Joseph L. Mankiewicz is the director of Guys and Dolls, and the head authors of the screenplay are Jo Swerling and Abe Burrows, who wrote the screenplay based upon the play Guys and Dolls. Joseph L. Mankiewicz has directed in total 22 films; he is known for All About Eve (1950), Julius Caesar (1953), Guys and Dolls (1955), The Quiet American (1958), and Cleopatra (1963). The lead screenplay author, Jo Swerling, has written in total 68 screenplays; his more well known are The Whole Town’s Talking (1935), The Westerner (1940), Lifeboat (1944), It’s a Wonderful Life (1946), and Guys and Dolls (1955). Abe Burrows has written 12 films, and his most well known are Guys and Dolls (1955) and Just Go With It (2011). The films Guys and Dolls uses the …show more content…
narrative devices of overcoming obstacles in pursuit of a goal and personal growth are both simultaneously to focus on two characters’ stories over the course of only a few days. Nathan Detroit, portayed by Frank Sinatra, is a gambler who hosts a floating crap game in New York, but in order to rent a room in secret, yet big enough for all the big time gamblers, he needs $1000 for the room and silence of the owner. The obstacles in Detroit’s path are Lieutenant Brannigan, portrayed by Robert Keith, and the lack of people in his circle who would lend him that sort of money. The only person crazy enough to lend that kind of cash to Detroit it the big fish Sky Masterson, played by Marlon Brando. Masterson is back in town for the game of the year, but isn’t willing to give Detroit to money just for the game to happen. Detroit bets Masterson that if Masterson can’t get the cold missionary Sarah Brown, played by Jean Simmons, to go to Havana with him, Masterson will have to give Detroit the $1000. Detroit has a policeman on his tail for gambling, no where to host the biggest crap game of the year, and no money for a place that is willing to rent to him. With this bet against Masterson, he thought he had it in the bag. These obstacles are very clear to the viewing audience, and Detroit’s goal is undoubtedly to successfully host another crap game. Another very effective narrative used in this film is personal growth. As previously mentioned Sky Masterson is a big time gambler, and although he is trying to get out of the game, he keeps going back. Nathan Detroit comes to him with a proposition; if Masterson can’t get an indifferent missionary woman Sarah Brown from the missions effort Save-A-Soul to go with him to Havana, he has to give Detroit the money to be able to host the crap game. Sky Masterson was a man who was trying to mature and obtain his income in a proper manner, but if someone bets against him, his pride and ego come out and take charge. When approached with Detroit’s bet, Sky Masterson became a man with a mission; to win the bet. After a series of failed attempts to win over the attention of Sarah Brown, he is vexed. He doesn’t understand why Ms. Brown isn’t interested in him, but after a night full of genuine from the heart conversation, Sarah Brown and Masterson start to make a connection; they start to enjoy each other’s company on a more personal level. Ultimately Masterson takes Ms. Brown to Havana, but as a romantic gesture. Although their relationship began due to a bet, they grew individually and as a pair, resulting in a genuinely romantic relationship. Over the course of the film, Masterson’s personal growth is noticeable by the way he acts at the end of the film versus the beginning. When the viewing audience is first introduced to Sky Masterson, he comes across as a cocky high-roller who never stays in the same place too long. At the end of the film Sky Masterson becomes a loyal, kind-hearted man who finds work in the missions effort Save-A-Soul. The major conflict in this film is the bet that takes place between Detroit and Masterson. This bet is what will make or not make the crap game happen, even though many people are depending on this game to take place. As mentioned before Masterson ultimately wins the bet, which was to take the missionary Sarah Brown to Havana, but the conflict doesn’t resolve there. Upon hearing this news, Detroit is hysterical to find the money for the crap game. Out of desperation, he proposes to his girlfriend Adelaide, portrayed by Vivian Blaine, for a chance to get the money, even though he claims he doesn’t want to be married throughout the film. In resolution to the film, Masterson ultimately gives the $1000 to Detroit to rent the space as his farewell game, but it doesn’t end there; what comes next is my favorite part of the film.
