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| Film director/screenwriter ("Evita") Alan Parker has died | |
| Last Edit: Ann 09:47 am EDT 08/01/20 | |
| Posted by: Ann 09:45 am EDT 08/01/20 | |
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| Also directed "Fame" (and the most terrifying film I had seen at the time, "Midnight Express"). | |
| Link | Obit at Hollywood Reporter |
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| Alan Parker / Bugsy Malone | |
| Posted by: TheaterGoer 09:44 pm EDT 08/01/20 | |
| In reply to: Film director/screenwriter ("Evita") Alan Parker has died - Ann 09:45 am EDT 08/01/20 | |
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| Bugsy Malone had a huge impact on me (I was 7!) and absolutely was the first musical I demanded the soundtrack to. I saw an early viewing of it at my elementary school (the child of one of the producers went to my school). It’s so odd / wacky but a great Paul Williams score and Jodie Foster was fantastic. | |
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| re: Alan Parker / Bugsy Malone | |
| Posted by: singleticket 12:40 am EDT 08/02/20 | |
| In reply to: Alan Parker / Bugsy Malone - TheaterGoer 09:44 pm EDT 08/01/20 | |
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| I think today you might get arrested just for viewing it. | |
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| re: Alan Parker / Bugsy Malone | |
| Posted by: Singapore/Fling 03:07 pm EDT 08/02/20 | |
| In reply to: re: Alan Parker / Bugsy Malone - singleticket 12:40 am EDT 08/02/20 | |
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| For those willing to "take the risk", Bugsy Malon is currently streaming on Amazon Prime and CBS All Access. I doubt that the cops will come to your door. | |
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| re: Alan Parker / Bugsy Malone | |
| Posted by: singleticket 09:59 am EDT 08/03/20 | |
| In reply to: re: Alan Parker / Bugsy Malone - Singapore/Fling 03:07 pm EDT 08/02/20 | |
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| I watched it and the cops didn't arrive (thank you for the encouragement). The film is a curiosity and a bold one but I don't think it really succeeds. The biggest problem is the script. The show girls are definitely eroticized out of contemporary comfort. But it's not "Bilitis" or "Pretty Baby". It did get me thinking about the way female pre-teens were eroticised at that time from the mid-seventies to early eighties. The coffee table books and later films of British photographer David Hamilton (who recently committed suicide), Brooke Shields, Jody Foster, Natassia Kinski... The pop psychologist in me would say it was a reaction against the full bodied sexuality of women during the feminist '70's that must have scared a lot of men into fantasies of soft-focus innocence and powerlessness. The weird thing was that at that time these soft-focus erotic fantasies were considered to be date night movie fodder. |
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| Midnight Express hmophobia | |
| Posted by: WayneM 04:34 pm EDT 08/01/20 | |
| In reply to: Film director/screenwriter ("Evita") Alan Parker has died - Ann 09:45 am EDT 08/01/20 | |
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| My experience of seeing the film was one of absolute disgust/anger/fear at the audience reaction to the portrayal of the true gay relationship that was engendered during the prison stay. Instead of displaying it as it happened the movie shows the bond that develops between the 2 young men but then there is a definitive refusal by the lead to an overture to a more physical level. If I recall there is a steamy shower scene and the offer for more to Billy but a definite NO as a response to it. In the movie theater I attended this elicited loud hurrahs and applause. For a not yet out gay person that was truly an addition of horror |
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| my movie theater experience | |
| Posted by: dramedy 07:37 pm EDT 08/01/20 | |
| In reply to: Midnight Express hmophobia - WayneM 04:34 pm EDT 08/01/20 | |
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| was In and Out (1997) when Kevin Kline kisses tom Selleck and the audience booed. This is a movie theater in Emmeryville across the bay from San Francisco. What did these homophobic patrons think they were seeing at the movies? I was out pf the closet, but didn't say anything because frankly i didn't want to get beaten up in the parking lot. it ruined the movie for me and i guess i still feel the pain a quarter century later. | |
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| re: my movie theater experience | |
| Posted by: mermaniac 06:41 pm EDT 08/02/20 | |
| In reply to: my movie theater experience - dramedy 07:37 pm EDT 08/01/20 | |
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| That happened to me in NYC with "Sunday, Bloody Sunday." | |
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| re: my movie theater experience | |
| Posted by: garyd 01:03 pm EDT 08/02/20 | |
