Science fiction has gifted us some of the most iconic villains in cinematic history, from the imposing presence of Darth Vader to the dread-inspiring Predator. It's hard to imagine that these menacing figures could have sported entirely different appearances. In the world of movies and TV, the creative process often calls for exploring multiple paths before settling on a final look. What if these other designs had been embraced? Could V'ger from "Star Trek: The Motion Picture" or the "Forbidden Planet" Id Monster have been more effective if they weren't the figures we know today? Would the title creatures from "The Thing" or "Alien" frightened us so much if they had been imagined in other ways?
These distinct designs provide a rare glimpse into the untapped potential of characters and beings we love ... and love to hate. Such remarkable variations might have redefined our perception of these antagonists. Sometimes, the...
These distinct designs provide a rare glimpse into the untapped potential of characters and beings we love ... and love to hate. Such remarkable variations might have redefined our perception of these antagonists. Sometimes, the...
- 12/3/2023
- by Maurice Molyneaux
- Slash Film
One of the more appealing details of Ridley Scott's 1979 sci-fi film "Alien" is that it looks weirdly down-to-earth. It takes place centuries in the future and is set mostly on board a massive spacecraft, but the characters all wear common white t-shirts and cotton undergarments and speak like ordinary working-class miners. This is not the stuffy, formal world of "Star Trek." This is a future world of grunts, laborers, and normies. "Alien" is one of the few sci-fi movies that feels legitimately lived in.
But, since it was still a space-bound sci-fi adventure film, space suits were still going to be necessary. The crew of the Nostromo occasionally left their craft and explored planets that have unbreathable atmospheres, requiring them to suit up like ordinary 20th-century Earth astronauts. The film's space suits were designed by John Mollo, and they rested on an aesthetic matrix that included the drawings of...
But, since it was still a space-bound sci-fi adventure film, space suits were still going to be necessary. The crew of the Nostromo occasionally left their craft and explored planets that have unbreathable atmospheres, requiring them to suit up like ordinary 20th-century Earth astronauts. The film's space suits were designed by John Mollo, and they rested on an aesthetic matrix that included the drawings of...
- 11/26/2023
- by Witney Seibold
- Slash Film
The dress worn by Carrie Fisher in the final scene of the original “Star Wars,” which was long believed to have been destroyed, has been found and restored, and is now up for auction and could go for as much as $2 million.
The dress — worn during the scene where Princess Leia gives medals to Han and Luke — was found in an attic in London belonging to one of the film’s original crew members. It was restored by hand over an 8-month period, according to Prop Store Auction, which is handling sale of the dress.
According to the company, the dress is the only surviving costume worn by Carrie Fisher in “Star Wars.”
Also Read:
‘Star Wars: Visions’ Director Talks ‘Screecher’s Reach’ and Why It Anchors Volume 2: ‘We Said the Bad Guy’s Got to Be an American’
Designed by Academy Award-winning costume designer John Mollo, the dress...
The dress — worn during the scene where Princess Leia gives medals to Han and Luke — was found in an attic in London belonging to one of the film’s original crew members. It was restored by hand over an 8-month period, according to Prop Store Auction, which is handling sale of the dress.
According to the company, the dress is the only surviving costume worn by Carrie Fisher in “Star Wars.”
Also Read:
‘Star Wars: Visions’ Director Talks ‘Screecher’s Reach’ and Why It Anchors Volume 2: ‘We Said the Bad Guy’s Got to Be an American’
Designed by Academy Award-winning costume designer John Mollo, the dress...
- 6/27/2023
- by Ross A. Lincoln
- The Wrap
Since the very first movie premiered in 1977, “Star Wars” has been a franchise with a clearly identifiable aesthetic: rusty armor, billowing capes and a retro vibe firmly entrenched in ’70s science fiction. Later iterations of the franchise would update or play with that look to varying extents, but “The Book of Boba Fett” miniseries on Disney Plus is a full-fledged resurgence of the original trilogy’s magic, thanks to the work of costume designer Shawna Trpcic.
A hardcore “Star Wars” fan, Trpcic first joined the franchise during season 2 of “The Mandalorian.”
In preparation for diving into the show’s spinoff “The Book of Boba Fett,” she studied the original making-of books that George Lucas created during production of the first movie, which provided templates for the original designers like production illustrator Ralph McQuarrie and costume designer John Mollo to follow. Then, she started working to create costumes that looked and...
A hardcore “Star Wars” fan, Trpcic first joined the franchise during season 2 of “The Mandalorian.”
In preparation for diving into the show’s spinoff “The Book of Boba Fett,” she studied the original making-of books that George Lucas created during production of the first movie, which provided templates for the original designers like production illustrator Ralph McQuarrie and costume designer John Mollo to follow. Then, she started working to create costumes that looked and...