During the game the boys tease Masterson for getting himself a missionary woman, therefore Masterson makes a bet with all of the men at the game, that if he rolls a certain number, they will go with him to Sarah Brown’s Save-A-Soul meeting. He rolls the dice, and it lands on the number he predicted. All the men at the crap game attend the Save-A-Soul meeting, and in that scene the musical number “Sit Down You’re Rockin’ the Boat” is performed, which is one of the most well known performances on Broadway. After this number, the film comes to a close with a double wedding in the middle of Times Square for Detroit and Adelaide, who was given away by Lieutenant Brannigan, and Masterson and Sarah Brown. The major conflicts are resolved in the manner of the crap game being successfully held, and the two major characters receiving their happy endings. The director is trying to communicate the theme of saints and sinner are not that different. At the end the audience is shown two couples getting married. Detroit and Adelaide are considered the “sinner” couple, and Masterson and Sarah Brown are considered the “saint” couple. What the director is portraying is that love conquers all, and in the end, saints and sinners are just regular people, which was a very controversial matter in the
1950s.
Yesterday night I reviewed the play “The Miss Firecracker Contest” In Wilmington, North Carolina at Big Dawg Productions. The play started out as Carnell Scott, 24-year-old orphaned southern girl who lives in Brookhaven, Mississippi. She is tap dancing in her room with a purple leotard and some kitchen utensils used as creative batons practicing her routine for The Miss Firecracker Contest.
At the Roundhouse theatre La boite in 2012 the play boy girl wall was performed by one man, Lucas Stibbard. The play is essentially a love story unlike what Stibbard says at the very beginning. The story is about a star-gazing boy, Thom, and a matchmaking wall, as well as Alethea the girl with the magpie after her. Along with a range of other characters, those three make up the title. This play’s didactic purpose to the audience is to make the audience overcome their fear. Stibbard effectively transmits this to the audience through conventions Brecht Theatre, such as V-effekt, Spass, Gest and multimedia.
Some of the most important traditions portrayed in the film are; Soul Food dinners on sundays and any major holiday, marriage, and other forms of family unity. The movie opens up at the youngest sister’s wedding; the entire family was present celebrating her and her husband’s new life together. Weddings has been one of the one of a long traditions for African Americans, dating back to the slave era. Marriage symbolized a stronger unit creating a foundation for others to follow and build upon. A historic tradition within ceremonies is jumping the broom; symbolizing both individuals jumping into the next phase of their lives as one. Next, the title of the film Soul Food indicates another tradition. The food that African Americans have cooked fro centuries was called Soul Food. The film explains what Soul Food was all about. During slavery, blacks did not have a lot of things to celebrate, so cooking became the way we expressed our love for one another. The family took that long standing tradition and added substance to it. Those dinners the family shared together were a time to share the joy, pain, sorrows,and laughter. The film touches on how these type of emotions and experiences are missing from today’s
The brothers write, direct, and produce their films jointly, although until The Ladykillers, Joel received sole credit for directing and Ethan for producing. They often
He had a unique and beautiful writing style, often described as being ahead of its time, and an entertaining vocabulary that he used to develop his stories. However, it would be several long years of trial and error before their vision came to pass. Although known today for being a hilarious and witty comedy, Feuer and Martin’s original intention was for Guys and Dolls to be a serious romantic story, similar to South Pacific. Frank Loesser was quickly chosen as the composer and lyricist for the production, however it would take going through eleven librettists before the original vision was reconsidered.
I have no negative comments about the play. I really enjoyed this production of Guys and Dolls and believe that the director's vision was clearly dispayed on the stage by the actors, the musical ensemble and the production team. I thought the set design was amazing and that the costumes perfectly portrayed the style of the 1940s. All of the hard work and dedication put into the play, showed through the actors and the set resulting in a wonderful musical worthy of Broadway.
Sinise, G. (Producer), & Sinise, G. (Director). (1992). Of mice and men [Motion picture]. United States: Metro – Goldwyn - Mayer.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
The townspeople seem to have mixed emotions about the lottery; they fear it yet on a very barbaric level they enjoy it. By standing "away from the pile of stones," and keeping their distance from the black box, the villagers show their fear of the lottery (Jackson 863). However, once they find out who is going to be stoned, Tessie Hutchinson, they seem to actually enjoy the stoning. One villager picks up a stone so big she can barely carry it; someone even gives Tessie’s youngest son a few pebbles to throw at his mother. Their overall attitude about the stoning is summed up by the phrase "and then they were...