| In reply to: my movie theater experience - dramedy 07:37 pm EDT 08/01/20 | |
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| How sad and, of course, frightening. On a better note, we saw it in Walnut Creek and I remember the audience cheering. Same with Brokeback Mountain though that was years later. | |
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| re: my movie theater experience | |
| Last Edit: WaymanWong 08:16 pm EDT 08/04/20 | |
| Posted by: WaymanWong 08:15 pm EDT 08/04/20 | |
| In reply to: re: my movie theater experience - garyd 01:03 pm EDT 08/02/20 | |
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| Maybe it's a sign of the times, but I saw ''Love, Simon'' (2018) more than once, and each time, the packed theater cheered at the gay kiss. | |
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| re: my movie theater experience | |
| Posted by: Michael_Portantiere 09:42 pm EDT 08/01/20 | |
| In reply to: my movie theater experience - dramedy 07:37 pm EDT 08/01/20 | |
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| And my horrendous movie theater experience of homophobia from years ago was at a screening of DEATHTRAP on Staten Island, where the kiss between Michael Caine and Christopher Reeve was greeted with something approaching pandemonium. Very shocking, frightening and disturbing, to say the least. | |
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| re: my movie theater experience | |
| Posted by: StageLover 08:41 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - Michael_Portantiere 09:42 pm EDT 08/01/20 | |
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| Staten Island? Say no more.... |
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| re: my movie theater experience | |
| Posted by: champagnesalesman 09:58 pm EDT 08/01/20 | |
| In reply to: re: my movie theater experience - Michael_Portantiere 09:42 pm EDT 08/01/20 | |
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| I saw MAKING LOVE in Westchester and when Hamlin and Ontkean kissed there was alot of "EWWW!!" as well as "Gross!" Which is surprising given that anyone going to see this film should have known what it was about | |
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| re: my movie theater experience | |
| Posted by: Delvino 09:35 pm EDT 08/02/20 | |
| In reply to: re: my movie theater experience - champagnesalesman 09:58 pm EDT 08/01/20 | |
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| I saw that happen with "Making Love" on the East Side of Manhattan. Still remember it. It's a pretty dreadful movie (and edited so that little of the screenplay makes sense -- a subplot about their pal Wendy Hiller is somewhere on a cutting room floor); part of me wants to believe it was because it was such a clunky piece of storytelling and Ontkean was such a stiff, handsome but robotic. I can't recall if it was late at night, and maybe filled with an audience that was more upset about the quality. But that's probably too kind. | |
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| re: my movie theater experience | |
| Posted by: Michael_Portantiere 11:43 pm EDT 08/01/20 | |
| In reply to: re: my movie theater experience - champagnesalesman 09:58 pm EDT 08/01/20 | |
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| ****I saw MAKING LOVE in Westchester and when Hamlin and Ontkean kissed there was alot of "EWWW!!" as well as "Gross!" Which is surprising given that anyone going to see this film should have known what it was about.****** Exactly, and the same goes for anyone who bought a ticket to see IN AND OUT, whereas admittedly the audience had no reason to expect the gay kiss in DEATHRAP. In fact, the whole point of the kiss is that it should come as a surprise, but of course it was disturbing that the audience reacted with such revulsion. |
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| re: my movie theater experience | |
| Posted by: BHandshy 11:42 pm EDT 08/01/20 | |
| In reply to: re: my movie theater experience - champagnesalesman 09:58 pm EDT 08/01/20 | |
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| Yes, I also saw 1982's MAKING LOVE in the theater (San Jose, CA), and "Ewwwww!" was definitely the reaction to the kiss. Unrelated, except for the general time period: When I went to see the film COME BACK TO THE FIVE AND DIME, JIMMY DEAN in the theater in 1983, in the opening credits when Cher's name appeared on the screen (it was her film debut), there were lots of laughs and giggles (as if, "hahaha, she couldn't possibly be a serious actress"). Well, she was marvelous in the film, and so normal looking! This was before all of her cosmetic surgeries and dental work. | |
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| re: my movie theater experience | |
| Posted by: PlazaBoy 06:26 pm EDT 08/04/20 | |
| In reply to: re: my movie theater experience - BHandshy 11:42 pm EDT 08/01/20 | |
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| I really enjoy the Jimmy Dean movie, but I can't help but remember the awkward scene in The Cher Show that began with "I'm Robert Altman." Dreadful. | |