- 2/3/2022
- by Wilson Chapman
- Variety Film + TV
Star Wars fans woke up to some sad news, as actor and former bodybuilder David Prowse has passed away. The British character actor died at the age of 83, and if you’re at all a lover of the Star Wars Saga, you know who he played. Prowse of course played Darth Vader, providing the screen presence and size needed to instantly make Vader into an iconic villain. Even without the voice, which was memorable dubbed over his by James Earl Jones (an iconic performance on its own), Prowse made the character imposing and a part of cinematic history. He will be missed, not just by fans, but by all in the film world. Here’s some of the obituary for Prowse from The Guardian: Cinema audiences were introduced to the terrifying Darth Vader when he appeared through the smoky residue of a laser battle at the beginning of Star Wars...
- 11/29/2020
- by Joey Magidson
- Hollywoodnews.com
Bhanu Athaiya, the costume designer who became the first Indian to win an Oscar, for Richard Attenborough’s “Gandhi” (1982), died at her home in Mumbai Thursday after a prolonged illness. She was 91.
Athaiya was suffering from a brain tumor for the last eight years, her daughter Radhika Gupta told news agency Pti.
Athaiya was born in Kolhapur, western India, in 1929. She began her career as a fashion illustrator for magazines before she moved to designing costumes for films. She made her debut with Raj Khosla’s “C.I.D.” (1956) and went on to design for some of the landmark films of Indian cinema, including Guru Dutt’s “Pyaasa” (1957) and “Kaagaz Ke Phool” (1959) and Abrar Alvi’s “Sahib Bibi Aur Ghulam” (1962).
She designed for more than 100 Indian films over a career spanning nearly 60 years. Her output in the 1960s included “Gunga Jumna,” “Waqt,” “Amrapali,” “Teesri Manzil” and “Milan.” In the 1970s she worked on “Johny Mera Naam,...
Athaiya was suffering from a brain tumor for the last eight years, her daughter Radhika Gupta told news agency Pti.
Athaiya was born in Kolhapur, western India, in 1929. She began her career as a fashion illustrator for magazines before she moved to designing costumes for films. She made her debut with Raj Khosla’s “C.I.D.” (1956) and went on to design for some of the landmark films of Indian cinema, including Guru Dutt’s “Pyaasa” (1957) and “Kaagaz Ke Phool” (1959) and Abrar Alvi’s “Sahib Bibi Aur Ghulam” (1962).
She designed for more than 100 Indian films over a career spanning nearly 60 years. Her output in the 1960s included “Gunga Jumna,” “Waqt,” “Amrapali,” “Teesri Manzil” and “Milan.” In the 1970s she worked on “Johny Mera Naam,...
- 10/15/2020
- by Naman Ramachandran
- Variety Film + TV
Will the highest grossing film of the year “Black Panther” score a Best Picture nomination? It’s a fair question as no Marvel film has ever even been in the conversation. And the question has produced so much turmoil the academy temporarily thought of adding a Best Popular Film category. We should look towards another popular origin story that was not your typical Oscar fare — 1977’s “Star Wars: IV A New Hope” — as our guide towards “Black Panther’s” potential Oscar nomination haul.
George Lucas’s original “Star Wars” spawned a franchise that includes seven prequels and sequels and two spinoffs to date. Luke Skywalker’s origin story maybe outside the Oscars comfort zone but that didn’t stop the film from picking up 10 nominations including Best Picture; Best Director (Lucas); Best Original Screenplay (Lucas); and Best Supporting Actor (Alec Guinness).
It won six below-the line races: Best Film Editing...
George Lucas’s original “Star Wars” spawned a franchise that includes seven prequels and sequels and two spinoffs to date. Luke Skywalker’s origin story maybe outside the Oscars comfort zone but that didn’t stop the film from picking up 10 nominations including Best Picture; Best Director (Lucas); Best Original Screenplay (Lucas); and Best Supporting Actor (Alec Guinness).
It won six below-the line races: Best Film Editing...
- 1/19/2019
- by Amanda Spears
- Gold Derby
Mild Spoilers
Solo: A Star Wars Story (2018) is far and away the most ‘A New Hope-like’ film in the series yet. In terms of tone, sure, but particularly costume.
What costume designers Glyn Dillon and David Crossman have so expertly achieved with Solo is making a contemporary looking movie set during the late 1960s. Star Wars: A New Hope was released in 1977 which puts Solo’s timeline around a decade before, or likely just over. But hang on, isn’t this a science fiction movie? What does when it’s made have to do with the space opera world being brought to life on screen? Well the seventies in particular was one of the most eclectic and anachronistic costume decades of all time, especially for period, sci-fi and fantasy. There were wide lapels, flared trousers and hostess dresses seen in anything from Edwardian Britain to 23rd century cosmos. Fashion influence...
Solo: A Star Wars Story (2018) is far and away the most ‘A New Hope-like’ film in the series yet. In terms of tone, sure, but particularly costume.
What costume designers Glyn Dillon and David Crossman have so expertly achieved with Solo is making a contemporary looking movie set during the late 1960s. Star Wars: A New Hope was released in 1977 which puts Solo’s timeline around a decade before, or likely just over. But hang on, isn’t this a science fiction movie? What does when it’s made have to do with the space opera world being brought to life on screen? Well the seventies in particular was one of the most eclectic and anachronistic costume decades of all time, especially for period, sci-fi and fantasy. There were wide lapels, flared trousers and hostess dresses seen in anything from Edwardian Britain to 23rd century cosmos. Fashion influence...
