apparent with squall , who was modelled after a musician who had been in his 30s at the time of development .
angela from silent hill 2 is intended to be a teenager , but was played by an actress in her 40 ' s . this was done on purpose to emphasize how damaged she was after her dark and troubled past .
the last of us 14 - year old ellie is voiced by 30 - year old ashley johnson . additionally , 16 - year old riley is voiced by 32 - year old yaani king ( and they both sound it , especially the latter ) .
be up to a year , making tedd eighteen . she then goes on to say that it doesn ' t matter anyways since none of them are likely to look any different before they turn 30 .
though the revelation that he may be under the drinking age causes tedd to excuse himself so that he can dispose of a keg in the fridge before his dad finds it .
this was the initial reason that some viewers suspected lonelygirl15 to be a hoax . the real life implications of this are apparent in an episode of maxterbexter , in which former lonelygirl15 actors becki gregoski and maxwell glick complain about needing to show id before they would be served alcohol , even though maxwell glick was 29 at the time .
on the website hosting the whateley universe , the stories centering on chau lee ( bladedancer ) are often illustrated with pictures of zhang ziyi . the character is fifteen , the actress at least twelve years older . . .
mocked in a very potter musical with clearly college aged darren criss stating
i ' m just a 12 - year - old kid
.
lucas cruikshank was 14 when he started playing six - year - old fred figglehorn . justified in that he created the character to be performed by himself .
20 - something bhargav playing ma - ti , who is somewhere around 14 . he said he was fourteen when he woke up to see marz gurl and the nostalgia chick in bed with him .
lindsay and doug both play teenage versions of their characters in videos , respectively 27 and 30 as of writing .
because she ' s short and they have clothes that will hide her bust , tamara often plays kids in critic skits .
behind the veil is an interesting case of this , with the
actors
being limited to celebrity representations of what the character ' s appearance would be . however several characters ages are either older or younger than the celebrities portraying them , for example the 32 - year - old jack raven being represented by the 45 - year - old jeffrey dean morgan .
star wars uncut : in this fan film remake of star wars : a new hope during the scene on the death star bridge leia ( circa 20 years old ) is played by a woman who has got to be pushing 80 .
epic rap battles of history —
romeo & juliet vs . bonnie & clyde
: in the original play by shakespeare , juliet is only 13 years old , while romeo is probably not much older . this was lampshaded by their opponents , where bonnie called juliet a
prebuscent vixen
, and clyde referred to romeo as a
boy
. in real life , grace helbig ( juliet ' s actress ) is a year older than bonnie ' s actress , hannah heart ( they ' re 30 and 29 , respectively ) . while nicepeter , who portrayed romeo , is 36 .
south park couldn ' t help but use this trope when they did the live action reenactment in
i should have never gone ziplining
by casting guys in their mid 20s to play the ten year old boys . cue the narrator emphasizing
these four 4th graders
throughout .
parodied in an episode of family guy , in which the
older kid
on dawson ' s creek is an old lady who behaves in a stereotypically grandmotherly way ( fixing dylan ' s sock for him , and reminiscing about how things used to be ) .
the ember island players play it straight . all of the adolescent characters are played by very obviously adult actors .
lampshaded in - universe in a third season episode of kim possible called ,
and the mole rat will be cgi ,
where a famous action movie director about kim , ron and rufus , and the director decides to cast an actress named heather to play kim and an actor named quinn to play ron—ron points out that heather and quinn are in their late 20s , and are thus way too old to be playing high school - aged teenagers .
lampshaded in the tiny toon adventures episode
thirteensomething
, where babs disguises herself to get a role on the titular show ( which has a humans - only cast ) . her paper - thin disguise features a much curvier figure than you ' d expect for a human girl of babs ' approximate age .
the virgin mary is usually played by an actress over the age of 20 , but historians say she was about 14 when she became pregnant with jesus . ( obviously there ' s no evidence for mary ' s actual age , but she clearly has the status of a girl who will be married soon , but not yet , and the ancient jews had pretty strict cultural norms about at what age you went through important milestones in life . )
it ' s a common lesson , in art class , that the more lines you add while drawing a face , the more aged your subject will look . also , the more angular the subject in the picture is , the older they will look . therefore , most young characters should be drawn with no lines and a rounded face . some artists don ' t apply these rules .
in
how to draw comics the marvel way ,
drawing comics in the style of detective comics comics ,
aping shit the valiant way ,
and every other drawing tutorial i ' ve been a part of , it clearly says that every line you draw on a person ' s face adds to their age . when you ' re drawing children or sexy young women you give them clean surfaces to suggest youth and a tightness of veins , and when you draw clint eastwood in an eyepatch hanging out with gen 13 you draw all over his face to let people know he ' s old . depending on who you talk to , every line can equal a year added onto the life of your character . shaft , the young leader of rogue operative team
youngblood ,
is 900 years old .
in a rather squicky and creepy example , a 29 - year - old named neil rodreick iii was found posing as the 7th grader ( 12 years old ) casey price , fooling even the two people he was living with .
a woman from texas , treva throneberry ( mentioned in the live - action tv section ) , pretended to be a teenager throughout her 20s and early 30s and moved from foster home to foster home . she got a tuition to go to college and was finally arrested for fraud . interestingly , she didn ' t look especially youthful .
31 - year - old patricia dye posed as a teenage boy so that she could have sex with a teen girl .


women on the verge of a nervous breakdown ( spanish : mujeres al borde de un ataque de nervios ) is a 1988 spanish black comedy-drama film written and directed by pedro almodóvar , starring carmen maura and antonio banderas .