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| re: my movie theater experience | |
| Posted by: StageLover 09:01 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - BHandshy 11:42 pm EDT 08/01/20 | |
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| Mike Nichols had felt the same way about Cher. He refused to meet with her for a film he was casting. The worm had turned by the time he was casting SILKWOOD. Cher was now hot in movies, thanks to her Oscar turn in MOONSTRUCK. And Nichols had considerably cooled as a director. The financiers wanted Cher, and according to her, she made him apologize to her. My own story: in the early 90s I lived in Malibu for a year. One Saturday afternoon I took in a matinee of the BORN YESTERDAY remake and the theater was practically empty, except for me and a couple of women who wouldn't shut up. They were a few rows in back of me and were constantly dogging poor Melanie Griffith through the whole movie. When the movie ended and the lights came on, I turned around to see who the chatterboxes were and sitting there were Cher and Whoopi Goldberg. |
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| re: my movie theater experience | |
| Posted by: Billhaven 09:37 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - StageLover 09:01 am EDT 08/02/20 | |
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| Your chronology is off. SILKWOOD (1983) was the very next film Cher made after JIMMY DEAN. MOONSTRUCK was not until1987. | |
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| re: my movie theater experience | |
| Posted by: StageLover 09:47 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - Billhaven 09:37 am EDT 08/02/20 | |
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| Not my chronology, hers. That's why I wrote, "according to her". |
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| re: my movie theater experience | |
| Posted by: Billhaven 10:23 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - StageLover 09:47 am EDT 08/02/20 | |
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| My point is that this scenario makes no sense no matter who it’s according to. Cher was not hot in movies prior to Silkwood. Her Oscar turn was 4 years in the future. After the success of Silkwood she starred in Mask (her first lead since Chastity in 1969), then Witches of Eastwick and Suspect. | |
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| re: my movie theater experience | |
| Last Edit: davei2000 10:42 am EDT 08/02/20 | |
| Posted by: davei2000 10:39 am EDT 08/02/20 | |
| In reply to: re: my movie theater experience - Billhaven 10:23 am EDT 08/02/20 | |
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| In a recent telling by Cher, it sounds like it was Mike Nichols' idea to cast her in Silkwood and to apologize. | |
| Link | https://www.peoplemagazine.co.za/celebrity-news/international-celebrities/sickness-forced-cher-to-give-up-hollywood-dream/ |
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| re: Midnight Express hmophobia | |
| Posted by: whereismikeyfl 04:58 pm EDT 08/01/20 | |
| In reply to: Midnight Express hmophobia - WayneM 04:34 pm EDT 08/01/20 | |
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| The film's homophobia and xenophobia have been discussed many times. But it should be noted the film added these elements. The book's author talks about having homosexual relationships in prison--the film makes him reject any homosexual activity. The film eliminates the books positive depictions of Turkish men, making them all villains. The author, Billy Hayes, continues to be critical of the film for these changes. |
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| And Brad Davis created Ned in "Normal Heart" | |
| Posted by: Delvino 09:40 pm EDT 08/02/20 | |
| In reply to: re: Midnight Express hmophobia - whereismikeyfl 04:58 pm EDT 08/01/20 | |
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| With the blessing of Kramer. Still a bizarre piece of casting (though he was fine). The role is about a man who is nothing like Davis (i.e. a Kramer surrogate/proxy). It was close to casting Michelle P in Frankie and Johnnie. | |
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| re: And Brad Davis created Ned in "Normal Heart" | |
| Posted by: Michael_Portantiere 11:37 pm EDT 08/03/20 | |
| In reply to: And Brad Davis created Ned in "Normal Heart" - Delvino 09:40 pm EDT 08/02/20 | |
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| "The role is about a man who is nothing like Davis (i.e. a Kramer surrogate/proxy). " And the casting of that role WAY against type was carried forward to the movie of THE NORMAL HEART. Mark Ruffalo's acting was wonderful, of course, but he was very miscast in the role of Ned Weeks -- that is, if you feel the character should have at least a general resemblance to Kramer in terms of type. |
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| re: Midnight Express hmophobia | |
| Posted by: Ann 04:39 pm EDT 08/01/20 | |
