Word: cleopatras
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...often been more riveting than those that have come out as movies. Darryl F. Zanuck, one of the founders, caused hearts to pound just by walking down the hall. Zanuck left in 1956, but returned in triumph six years later, following a boardroom coup in the wake of the Cleopatra debacle. He made his son Richard president, then kicked him out, only to be forced aside himself a few months later. (Richard had another stint at Fox, and coproduced such films as The Sting and Jaws.) While other studios, like Paramount and Columbia Pictures, were being swallowed by conglomerates...
...Aunty Entity, the hardhearted ruler of a barbaric outpost known as Bartertown. No, love's got nothing to do with it; instead of falling for Swoon Symbol Mel Gibson, 29, Aunty becomes Mad Max's archenemy. Says the leggy singer: "I used to think I'd like to do Cleopatra, but now I really want to play tough women." Good grief, does this mean escalating beyond flinty Aunty in her chain-mail dress...
...most important aspect, is not the only one." Brustein draws a distinction between new plays and those already in the canon. When staging a premiere, a director should respect the letter of the playwright's intentions. "The analogy is with Shakespeare," says Brustein. "The first performance of Antony and Cleopatra put Cleopatra on stage in a hoop skirt. Does that mean that all future productions should...
...sorry fate of some big-budget movies to be remembered as the indifferent sequels to their own prerelease publicity. Mention Cleopatra and the memory swirls, not with images from the film but with tabloids screaming the latest indiscretion of Liz and Dick. Mention The Cotton Club 20 years from now, and the graybeards will have forgotten whether it was a good film or a bad one. Instead, they will gather their young ones around the video fireplace and enthrall them with this fable...
...valuable concerns in the whole of world affairs," found time to translate literature from ten different languages into German. André Gide argued that every writer "has an obligation to render at least one foreign work of art into his own language." He chose Shakespeare's Antony and Cleopatra, then went on to Hamlet. In America most major modern poets have obeyed Gide's injunction. The result is a vigorous body of English verse that encompasses such varied sources as Icelandic epics (W.H. Auden), La Fontaine's fables (Marianne Moore), Brazilian poetry (Elizabeth Bishop), Russian lyrics (Stanley...