the film brought almodóvar to widespread international attention : it was nominated for the 1988 academy award for best foreign language film , and won five goya awards including best film and best actress in a leading role for maura .

the actual spanish title refers to an ataque de nervios , which is not actually well translated as " nervous breakdown " ( crisis nerviosa ) .

ataques de nervios are culture-bound psychological phenomena during which the individual , most often female , displays dramatic outpouring of negative emotions , bodily gestures , occasional falling to the ground , and fainting , often in response to receiving disturbing news or witnessing or participating in an upsetting event .

historically , this condition has been associated with hysteria and more recently in the scientific literature with post-traumatic stress and panic attacks .

customers who viewed women on the verge of a nervous breakdown also viewed . . .
brian stokes mitchell and sherie rene scott in “women on the verge of a nervous breakdown . ”
“women on the verge of a nervous breakdown” : patti lupone leads a starry cast at the belasco theater .
tamsin greig as pepa marcos in the forthcoming musical adaptation of women on the verge of a nervous breakdown .
looking for movie tickets ? enter your location to see which movie theaters are playing women on the verge of a nervous breakdown near you .
is pedro almodóvar ' s women on the verge of a nervous breakdown a sexist comedy about hysterical women or a story of liberation from machismo ? should our nerves jangle with . . .
in women on the verge of a nervous breakdown , mr . almodovar sets out to charm rather than shock . that he succeeds should not come as a surprise .
the performance of women on the verge of a nervous breakdown at the playhouse theatre tonight ( 5 january 2015 ) has been cancelled due to
a number of cast illnesses
.
women on the verge of a nervous breakdown previews at the playhouse , wc2 ( 0844 871 7631 ; urltoken ) from december 17 , booking to may 9 , 2015 .
pedro almodóvar’s eighties hit is one of the funniest films of all time , and now women on the verge of a nervous breakdown the musical is about to be unleashed on london’s theatre - going public .
pedro almodóvar’s pitch - black comedy women on the verge of a nervous breakdown , his first film to earn an oscar nomination , plays in denver this saturday and next monday .
almodóvar ' s women on the verge of a nervous breakdown american trailer . it ' s a romance , but it ' s not about love . . . it ' s a comedy , but not everyone laughs . it ' s a place where the one that you can expect , is the unexpected . . . women on the verge of a nervous breakdown ! ! !
a window on our ongoing coverage of women’s cinema , from movies by or about women to reports and comment on the underrepresentation of women . . .
[ in the following essay , epps discusses the use of hysteria in almodóvar ' s labyrinth of passions , what have i done to deserve this ? and women on the verge of a nervous breakdown . ]
a vibrant mix of melodrama and screwball , pedro almodóvar’s eighth feature , women on the verge of a nervous breakdown , was the spanish director’s first to garner international acclaim and an oscar nomination . leading the film’s remarkable ense…
to pick your own seats for women on the verge of a nervous breakdown at playhouse theatre simply find the performances you ' d like to see from the listings below and you ' ll be given the option .
' ' women on the verge of a nervous breakdown ' ' will be shown tonight at 7 : 45 at alice tully hall and at 9 in avery fisher hall to begin the 26th new york film festival .
gazpacho , anyone ? a musical adaptation of pedro almodóvar ' s beloved film of the same name , women on the verge of a nervous breakdown is the brainchild of the talented team behind dirty rotten scoundrels . preserving the unusual and exhilarating tone and style of the oscar - nominated film , women on the verge will delight both fans of the film and newcomers to the raucous tale .
this story of women and the men who pursue them is a touching adaptation on the verge of all - out musical hilarity .
[ in the following essay , redding jessup asserts that
if the ending convincingly sums up pedro almodóvar ' s gender messages in this film , women on the verge of a nervous breakdown is a story about emancipation from machismo .
]
cannes , france — expect more male characters from pedro almodovar , whose credits include such female - centered films as
all about my mother ,
volver
and
women on the verge of a nervous breakdown .
‘from wiry intelligence to wobbling despair’ : tamsin greig ( centre ) , flanked by anna skellern ( third from left ) and haydn gwynne , leads the cast of women on the verge of a nervous breakdown at the playhouse . photograph : tristram kenton
women on the verge of a nervous breakdown has a small , ensemble cast with many featured roles for women . the upbeat , memorable score is great for trained singers , giving many actors an opportunity to shine . perfect for companies looking for a zany , contemporary show with a built - in fan base .
he world is a perfect place , except for one thing – men abandon and cheat on women
: this is the world view of pedro almodovar . well , so claimed bartlett sher , director of the broadway musical adaptation of almodovar ' s brilliant 1988 film , women on the verge of a nervous breakdown , which opens next week .
pedro almodóvar’s eighties film women on the verge of a nervous breakdown is a giddy farce , and its camp theatricality always made it a strong candidate for a stage adaptation . four and a bit years on from an extravagant and unsuccessful showing on broadway , this musical version gets a fresh chance in a more focused , less bombastic form .
women on the verge of a nervous breakdown is a key film in my life . it went all over the world and opened up doors for me . there have been two musical adaptations and an italian theatre version . it’s a film that is very much alive .
source :
women on the verge of a nervous breakdown : sexism or emancipation from machismo ?
in look who ' s laughing : gender and comedy , edited by gail finney , gordon and breach , 1994 , pp . 299 - 314 .
yes , attention - deficit disorder , the plague of american schoolchildren , has now claimed one of broadway’s own . packed with talent and creativity , and a cast and crew bristling with tony awards , “women on the verge of a nervous breakdown” is nonetheless a sad casualty of its own wandering mind .