| In reply to: Midnight Express hmophobia - WayneM 04:34 pm EDT 08/01/20 | |
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| What a horrible experience, and insane audience reaction. I saw it sometime after the initial release, at a weekday matinee when I was unemployed (but saw lots of movies). I may have been the only one there. |
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| re: Film director/screenwriter ("Evita") Alan Parker has died | |
| Posted by: Michael_Portantiere 02:44 pm EDT 08/01/20 | |
| In reply to: Film director/screenwriter ("Evita") Alan Parker has died - Ann 09:45 am EDT 08/01/20 | |
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| ***The most terrifying film I had seen at the time, "Midnight Express"*** I can certainly understand why you felt that way. At the risk of stating the obvious, the terror in that movie is all the more powerful because it's real-life terror based on a true experience -- even if some details were exaggerated, and I really don't think they were. I've loved several of Parker's films, and have always appreciated his versatility. Whatever the flaws of the EVITA film, and even if one has strongly negative feelings about Madonna's performance, I think the movie is an exceptionally well directed film adaptation of a stage musical in so many ways -- the spectacular location filming, the camera work, the editing, the pacing, the excellence of the screenplay adaptation, etc As I recall, the only strange flaw in the direction is when Parker cuts to a VERY long shot just as Madonna launches into the first chorus of "Don't Cry for Me, Argentina." I've never been able to figure out why he did that. Some non-fans of Madonna have suggested it's because her acting is inadequate, but of course, the camera is fairly close on her in much of the rest of the song, and I really think it needed to be much closer for the first statement of the most famous part of that song. |
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| I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Last Edit: DanielVincent 03:52 pm EDT 08/01/20 | |
| Posted by: DanielVincent 03:40 pm EDT 08/01/20 | |
| In reply to: re: Film director/screenwriter ("Evita") Alan Parker has died - Michael_Portantiere 02:44 pm EDT 08/01/20 | |
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| As you alluded to, there are, of course, a lot of mixed feelings toward the film and Madonna's performance, not to mention the musical itself. However, if we try to look at the film's reception--both critically and commercially--as objectively as possible, I think it's reasonable to characterize it as a qualified success. Box Office Mojo estimates its budget as $55 million and its worldwide gross as $141,047,179, $50 million of which was domestic. Reviews were on the positive side of mixed and it picked up several Oscar and Golden Globe nominations, winning Best Original Song at the former ceremony (arguably a more significant win for a musical film than a non-musical) and Best Motion Picture - Comedy or Musical, Best Performance by an Actress in a Motion Picture - Comedy or Musical, and Best Original Song at the latter ceremony. Though I don't know anyone connected to the film, I think it's reasonable to assume that there were higher hopes for it at the Oscars, especially for Madonna's performance, and for its domestic box office. Nevertheless, Evita proved that a big budget, live action, wide release movie musical was commercially and critically viable--which many had doubted for years. When we think about the life of the movie musical, the apex of its modern resurgence is often described as Chicago, which, despite my own mixed feelings about the movie, I also think is reasonable. People often point to the Ashman/Menken/Rice/John animated Disney movies and the Zadan/Meron telemusicals, especially Cinderella and Gypsy, as having paved the way for Chicago--and deservedly so. But I think people undercredit Evita's significance. Like the Disney musicals, it was a wide release feature film; like the telemusicals, it was live action and a showcase for major celebrities* of the day. It's important connective tissue. *And let's not forget how important celebrities are in getting films financed. I'm sure many were interested in signing on to later projects like Chicago, Hairspray, Into the Woods, and Nine because of the awards circuit love enjoyed by actors in these earlier projects: Madonna, Golden Globe winner for Evita; Antonio Banderas, Golden Globe nominee for Evita; Bette Midler, Golden Globe winner and Emmy nominee for Gypsy; Kathy Bates, Golden Globe and Emmy nominee for Annie; and, if we're willing to consider Life with Judy Garland: Me and My Shadows a musical, then Judy Davis, Golden Globe and Emmy winner, and Tammy Blanchard, Golden Globe nominee and Emmy winner. |
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| re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Last Edit: Delvino 09:54 pm EDT 08/02/20 | |
| Posted by: Delvino 09:53 pm EDT 08/02/20 | |
