Stephen Frears Stephen Frears
Stephen Frears ist ein britischer Regisseur und Filmproduzent. Stephen Frears (* Juni in Leicester, England) ist ein britischer Regisseur und Filmproduzent. Inhaltsverzeichnis. 1 Leben; 2 Filmografie. Gefährliche Liebschaften ("Dangerous Liaisons") (GB/USA) mit. Glenn Close, John Malkovich Regie: Stephen Frears Länge: Min. Die Redaktions-Wertung. Nur noch 5 auf Lager (mehr ist unterwegs). Andere Angebote 8,14 € (19 gebrauchte und neue Artikel). Regie: Stephen Frears. Deutschlands führende Nachrichtenseite. Alles Wichtige aus Politik, Wirtschaft, Sport, Kultur, Wissenschaft, Technik und mehr.
Stephen Frears hat die Serie „A Very English Scandal“ gedreht. In ihr spielt Hugh Grant eine tragische Figur: einen liberalen Politiker. Deutschlands führende Nachrichtenseite. Alles Wichtige aus Politik, Wirtschaft, Sport, Kultur, Wissenschaft, Technik und mehr. Nur noch 5 auf Lager (mehr ist unterwegs). Andere Angebote 8,14 € (19 gebrauchte und neue Artikel). Regie: Stephen Frears. Frears brings us a classic of 80s Https://mossebergsfestivalen.se/4k-filme-stream/high-school-deutsch.php cinema here, with its script by Hanif Kureishi, a film that refuses to run on the usual rails of commercial film-making or even on the rails of politically correct or right-on attitudising, despite boldly taking on racism and homophobia. February Dench gives a lovely performance as Philomena and Coogan — whose acting once upon a time stream kinox are often undervalued — is excellent as. Silver Stream movie deutsch for Best Director. It stars Coogan and Judi Dench. When Eddie actually tries to live the private detective dream, https://mossebergsfestivalen.se/4k-filme-stream/netflix-serie-dark.php placing an ad for his dubious services in the local paper, someone actually takes him up on it.
Frears' subsequent films have been of wildly mixed quality. Hero and Mary Reilly were complete duds, while two Roddy Doyle adaptations, The Snapper and The Van , were modest affairs that enjoyed a fairly positive reception.
A number of critics remarked that Frears was out of his element directing a film about cowboys. In , however, Frears returned to more familiar territory with High Fidelity.
Adapted from Nick Hornby's popular novel of the same name, the film reunited Frears wit. View All Photos 1. Box Office Guru Preview: Ashton vs.
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State of the Union This urban-myth thriller from screenwriter Steven Knight has all the ingredients that Frears knows how to blend: a strong, accessible, exciting and scary story and three fiercely drawn characters, played to the hilt by three outstandingly good actors — Chiwetel Ejiofor, Audrey Tautou and Sergi Lopez — whose contributions are managed with great skill by the director.
When Tautou and Ejiofor discover a grisly criminal conspiracy, their story tells us something about inequality and exploitation and how London relies on immigrants as a servant class, who must be demonised so that their wages can be kept low and their working conditions poor.
Frears paints the drama with a slightly broad brush, but this is a great, underrated British movie, as relevant today as ever.
In so many ways, High Fidelity is the perfect Frears project: relatable, smart, romantic, funny and sad, building on British wit to create a Hollywood picture with an indie sensibility.
The casting was perfect, and introduced Jack Black to a wider audience as Barry, the testy and massively opinionated music buff and store assistant who makes it his business to terrorise those customers whose tastes do not come up to scratch.
Is music where his fidelity or loyalty really lies, or can music be the gateway drug to real love and a real relationship? This film has been remade and re-franchised over the past 20 years, but this is the original and best.
Frears delivered power, intrigue and sexual menace with this story of elegant cynicism set in 18th-century France — a parable of the arrogant ennui that prefigured the revolution.
Glenn Close and John Malkovich play the Marquise de Merteuil and the Vicomte de Valmont, former lovers who now jadedly amuse each other with their respective tales of adventures in seduction and the ruination of innocents.
The Vicomte accepts the wager with alacrity and also sets out for another bedpost-notch: the lovely, virtuously married Madame de Tourvel, played by Michelle Pfeiffer.
These liaisons are indeed dangerous in ways that the older epicures do not understand. They can fall in love, and fall in other ways as well.
The central scene, when the entire theatre turns hissingly on the disgraced Marquise, is genuinely scary. The keynotes of drama and tragedy are atypical for Frears, but he handles them tremendously.
A recent re-release woke us up to what a belter this is , and what a masterly exercise in drama and characterisation from Frears, who guides two cracking performances from Gary Oldman and Alfred Molina in a true story of scandal and tragedy.
Oldman plays the brilliant and troubled young dramatist Joe Orton who, in the s, set the London arts scene alight with his talentand made no secret of his homosexuality, but evaded censure in an era when it was still illegal.
Eventually, this toxic and dysfunctional relationship explodes into violence. It is the perfect Frears storm of great actors, smart script and absorbing drama.
Frears brings us a classic of 80s British cinema here, with its script by Hanif Kureishi, a film that refuses to run on the usual rails of commercial film-making or even on the rails of politically correct or right-on attitudising, despite boldly taking on racism and homophobia.
A young and exquisitely beautiful Daniel Day-Lewis plays Johnny, a racist thug who appears to be about to attack Omar played by Gordon Warnecke.
He is a south Asian guy of Pakistani extraction whose wealthy, worldly uncle has put him in charge of one of his laundrettes, one of a string of faintly dodgy business interests.
But there is a complication: Johnny and Omar are lovers, and their relationship finds a kind of ironic symbol in the laundrette that may yet get turned into an unlikely thing of beauty.
A modern classic about con artists, this also stars Cusack and is adapted by Donald Westlake from the novel by pulp master Jim Thompson , but finds something a little softer and more emollient than might otherwise be the case for Thompson less shocking, for example, than his The Killer Inside Me.
This emotional triangulation is the driving force behind calamitous new criminal complications, involving an awful psychological disclosure.
In effect, a machine for turning shame into money. Steve Coogan plays Martin Sixsmith, the former journalist and New Labour spin doctor who has recently endured a shame of his own relating to a leaked email.
It is Sixsmith who helps Philomena on her mission to confront the arrogant hypocrisy of the church. Dench gives a lovely performance as Philomena and Coogan — whose acting skills are often undervalued — is excellent as well.
It is a film with all the components for a Frears gem, and the most important is heart. Its compassion and tenderness radiate from the screen.
Cheri A desperately creaky, stuffy, airless period piece, based on the Colette novels. Facebook Twitter Pinterest.
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