however , mr . almodovar is not a film maker who can be easily upstaged by a near - classic cartoon . at its best , ' ' women on the verge of a nervous breakdown ' ' has much of the cheeringly mad intensity of animated shorts produced in hollywood before the television era .
mti is releasing an all - new revised version of david yazbek and jeffery lane ' s ( dirty rotten scoundrels ) women on the verge of a nervous breakdown . we sat down with yazbek to discuss the changes to the show which were made for the smash - hit west end production .
a musical comedy based on a cult pedro almodóvar film about a bunch of women going doolally over a cheating middle - aged cad ? a show which , moreover , flopped on broadway and is now trying to woo cash - strapped british audiences in mid - winter ? to be honest , almost all of me thought that the producers must have taken leave of their senses in trying to bring women on the verge of a nervous breakdown to the less frequented side of the embankment .
starring the olivier award - winning actress tamsin greig ( episodes , green wing , jumpy , god of carnage ) , haydn gwynne ( the audience , billy elliot ) and jérôme pradon ( les miserables , pacific overtures ) , the smart musical comedy women on the verge of a nervous breakdown opened to critical acclaim .
pass the gazpacho : here ' s the first image of tamsin greig , dressed in a thierry mugler jumpsuit , as pepa marcos in women on the verge of a nervous breakdown . the west end musical adaptation of pedro almodóvar ' s film opens at the playhouse theatre on 12 january 2015 . watch greig ' s behind - the - scenes transformation and see the picture in full .
the critically acclaimed and possibly controversial in the west end sector , women on the verge of a nervous breakdown was a production i was very excited to see . announced recently with an early closure , this news worried me in the contrast to the good comments i had heard about the production and so there was a slight anticipation to what i was about to embark on .
in ' ' women on the verge of a nervous breakdown , ' ' mr . almodovar sets out to charm rather than shock . that he succeeds should not come as a surprise . the common denominator of all almodovar films , even the one that winds up in an ecstatic murder - suicide pact , is their great good humor .
lincoln center theater presented the world premiere of women on the verge of a nervous breakdown , a musical based on pedro almodóvar ' s classic film . lct ' s resident director , bartlett sher , led the extraordinary collaborators jeffrey lane and david yazbek , who took almodóvar ' s tale and infused it with their own wry , comic style and an irresistible spanish beat .
bartlett sher’s production of women on the verge of a nervous breakdown has a lot to live up to . not just de palma’s gutsy glee , but a large political intention . almodóvar’s story of women liberating themselves after being messed about by men is in part a tribute to the women who he thinks rescued spain from the civil war . it has an artful overlay : the gazpacho laced with sleeping pills that sends characters to the land of nod is an elixir , like the magical juice in a midsummer night’s dream .
they’re giving out the wrong drug at the belasco theater , where “women on the verge of a nervous breakdown” opened on thursday night . as in the 1988 pedro almodóvar movie that inspired this star - jammed musical , valium is consumed in large quantities by many characters . that is so pharmaceutically irresponsible . what this production needs — immediately and intravenously — is ritalin .
on one hand you have a striking title which reminds you of a women’s disease of yesteryear , invented by men to justify their sexual frustration – hysteria . on the other hand , the whole point of the movie is that desperately waiting for a phone call and not being able to regain control of your life after a bad break - up doesn’t make you weak . carmen maura’s performance perfectly demonstrates that being on the verge of a nervous breakdown isn’t the same as fully freaking out .
access your digital script , score , and automatically organize production elements within a breakdown of the show .
in the program notes for the new london production of women on the verge of a nervous breakdown : the musical , composer - lyricist david yazbek explains that the show has
changed tremendously
since it was first staged in a truncated run on broadway in 2010 .
if london is our production , new york was a very expensive out - of - town try - out ,
he says .
this is the best possible version .
jeffrey lane ( book ) and david yazbek ' s ( music and lyrics ) women on the verge of a nervous breakdown is the musical stage adaptation of pedro almodóvar ' s 1988 spanish language film , a larger than life black comedy . this chicago - area production marks the u . s . regional debut of the show and features a revised book and reordered songs . william pullinsi directs with choreography by danny herman .
their story is told through flashbacks as mateo , now a blind screenwriter who has sought to block out his past , chronicles a furtive affair that ends in catastrophe . the dark melodrama is sweetened with typical almodovar comic touches , including a film within the film . this consists of snippets of a comedy mateo is shooting that was inspired by
women on the verge of a nervous breakdown ,
the 1988 film that helped establish almodovar outside spain .
click on the name of the production on the left . the four published reviews will be listed .
women on the verge is based on a spanish film ( spanish : mujeres al borde de un ataque de nervios ) written and directed by pedro almodóvar . the musical is still based in spain but with a range of english dialects , we see the story of several women and their lives due to the impact of significant men ; 3 women sharing a cheating middle - aged man and two younger women over the dream man . while this sounds an extremely feminist and almost man - bashing in its’ narrative , this comical musical professes much for both genders and orientations , hitting on some stereotypes in a funny way .
in the first half the show itself teeters on the verge of a nervous breakdown , with an especially uncertain opening number . bartlett sher’s production takes too long to look fully at ease . the score is by david yazbek — who also provides lyrics , while the book is by jeffrey lane — and though it pulses with latin rhythms and clever twists , there aren’t enough genuinely flavoursome tunes .
these are only some of the delirious ingredients in this most entertaining , deliberately benign new spanish farce , ' ' women on the verge of a nervous breakdown . ' ' the director is pedro almodovar , better known here for his deliberately scandalous dark comedies ( ' ' matador , ' ' ' ' law of desire ' ' and ' ' what have i done to deserve this ? ' ' ) in which anything goes , provided that it may offend somebody ' s sensibility .