| In reply to: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - DanielVincent 03:40 pm EDT 08/01/20 | |
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| Who else in the NYC area recalls the advance ticket sales? I went to the opening day (Dec. 26 or 27th if memory serves), the big, premium space on B'way/Upper West Side. I got tickets 10 days in advance, and most performances sold out. It was a spectacularly beautiful film, marred only by the music not shaking the rafters. It needed to feel big, explosive at times, and the soundtrack, even on pristine equipment just didn't have enough power to my ears. Here we had an MTV star in the lead, and the mix in the print was too respectful. Plus, a number like "Buenos Aires" begged for a splashy Madonna performance, and it was edited poorly, no build, no sexual energy, heat or perspiration; afraid to look like a musical number. Small quibble, along with some of Madonna's lesser work (the middle scenes with Pryce, you can see her discomfort with the contact lenses and not having enough intention in scenes; once he's elected, she's at her best). Mostly, it works, and Bandaras doesn't get much credit, either. The great cinematographer, Darius Khondji, did exquisite work. | |
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| re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Posted by: EvFoDr 07:25 pm EDT 08/04/20 | |
| In reply to: re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - Delvino 09:53 pm EDT 08/02/20 | |
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| I didn't live in New York at the time, but we had advance ticket sales where I was, too (Kansas City). That was back before buying in advance was really a thing, and I remember the ticket being very attractive, with a color logo, as opposed to the usual cardboard like thing spit out by most movie ticket machines. I think there was only one--or maybe two--venues in town where the film could be seen on opening weekend. I think in KC it might have been New Year's Day, but could have been Christmas time. It's interesting that you credit the music mix in the film print as being the culprit for certain moments not being big or explosive enough. I always credited that to the casting (yes I know totally necessary in order to get the film made) of a person who could not sing the most exciting and explosive parts of the score as written. I think the orchestra and Antonio Banderas pop rather excitingly throughout. Don't get me wrong, I am not a Madonna hater---like her quite a lot in fact. And watching the movie again recently with some distance I really like what she did in the majority of the film. Overall I think it worked. And for non musical theatre afficianados who don't even like the sound of a "Broadway" singer, and had no point of comparison for the parts of the score Madonna couldn't handle, it could very well have been a perfect experience. I especially enjoy the Lament in the film, which I am pretty certain is not the same cut that is on the commercially released soundtrack. The film version is more raw and emotional. Not sure if Madonna is singing live there or how that was acheived since the entire score had been recorded in advance of filming. I also think that the cut of She Is A Diamond in the film is not the cut on the soundtrack. And again, I think the cut in the film is better. |
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| "Lament" was indeed sung live. | |
| Posted by: DanielVincent 05:50 pm EDT 08/05/20 | |
| In reply to: re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - EvFoDr 07:25 pm EDT 08/04/20 | |
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| I can't remember if it was on the DVD or even the laserdisc (yes, I had a laserdisc player), but in an audio commentary or possibly an interview, Parker said the Lament (and the whole scene) was indeed sung live. The gist of his comment was that Madonna and Jonathan Pryce did such beautiful work in the scene and it was such a different level of intensity than what had been sung in the studio, he felt he had to use the live version. I have a significantly vaguer memory of a magazine article where Madonna discussed shooting the Lament scene and thinking of her mother, who died when she was a child, and the unborn daughter she was carrying, and how the connection caused the emotion of the scene to hit her much harder. |
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| re: "Lament" was indeed sung live. | |
| Posted by: Michael_Portantiere 02:11 pm EDT 08/06/20 | |
| In reply to: "Lament" was indeed sung live. - DanielVincent 05:50 pm EDT 08/05/20 | |
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| When EVITA was first released and I saw in in a theater on opening night, it was quite clear to me from that first viewing that both "She is a Diamond" and the "Lament" were sung live on set by Pryce and Madonna. There are many things I love about the movie, but I think one of the flaws is that in the bulk of the film, where the songs are lip-synched to tracks, the illusion that the actors are singing live is not successfully created. I think mostly because there's something about the acoustic of the vocals and the sound mix that give the whole thing more of a music video feel, and maybe that was intentional. | |
