![]() ![]() Controversies surrounded Norton's role and participation in the superhero film The Incredible Hulk (2008), for which he rewrote the script every day but without credit. He later played Will Graham, an FBI agent in the film Red Dragon (2002), which received mixed critical reviews but was commercially successful. Norton had his directorial debut with the romantic comedy Keeping the Faith (2000), in which he also starred as a main role. Though initially fiercely debated by critics, Fight Club gradually received critical reappraisal and earned its status as a cult film. For the David Fincher-directed film Fight Club (1999), Norton starred in a role that required him learning boxing, taekwondo and grappling. His performance was critically lauded and earned him an Academy Award nomination for Best Actor. In 1998, Norton featured in American History X, in which he played a neo-Nazi who served three years in prison and ultimately revamped his ideology. In the same year, he starred in two other films, Everyone Says I Love You and The People vs. He made his film debut in the film Primal Fear (1996), for which he earned an Academy Award nomination for Best Supporting Actor and a Golden Globe Award in the same category. Īnd if you liked this story, sign up for the weekly bbc.com features newsletter, called The Essential List.Norton at the premiere of the Metropolitan Opera in September 2009Įdward Norton is an American actor and filmmaker. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world. Its film series New York on Film: Decade by Decade, begins with Manhandled on 15 June. This is New York: 100 Years of the City in Art and Pop Culture continues at the Museum of the City of New York to 21 July. The City: Real and Imagined continues at Film Forum to 15 June. In reality, the Bullocks' fictional address would have put them on the steps of the Metropolitan Museum of Art, where the costume institute's annual gala proves that the frothy rich are still a captivating part of the city's story. The film's touch of social commentary about the underclass is diminished when it turns out Godfrey is highly educated and also from a wealthy family, but the Bullocks in their grand apartment, dressing for dinner, capture the cosmopolitan, aspirational image of New York that the movies did so much to foster. She discovers him in a homeless encampment while looking for a "forgotten man" during a scavenger hunt, hires him as the family butler, and the film drops us into the reckless, thoughtless, comically disorganised lives of the empty-headed rich. Nothing could be less authentic than this madcap Depression-era comedy, in which an indulged Fifth Avenue heiress named Irene Bullock, played by Carole Lombard at her most antic, falls for Godfrey, played by William Powell at his most urbane. She cites two documentaries about drag – the little known The Queen (1968) and the classic Paris Is Burning (1990) – as films about a subculture that has since gone mainstream with shows like RuPaul's Drag Race.Īmong these endless possibilities, here are 11 of the most definitive, iconic New York films, depicting the city in all its ethnic diversity and class differences, its grimy moments and glamorous star turns. The series' curator, Jessica Green, tells BBC Culture, that she sought out "those moments caught on film when subcultures were born that went on to dominate the planet. ![]() Gloria Swanson, 26 years before Sunset Boulevard, plays a shopgirl who dreams of bigger things, a plot that has never gone away. ![]() Its exhibition This is New York: 100 Years of the City in Art and Pop Culture includes a year-long film series arranged decade by decade, starting with the 1924 silent film Manhandled. That series is running in conjunction with The Museum of the City of New York's centennial celebrations. The 1998 film that predicted the future "The city really has to play a part in the story and the way people live," he says. Bruce Goldstein, the cinema's Repertory Program Director, tells BBC Culture that for a film to be truly "New York", it needs more than a setting. The Manhattan theatre Film Forum has this spring been running The City: Real and Imagined, whose title alone suggests the true-to-life, the mythic, and the sometimes blurred line between dreams and reality. Two ambitious film series here capture that range. But from the earliest days of cinema, the city has appeared on screen in all its variations, from its great art and glittering lights to packed subways and littered streets. ![]() We'll never know how many people have been drawn to New York because of its image on screen (Holly Golightly has a lot to answer for) and how many have been frightened away (lookin' at you, Taxi Driver). ![]()
0 Comments
Leave a Reply. |