an examination on the effect of franco - era religious schooling and sexual abuse on the lives of two longtime friends .
book by jeffrey lane ; music by david yazbek ; lyrics by david yazbek ; based on the film
women on the verge . . .
by pedro almodóvar ; musical director : james abbott ; music orchestrated by simon hale ; additional orchestrations by james abbott and david yazbek
madrid , the first track from david yazbek and jeffrey lane’s score for the new stage adaptation of women on the verge of a nervous breakdown has been released , capturing the humour , colour and chaos of pedro almodóvar’s oscar - nominated film . powered by a live onstage band and boasting an international cast that includes ricardo afonso , marianna benedict , tamsin greig , hadyn gwynne , rebecca mckinnis , sarah moyle , haydn oakley , jerome pradon , anna skellern and willemijn verkaik , this smart new musical comedy is directed by tony award - winner bartlett sher .
that almodovar himself has been involved has added to the load on the heavily padded shoulders of this largely female cast . but sher ' s somewhat simplistic take on the almodovarian mentality was not the only sign that it would not live up to fans ' expectations . preview performances have been pushed back twice , and opening and closing songs are still being juggled , suggesting it ' s not only the women having the nervous breakdown but the cast and crew .
though feminist in its sympathies , ' ' women on the verge ' ' is far from being a tract of any sort . the characters mr . almodovar has written and directed keep asserting idiosyncrasies that do not allow them , or the film , to be so humorlessly categorized .
after that , he wrote the part of marisa for me for in women on the verge of a nervous breakdown . it felt more like being an actor because , unlike in law of desire , my character had nothing to do with my real life . she did not dress like me . marisa [ who comes to pepa’s apartment with her boyfriend , who happens to be pepa’s lover’s son ] drinks gazpacho filled with sleeping pills and falls asleep . at the beginning i was like : “my goodness , i’m not doing anything here ! ”
through both his exceptionally skilful interpretations of female relationships ( in particular his compassionate depictions of complicated and fractious familial bonds in films such as high heels , volver ( 2006 ) and women on the verge of a nervous breakdown ( 1998 ) ) and his granting of centre stage to trans - gender and trans - sexual characters ( such as agrado in all about my mother ( 1999 ) , tina in law of desire ( 1987 ) and angel in bad education ( 2004 ) ) , almodóvar manages to ‘un - gender’ his audience . an act that seems impossible within the patriarchal systems of mulvey’s influential piece .
melding melodrama with screwball farce , this academy award–nominated black comedy was pedro almodóvar’s international breakthrough and secured his place at the vanguard of modern spanish cinema . continuing the auteur’s exploration of the female psyche , women on the verge of a nervous breakdown tells the story of pepa—played by the director’s frequent collaborator carmen maura—who resolves to kill herself with a batch of sleeping - pill - laced gazpacho after her lover leaves her . fortunately , she is interrupted by a deliciously chaotic series of events . the filmmaker channeled hollywood inspiration into his own unique vision , arriving at the irreverent humor and vibrant visual sense that define his work today . with an exceptional ensemble cast that also includes antonio banderas and rossy de palma , this film shows an artist in total control of his craft .
all the women in this gloriously camp yet seriously heartfelt celebration of female powers of survival and self - emancipation have been abandoned by men .
today he is among the most celebrated directors in the world , with two oscars ( talk to her , all about my mother ) to his name and stars such as penélope cruz at his command . but back in 1988 things were very different for almodóvar , below . then he was an underground film - maker living in madrid with a small arthouse audience for his anarchic , low - budget movies . then , in march that year , came the premiere of women on the verge of a nervous breakdown ( or , in its more poetic spanish , mujeres al borde de un ataque de nervios ) , a self - penned piece of delirious comedy inspired by hollywood classics .
he has covered a broad range of subjects : transsexuality in high heels and all about my mother ; love and loss in talk to her and the flower of my secret ; diabolical revenge in the skin i live in ; mother - daughter relations in volver ; and abandonment in his forthcoming julieta . his 2013 comedy i’m so excited seems to exist as an outlier , yet almodóvar started out with this kind of madcap comedy , in films like law of desire and pepi , luci , bom . women on the verge of a nervous breakdown is the film where almodóvar manages to draw upon almost all of his pet themes at the same time . he puts everything into the pot and comes out with a film that’s light , refreshing and tangy .
two men share an odd friendship while they care for two women who are both in deep comas .
a television actress encounters a variety of eccentric characters after embarking on a journey to discover why her lover abruptly left her .
a woman called pepa is going to have a definitive conversation with her lover , who is leaving her . when you split up with someone you are on the verge of a breakdown , you are about to lose control . she goes out in search of him and things happen : her apartment fills up with people who have a range of different problems . at first pepa resents all these people , but in the process of helping them , she realises she has got over her own problem .
the almodóvar collection , six of the director’s early films , is out on 19 september .