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| re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Posted by: mikem 09:47 pm EDT 08/01/20 | |
| In reply to: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - DanielVincent 03:40 pm EDT 08/01/20 | |
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| The Evita soundtrack also did well commercially. The album hit #2 in the US and #1 in the UK, and it sold several million copies. "Don't Cry for Me Argentina" was also released in a remixed, more uptempo, Latin-influenced version, and the single hit #8 in the US and #3 in the UK (and #1 in France, Spain, Canada, and several other countries). I believe that this was the most recent song originally from a stage musical to hit the Top 10 in the US. It, "Summer Nights" from the Grease movie, and "One Night in Bangkok" are the only three I can think of that have done so in the past 50 years -- am I forgetting one? (Of course, commercial success of the music isn't typically enough. Xanadu is a perfect example. The music was extremely successful, but the movie didn't sell tickets and was a major flop.) |
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| re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Posted by: Michael_Portantiere 11:46 pm EDT 08/01/20 | |
| In reply to: re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - mikem 09:47 pm EDT 08/01/20 | |
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| Interesting. I remember that "You're the One That I Want" from GREASE was a huge hit, but I didn't realize that the soundtrack performance of "Summer nights" hit the Top 10. | |
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| re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. | |
| Posted by: mikem 01:33 pm EDT 08/02/20 | |
| In reply to: re: I don't think Evita gets enough credit for its contributions to the rebirth of the movie musical. - Michael_Portantiere 11:46 pm EDT 08/01/20 | |
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| The Grease soundtrack must have been a real phenomenon at the time. There were four Top 10 hits, of which "Summer Nights" was the only one written for the stage musical. The other three ("You're the One that I Want," "Hopeless Devoted to You," and "Grease") were all written for the film. Trivia footnote: In the UK, Summer Nights was #1 for seven weeks, and You're the One That I Want was #1 for nine weeks. For several years, the act credited as "John Travolta and Olivia Newton-John" were the only "group" that hit #1 in the UK twice and never had another hit before or since. In 1990, a "Grease Megamix" was released, which hit #3 and negated that situation. Even more trivial trivia: in the US, the duo LMFAO almost did this. They were featured on a #31 hit in 2010, then had two #1's as the lead artist in 2011. The follow-up only went to #49, and they broke up shortly afterwards, so their last two Top 40 hits were both #1's. |
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| re: Film director/screenwriter ("Evita") Alan Parker has died | |
| Posted by: NW 12:01 pm EDT 08/01/20 | |
| In reply to: Film director/screenwriter ("Evita") Alan Parker has died - Ann 09:45 am EDT 08/01/20 | |
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| "Midnight Express" is quite harrowing. Billy Hayes had a solo show about his experience that I saw at St. Luke's Theatre back in February 2014. According to the past performances section of the site below it came back to the Barrow Street Theatre in the fall of 2014. Even though I knew, more or less, what was coming listening to him talk about his experience was interesting. | |
| Link | http://www.ridingthemidnightexpresswithbillyhayes.com/ |
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| re: Film director/screenwriter ("Evita") Alan Parker has died | |
| Posted by: Ann 12:17 pm EDT 08/01/20 | |
| In reply to: re: Film director/screenwriter ("Evita") Alan Parker has died - NW 12:01 pm EDT 08/01/20 | |
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| I thought about seeing it but was afraid I'd have flashbacks to seeing the film. Amazing journey, though, for sure. | |
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| re: Film director/screenwriter ("Evita") Alan Parker has died | |
| Posted by: Snowgrace 12:13 pm EDT 08/01/20 | |
| In reply to: re: Film director/screenwriter ("Evita") Alan Parker has died - NW 12:01 pm EDT 08/01/20 | |
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| YES, probably the most terrifying film I too had seen up to that point (& haha 1st R rated film that my friends & I had gotten into on our own)...gosh, that film, & FAME...Parker did powerful work, at least 2 of which stayed planted in my brain for all my teen years & way beyond those...wishing he had been able to do way more projects in recent years. | |
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