In Katha Pollitt’s essay “Why Boys Don’t Play with Dolls,” she explains the differences between the genders and she argues how feminist movements are hardly appreciated. Pollitt further demonstrates that women’s have the same power as any men have, but society doesn’t let women get higher than men. Pollitt explains that, “It’s twenty-eight years since the founding of NOW, and boys still like trucks and girls still like dolls” (544). From here, we can infer that the author is comparing the activities of boys and girls, and their choices of toys. Since, I am able to read and see the World, I saw that all the time that boys are more rivalry. There have always been presumptions in society that boys are very outgoing and bold, on the other hand, whereas girls are a little laid back sometimes. Girls play quietly and with non-hunting objects. However, boys always make noises. In addition, Pollitt keeps using the word “feminism” throughout her essay, and talks about how women and men should have equal rights. For example girls can do the same things as boys can do or vice versa. I can relate to this story as I grew up with two brothers who always played with cars, trucks, and other toys like dragons, but I was expected to stay away from their things and go play with my, so called, girly stuff.
“The Youngest Doll” by Rosario Ferre is ultimately about an aunt who constantly creates life-sized dolls for her three nieces. It becomes more of an obsession rather than hobby when the author explains that each year the aunt spends more time and effort into making these dolls resemble her nieces as much as possible. Towards the end of the story the youngest niece ends up marrying a doctor. The doctor who she ends up marrying views her more as an object to flaunt rather than respecting her worth. Many of the critics who analyze the story come across the idea that Rosario Ferre is attempting to make it appointed that during this time period there was a mixture of sexism, racism, gender, and class implications. As I agree with all of these statements,
A Doll 's house is one of the modern works that Henrik Ibsen wrote. He was called the father of modern drama .He was famous for writing plays that related to real life. A Doll 's House is a three-act play that discusses the marriage in the 19th century. It is a well-made play that used the first act as an exposition. The extract that will be analyzed in the following paragraphs is a dialogue between Nora and the nurse that takes care of her children. This extract shows how she was afraid not only of Krogstad blackmail, but also of Torvald 's point of view about those who committed any mistake. Torvald says that the mothers who tell lies should not bring up children as they are not honest . Nora is also lying to her family and to Torvald. So she is afraid because she thinks she maybe 'poisoning ' her own children. The analysis of this extract will be about of Nora 's character, the theme, and the language in A Doll 's House.
Within our families and friends whom we do identify with develops many different forms of culture, based on the environment we grew up with. The film “Toys” by Barry Levinson, is based on a toy factory that Leslie's father created, but when his father turns ill and turns the rights of the company go to his uncle, a war-mongering general who tries to take over the company by planning to build military weapons disguised as toys. The film shows how different ways culture are used even within an family that don’t always get along.
Role play is a big part of “A Doll House” by Henrik Ibsen because all the characters pretend to be someone there not instead of being their selves. The one who stands out the most though is Nora. It’s almost like she lives two different lives because of how differently she acts. Nora is claimed to be Torvald’s childish, loving wife and is unknowingly a strong, independent woman. She was known as the playful, trophy wife by everyone at the beginning of the play, but as the play goes on she is shown as a self-empowering, eager woman.
Boys should definitely be allowed to play with dolls. During childhood, male children witness both of their parents caring for babies, cooking and cleaning. Playing and caring for a doll prepares the boy for his evident fatherhood duties. For a boy to only play with masculine toys such as trucks and guns, the boy is not developing his sense of caring, nurturing, or empathy. Denying any child the right to play with the toy of their choice in fear of who they may become is taking away the right for the child to find his or her identity. Playing is essential to the development of children, and limiting their toy choices is detrimental to that development. Not allowing a certain type of toy would affect the child more negatively than allowing him to play with dolls. Also, society tells a boy that playing with feminine toys is wrong, causing an early condescendence towards females. It will not affect the child negatively, therefore in order to become nurturing, respectful adults with a sense of empathy and self, boys should be allowed to play with dolls.