' ' women on the verge ' ' takes place in its own , very special farcical universe , where outrageous coincidences are the norm and where logic dictates that a forgotten blender full of spiked gazpacho will be drunk by the wrong person . it ' s also a place where a television anchor is a sweet old grandmother instead of a barely literate sex symbol , and where pepa , an actress , appears in a commercial for a detergent guaranteed to get the blood out of your killer son ' s shirt and trousers .
in the film carmen maura gives an unforgettable performance as pepa . in her luminous close - ups we see both her desperation and her strength . almodóvar acknowledges maura as his muse , saying he enjoyed her performance so much in the law of desire , his previous feature , that he decided to make women on the verge “an overdose of carmen maura” . tamsin greig has a similar ineffable allure .
fourteen new songs feature , including on the verge and lie to me . the opening song , madrid , contains the lyrics : “madrid is my mama / give me the nipple , everyday i’m gonna taste it . ” madre mia !
at one point in the swirling mayhem of women on the verge of a nervous breakdown , a character catches sight of what she thinks is a mirror but is in fact a picasso portrait . “my god , i look dreadful ! ” she exclaims . it’s a throwaway gag ( and very funny in context ) , but it’s perhaps also symbolic . with its primary - coloured set , farcical plot , hectic pace and illogical structure , this stage musical of pedro almodóvar’s much - loved 1988 film aims to use splintered style and self - conscious theatricality to get at the fact that life , as experienced , often doesn’t make sense . it’s a second shot for the creative team , who mounted an ill - fated broadway version in 2010 . and it seems apt for a show all about tenacity that this slimmed - down version comes nearer its mark and features stellar performances from tamsin greig and haydn gwynne .
while
broken embraces
gives equal time to men , almodovar said women remain the stronger sex in his stories . the spanish filmmaker said that , until about age 8 , he grew up almost exclusively in the company of his mother and other women , a generation tempered by hard postwar conditions in the 1950s .
there ' s a wonderfully jabbing end - of - the - tether quality to the act one finale ( “welcome to the edge , the verge , the ledge” ) where greig , in specially trained and remarkably serviceable voice , is joined by the rest of the teetering brigade .
pepa ' s suicide quickly takes on the aspects of a dental check - up : it keeps getting sidetracked .
join the get the chance group on facebook for updates and opportunities to get involved .
miss maura is wonderful as a woman who simply cannot resist fighting back . the actress has a big , no - nonsense screen personality that perfectly fits mr . almodovar ' s raffishly deadpan comic method . watching ' ' women on the verge ' ' while remembering ' ' the human voice , ' ' one experiences the same sense of liberation that bob hoskins feels when he leaves los angeles and enters toontown in ' ' who framed roger rabbit . ' '
men or women , this show caters for all , whether it is the relatable narrative , the comical scenes or the unusual take on a musical , this is a show that would be a shame to miss . so much so , i am considering seeing it just one more time , just as a treat !
returning to my earlier comment of being slightly controversial on the west end , women on the verge dared to bring a new and unconventional musical to the difficult and notorious scene where musicals consist rarely of productions that are not well - known and usually of whose music everyone already knows , ready to sing along to . as someone who is not hugely into musicals , but is finding slight entertainment in them recently due to the west end , this satirical and broad attempt at a west end musical was right up my street – the music catchy , with a spanish twist which complimented my love of european and mediterranean culture and dared to bring out a bit of atmosphere in such a small theatre .
the plot here follows that of the film closely . pepa ( ms . scott , in the role immortalized on screen by carmen maura ) , is a movie voice dubber , who has just been left by her longtime lover ( and fellow dubber ) , ivan ( mr . mitchell ) . this guy has a history of walking out on women , including his wife , lucia ( ms . lupone ) , newly released from a mental institution and bent on revenge .
the movie is big enough to carry these claims . the show is not . a slimmed - down version of the musical put on five years ago in the states , which sher described as “the most expensive out - of - town try - out in theatre history” , it is elegant and edgy rather than barmy and bumptious . too agreeable to be really disturbing . what’s on the other side of the verge does not look or sound sufficiently momentous .
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 .
hollywood remake ? almodovar ' s apparently planning a tv series spin - off of the film on fox tv in the us , which his screenwriter promises will be
a suburban drama about a group of women who have known each other for a long time
. prizes it won five goyas , two european film awards and two venice film festival gongs , and was nominated for a bafta , an oscar and a golden globe . what to say . . .
the royal tenenbaums riffs on the mambo taxi gag , with the same cab turning up every time a character needs a ride .
what not to say . . .
pfft , women eh ?
[ in the following essay , vernon analyzes the influence of american film melodrama on almodóvar ' s work . ]
creating
one of the jauntiest of all war - of - the - sexes comedies
( pauline kael ) , pedro almodóvar , spain ' s premiere writer - director , creates an off - kilter universe of madness , mayhem and pure fun . high atop one of spain ' s poshest penthouses , three women have come to the end of their mental ropes . super - sexy pepa ( carmen maura ) is forever teetering around atop her skyscraper spikes as she obsesses over iván ( fernando guillén ) , the lover who just jilted her over the answering machine ! her neurotic best friend candela ( maría barranco ) is seeking refuge at pepa ' s place because she recently realized her lover is a shiite terrorist . and iván ' s ex - wife lucía ( julieta serrano ) was just released from a 20 - year stint in a mental institution . they ' re all mighty mad - - in fact , they ' re on the verge of a nervous breakdown ? and one of them is about to commit murder unless the other half - crazed femmes fatales can stop her !
though the kinky characters and aberrant social behavior common to the works of spanish director pedro almodovar are very evident in his women on the verge of a nervous breakdown , the film is at heart a door - slamming farce in the grand tradition . the tiny apartment of pregnant actress carmen maura is the
grand central station
setpiece for this dizzying tale . distraught over her recent breakup with her lover , carmen prepares to overdose on sleeping pills , which she blends into a gazpacho so they ' ll go down easier . she is diverted from her suicide by her best friend maria barranco , a fugitive from justice ( her boy friend is a shi ' ite terrorist ) who needs a place to stay . later , when carmen ' s apartment is empty , her ex - lover ' s grown son ( antonio banderas ) comes to the apartment with his fiance ( rossy de palma ) in answer to carmen ' s
room to let
newspaper ad . the wife inadvertently ingests carmen ' s
pill sauce ,
and as she blissfully snoozes , the husband inaugurates an affair with carmen ' s friend barranco .
but the play ' s worst crime is that it misses the point of the film . in the play , women are masochistic and fragile , in thrall to any man ' s
blah blah blah
, as ivan sings . but almodovar ' s point is not merely that evil men hurt poor little women ; it ' s that men are weak and women are amazing . this may be just as sweepingly simplistic but it ' s a lot more sympathetic to both genders and , as a result , a more fun viewing experience .
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a live band will appear on stage , and instead of hollywood references , david yazbek’s score makes heavy use of guitar to set the spanish scene .
but “women” the movie had momentum and suspense beneath its giddiness . contrasting deliberately artificial visuals ( in the style of 1950s technicolor hollywood melodramas ) with dead earnest emotions , mr . almodóvar’s film exuded , hilariously but hauntingly , the heightened passions we associate with opera . its characters’ distractedness was the distractedness of obsession . the distractedness of “women” the musical mostly feels born of indecision and even boredom , as if it kept getting tired of whatever it was doing .
most important , it thrusts the onus on to the cast to draw out the bruised feelings behind the fizzing disarray . greig brings her touching tragicomic expertise to pepa and a rich , rough emotional truth to her musical solos . gwynne is superb as the ex - wife and her painful song about the invisibility of middle - aged women gets to the heart of the show .
both touching and hilarious , women on the verge is a story about women and the men who pursue them . . . finding them , losing them , needing them and rejecting them . at the center is pepa , whose friends and lovers are blazing a trail through 1980s madrid . along with pepa , there ' s her missing ( possibly philandering ) lover , ivan ; his ex - wife of questionable sanity , lucia ; their son , carlos ; pepa ' s friend , candela and her terrorist boyfriend ; a power - suited lawyer ; and a taxi driver who dispenses tissues , mints and advice in equal proportion . mayhem and comic madness abound , balanced by the empathy and heart that are trademarks of almodóvar ' s work .
right from its funny face - style opening titles , the film is a homage to almodóvar’s favourite movies . pepa’s apartment is modelled on the set of how to marry a millionaire , while in an early scene we see her recording a voiceover for joan crawford’s part in johnny guitar . there’s a paean to hitchcock’s rear window when pepa stands on the street and looks at the activities going on behind the façade of an apartment block .
there is currently no sound amplification system in place at the venue . please contact the playhouse directly for more information on accessible performances . the venue can be reached on 0207 925 7730 .
this hilarious and heartfelt musical based on pedro almodóvar ’s award - winning trailblazing film celebrates women centre stage at the playhouse theatre now . last chance to see these unmissable performance ' s , season ending 23 may . book your taxi now .
there’s nothing quite like a late - night showing of the fly to give a pregnant woman the heebie - jeebies , and nothing quite like naked lunch to make that pregnant women reassemble the shards of her hormone - soaked rum - baba brain and make her own humdrum micro - drama epic .
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pepa encourages one of her ducks to jump on a piece of furniture that was ivan ' s . the duck refuses and pepa says
she hates it .
the duck , with a green head , is clearly a male .
( wait a minute . what is that ladybug doing on my ceiling ? i’m just going to do a quick google search on ladybugs . . . . oops , are you still there ? you see , the spirit of this production is truly infectious . if the performers can’t seem to keep their minds on the show , why should we ? )
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this is exemplified in carmen maura ' s grand performance as pepa . miss maura , who looks a bit like jeanne moreau , is to mr . almodovar ' s cinema what anna magnani once was to roberto rossellini ' s . this comparision would come to mind even if the director hadn ' t said publicly that the inspiration for ' ' women on the verge ' ' was jean cocteau ' s short , one - character play ' ' the human voice , ' ' which was acted by miss magnani in the rossellini screen adaptation .
godard ' s debut , co - written with francois truffaut , didn ' t just rewrite the movie rule book ; it tore it up , threw it on the floor and did a cheeky little dance on top of it . coursing with a love of american gangster flicks , a bout de souffle takes a b movie plot - a french hoodlum ( belmondo ) kills a cop and goes on the run with his american girlfriend ( seberg ) - and reinvigorates it with a dizzying arsenal of cinematic tricks ( jump cuts , talking to camera , handheld cameras ) and a fresh , fractured sense of storytelling . the chemistry between the surly belmondo and the elfin seberg is sex on the stick , but man of the match is godard : playful , challenging and far too cool for l ' ecole .
in the musical marisa is played by seline hizli , an actress who can’t compete with rossy’s monumental visage but has a decent royal court pedigree . antonio banderas’s youthful beauty and stammering vulnerability as carlos on celluloid set him on course to become a matinee idol ; haydn oakley , a veteran of the book of mormon , steps into the stage role .
with the arrival of brand new comedies on the theatre scene we thought it was time to take a look at the top 3 female comedy icons to watch out for this autumn .
arnold captures the beauty that is to be found in the smallest , most mundane of things , be it the wind at the top of a glaswegian tower block or a heart - shaped balloon sailing above an essex council estate . but what’s truly impressive is her focus on women and female sexuality ; men are sexually objectified in a way that is all too rare in contemporary cinema , and despite the often immoral actions of her leading ladies , arnold doesn’t allow us to judge or condemn them , even when they’re urinating on someone’s living - room carpet . and that is no small feat .
[ in the following interview , which was conducted on may 25 , 1987 , almodóvar discusses his approach to filmmaking , the major themes of his films , and the place of his work in the context of spanish film . ]
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for the record , credit should be given also to the auteurs responsible for ' ' night of the living duck , ' ' including greg ford and terry lennon , who did the story and direction . the venerable mel blanc is heard as daffy . mel torme provides daffy ' s singing voice and the song ' ' monsters lead such interesting lives ( they don ' t live 9 to 5 ) ' ' was written by virg dzurinko and mr . ford . pure funniness . a benign farce women on the verge of a nervous breakdown , directed by pedro almodovar ; screenplay ( in spanish with english subtitles ) by mr . almodovar ; director of photography , jose luis alcaine ; edited by jose salcedo ; music by bernardo bonezzi ; an el deseo , s . a . / laurenfilm production ; released by orion classics . at alice tully hall , 7 : 45 p . m . ; avery fisher hall , 9 . running time : 88 minutes . this film has no rating . pepa marcos . . . carmen maura carlos . . . antonio banderas lucia . . . julieta serrano candela . . . maria barranco marisa . . . rossy de palma ivan . . . fernando guillen taxi driver . . . guillermo montesinos
my introduction to jane campion was through a university module on cinema from australia and new zealand , which i’d taken to satisfy my antipodean roots . exploring the piano ( 1993 ) through its portrayal of violence lurking behind apparently calm domesticity , i became both fascinated with and admiring of the bold focus on female subjectivity – particularly on ada and her potential for destabilising the colonial system through her mute ‘otherness’ .
it promises to be a cold winter in madrid . as the long hang - over from the olympic annus mirabilis of 1992 drags on , spain is facing up to record unemployment , continuing political scandal , and mounting concern over the intrusions of the newly deregulated media . in a mirror image of the . . .
perhaps the quintessential really serious euro art house movie , ingmar bergman ' s persona is visually stunning , intellectually challenging and emotionally wrenching . a famous actress ( ullmann ) loses her speech halfway through a performance and is placed in the care of a nurse ( andersson ) in a remote seaside cottage . as the women grow closer and more intimate , bergman mounts a fascination examination of female identity , played mostly on the faces of these two actresses ( bergman fell in love with ullmann during the shoot ) . if this isn ' t enough , bergman consistently lays bare the artifice of filmmaking , right up to the final moments where the film burns in the projector . mesmerising .
at the beginning of 2011 we held a competition for amateur female film writers , inviting them to submit a thumbnail description of a person in the world of film who is or has been an inspiration to them .
this is painless sexual politics , a fiendish comedy full of prickles and pain and the bright shiny pinks of a matador ' s cape .
the legendary spanish filmmaker throws open the doors of his madrid work space to the hungry eyes of lwlies .
the film that put werner herzog on the map , aguirre is the fable - like story of a spanish conquistador ( kinski ) driven bonkers by his ambition to find the legendary city of eldorado in 16th century south america . this is the heady , natural world ambience of bad lieutenant played out to the max , with kinski beating cage hands down in the intensity olympics . lest we forget , this is the movie that kick - started the tempestuous herzog - kinski relationship and a raft of great on - set anecdotes - when kinski threatened to abandoned the film mid - shoot , herzog threatened to shoot the actor , then turn the gun on himself .
because it ' s a proper bollywood blockbuster , that ' s why ! featuring three of mumbai ' s biggest stars ( khan ! rai ! dixit ! ) , based on a massively popular indian novel , with a huge budget ( in bolly - terms , at least ) , a three - hour running time , opulent sets and throbbing , shimmering dance numbers . not to mention a heavy dose of melodrama as rich boy khan becomes torn between two women : his forbidden childhood love ( rai ) and a courtesan ( dixit ) .
more obscure references include an image of pepa shot through a pair of spectacles , which is borrowed from hitchcock’s strangers on a train . the musical can’t play these spot - the - movie games , but as a stage show it is closer to almodóvar’s original inspiration , a jean cocteau 1928 play , the human voice , in which a jilted woman waits by a phone for her lover to call .
when pepa marcos ' ( carmen maura ) lover ivan ( fernando guillén ) suddenly leaves her without any explanation , she embarks on a strange journey to discover why . on the way she meets a variety of eccentric characters , including ivan ' s son from a previous relationship ( antonio banderas ) , his fiancee marissa ( rossy de palma ) and a shiite terrorist cell who have been secretly holding her best friend candela ( maría barranco ) hostage . it ' s a film noir take on the romantic comedy .
it ' s buffy meets the matrix meets blade ! in moscow ! russian madman / genius timur bekmambetov arrived on our screens with a bang thanks to this demented , dizzily dark twist on the action movie . it seems that the world is still peopled with witches , werewolves , vampires and the rest - but they are divided into light and dark others , battling it out for supremacy , and the souls of new , emerging others , on the streets of russia ' s capital . extraordinary visuals on a shoestring budget , bravura subtitle design ( it matters ) and a plot that just makes sense ( unlike its
chalk of destiny
powered sequel ) , this is the most visually imaginative superhero movie of the last decade .
i enjoyed every minute of the film . with pedro , it’s always like playing . he writes female characters so well because he comes from a matriarchy . his mother was very important , very creative . he loves women . he understands our world and the way we see life .
there is something at once mad and methodical about pedro almodóvar ' s films . frenetic , effervescent , wild , and rapturous , they are also willful , deliberate , and self - conscious . they focus on dispersion , center on marginality , and concentrate on excess . they . . .
this offbeam , heartfilled almodovar packs the narrative zip of a soap opera and the emotional wallop of a douglas sirk melodrama . it also takes the spanish auteur away from his castilian stomping ground and on to barcelona . there , cecilia roth ' s grieving mother connects with the father of her child , now a chick - with - a - dick prostitute , and a richly - drawn array of actresses , hookers and the odd pregnant nun . sparkling , warm and witty , it ' s a fitting celebration of mums everywhere .
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now you could argue ( if you were feeling generous ) that “women” is only reflecting the temperament of its restless , dissatisfied characters , who keep looking for love in all the wrong places . or that all those quick cuts between scenes and songs are meant to recreate the farcical style of mr . almodóvar’s film , which remains a priceless portrait of romantic anarchy .
comissioned to mark the 20th anniversary of the 1905 revolution , sergei eisenstein ' s silent dramatisation of the naval mutiny of the battleship prince potemkin put russian cinema in general and eisenstein in particular on the world movie map . whole forests have been destroyed to accommodate the academic treatises that have been written about the editing techniques and stylised compositions on display , here but ignore all the intellectual apparatus and enjoy the bold , adventurous storytelling . it ' s most famous sequence - tsarist troops systematically slaughter civilians on the odessa steps - is so powerful it is often believed to be based on historical fact : it is actually a pure eisenstein invention and debatably cinema ' s greatest set - piece .
it may be a landmark in italian neo - realist cinema but sod that : roberto rossellini ' s is a compelling drama about the ravages of war on everyday folk . tracing the hunting down , capture and torture of a communist resistance leader ( pagliero ) by the gestapo , rossellini replaces studio - system gloss with a tangible , intense naturalism , throwing in details ( shots of toilets , babies on potties ) that mainstream films would not dare show . much has been made of its non professional cast , but two of the standouts come from pros : magnagni as a pregnant communist sympathizer and fabrizzi as a noble priest .
it’s about women who are caused to suffer by men and the ways – comic and tragic – in which they vent their anger . after their break - up , pepa ( carmen maura ) needs to talk to ivan about something important before he goes off on a trip with another woman . for every sub - plot , there’s a woman with a tacit connection to the former couple . pepa’s protégée , candela ( maria barranco ) , provided lodging to the shiite terrorists who planned to hijack ivan’s plane to stockholm . his ex - wife , lucia ( julieta serrano ) , also tries to reach him to make him pay for the years she spent in an insane asylum . ivan’s son ( antonio banderas ) is under the influence of his rough virgin fiancée ( rossy de palma ) . finally there’s paulina , a feminist lawyer whose shadow looms large over the characters until we discover she , too , might be on the verge of full collapse .
this is the haunting story , set in 1920s china , of songlian ( gong , never better ) , a student who decides to become a rich man ' s concubine after the death of her father leaves her without means of support . entering his household as the
fourth mistress
, she swiftly becomes embroiled in the infighting between the women competing for their near - faceless master ' s attentions , and finds herself a pawn in a deeply twisted game . read it as a critique of communist china , an impassioned plea for empathy or a feminist parable if you like , but it remains a haunting and unforgettable winter ' s tale .
it hasn ' t been pepa ' s day , or even week . ivan , her longtime lover and a male - chauvinist rat , walks out on her , leaving only a bland message on her answering machine . planning suicide , pepa spikes a blenderful of garden - fresh gazpacho with sleeping pills , but forgets to drink it .
hollywood remake ? not on your nelly . though precious : based on the novel push by sapphire comes closest in tone at times . prizes nominated for four oscars and won one bafta . what to say . . .
there ' s the odd homage to the action cinema of the northern hemisphere , but this is more than just the brazilian goodfellas .
what not to say . . .
on the whole , i prefer the portrayal of the favelas in the incredible hulk ( 2008 ) .
i like to think of alfred hitchcock ( pictured at top ) as a great conductor of a philharmonic orchestra , whose work bringing perfection of harmony and unity to a musical performance is done behind the scene and long before the performance .
six years later , as a student of film , we were read laura mulvey’s seminal piece ‘visual pleasure and narrative cinema’ . whilst my classmates’ moods sank ever lower , slowly comprehending with horror their roles as spectators , i couldn’t help feeling slightly more positive than the rest : i had finally realised why almodóvar’s work had been such a shock . having been brought up on mainstream hollywood classics , which rarely , if ever , passed the bechtel test , i had never before seen women portrayed on screen in such an intelligent and competent manner .
hitchcock’s scientific attitude towards the craft of his art is my inspiration as a filmmaker . his films are my inspiration as a writer and a film lover .
i see akerman’s cinema as part of the brutalist movement of the 60s and 70s . brutalism in architecture is epitomised by unrelenting concrete buildings : an extreme type of modernism . for its admirers , the purity of brutalist form is a kind of poetry .
what almodóvar set out to depict , he says in the book almodóvar on almodóvar , was “a feminine universe that’s totally humane . the only remaining problem in this earthly paradise is that men continue to leave women” . the film cost £500 , 000 to make but quickly broke all box - office records in spain and stormed britain and the us to become the biggest non - english language film since fellini’s 8½ in 1963 .


jhuthi sharm is a 1940 bollywood film directed by mohan dayaram bhavnani . it stars trilok kapoor .

produced by mohan dayaram bhavnani 's production company , the film is an adaption of henrik ibsen 's 1881 play ghosts .

the title means " naked truth " in hindi .

jhuthi sharm

jhuthi sharm is a social hindi movie , directed by m . bhavnani , starring trilok kapoor , nayampally , bimla kumari , n . yagnik along with others . here , on the movie page , you will find every thing that you need to know . check out what others are saying about the movie on twitter .
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