- 6/18/2018
- by Lord Christopher Laverty
- Clothes on Film
Just three years after winning an Academy Award as a supporting actress, Meryl Streep took another Oscar home as Best Actress. Watch the video above as Sylvester Stallone announces her name for the 1982 film “Sophie’s Choice,” and the pregnant Streep drops her speech at the podium before she receives the trophy. Sly refers her to as the “marvelous” Meryl Streep when opening the envelope.
SEEOscars flashback: Meryl Streep exclaims ‘Holy mackerel’ winning her 1st Oscar for ‘Kramer vs. Kramer’ [Watch]
When Streep first heard that William Styron’s novel about a Holocaust survivor who befriends two eccentric young men in New York City was being turned into a film, she knew she had to play the part. She reportedly begged writer/director Alan J. Pakula for the part on bended knee. Only after Ursula Andress, Magdalena Vasaryova and Liv Ullman proved unavailable, was Streep granted the role of Sophie Zawistowski.
SEEOscars flashback: Meryl Streep exclaims ‘Holy mackerel’ winning her 1st Oscar for ‘Kramer vs. Kramer’ [Watch]
When Streep first heard that William Styron’s novel about a Holocaust survivor who befriends two eccentric young men in New York City was being turned into a film, she knew she had to play the part. She reportedly begged writer/director Alan J. Pakula for the part on bended knee. Only after Ursula Andress, Magdalena Vasaryova and Liv Ullman proved unavailable, was Streep granted the role of Sophie Zawistowski.
- 2/27/2018
- by Jack Fields
- Gold Derby
The upcoming 90th Academy Awards will mark the 25th consecutive year that the Oscars will feature an “In Memoriam” segment. While it had been done on occasion before, the annual tribute to Academy members and other film legends started a regular tradition at the 1994 ceremony hosted by Oscar winner Whoopi Goldberg.
SEE2018 Oscars: Best Song performers include Mary J. Blige, Common, Andra Day, Keala Settle, Sufjan Stevens
We’ve assembled a list below of people who have died in the past 12 months who might be featured during the “In Memoriam” for the ceremony hosted by Jimmy Kimmel on March 4. Producers have not yet revealed who might be performing during the tribute. Sure to have prominent placements are previous Oscar champ Martin Landau (“Ed Wood,” 1994), honorary Oscar recipient Jerry Lewis and respected actor Bill Paxton (“Titanic,” “Apollo 13”). Paxton actually died on the weekend of last year’s ceremony and was mentioned on the broadcast,...
SEE2018 Oscars: Best Song performers include Mary J. Blige, Common, Andra Day, Keala Settle, Sufjan Stevens
We’ve assembled a list below of people who have died in the past 12 months who might be featured during the “In Memoriam” for the ceremony hosted by Jimmy Kimmel on March 4. Producers have not yet revealed who might be performing during the tribute. Sure to have prominent placements are previous Oscar champ Martin Landau (“Ed Wood,” 1994), honorary Oscar recipient Jerry Lewis and respected actor Bill Paxton (“Titanic,” “Apollo 13”). Paxton actually died on the weekend of last year’s ceremony and was mentioned on the broadcast,...
- 2/26/2018
- by Chris Beachum
- Gold Derby
Historical adviser on films such as Barry Lyndon and The Charge of the Light Brigade, who turned designer for the sci-fi epic
John Mollo, who has died aged 86, received his first credit as costume designer on Star Wars (1977). Until then, he had served as historical adviser, with a special interest in costumes, on films including The Charge of the Light Brigade (1968), Nicholas and Alexandra (1971) and Stanley Kubrick’s Barry Lyndon (1975). On the last of these, he was responsible for the authenticity of costumes worn by around 250 soldiers from the Irish army who had been hired as extras to portray the forces of England, Prussia and France in the seven years’ war.
But it was Star Wars that transformed Mollo’s career, as was the case for most of the people who worked on it. The artist Ralph McQuarrie had come up with the original paintings for the characters; it was...
John Mollo, who has died aged 86, received his first credit as costume designer on Star Wars (1977). Until then, he had served as historical adviser, with a special interest in costumes, on films including The Charge of the Light Brigade (1968), Nicholas and Alexandra (1971) and Stanley Kubrick’s Barry Lyndon (1975). On the last of these, he was responsible for the authenticity of costumes worn by around 250 soldiers from the Irish army who had been hired as extras to portray the forces of England, Prussia and France in the seven years’ war.
But it was Star Wars that transformed Mollo’s career, as was the case for most of the people who worked on it. The artist Ralph McQuarrie had come up with the original paintings for the characters; it was...
- 11/1/2017
- by Ryan Gilbey
- The Guardian - Film News
John Mollo (pictured to the left), the costume designer who brought to life Ralph McQuarrie and George Lucas’ conceptual vision for Star Wars, has died. He was 86.
His death was reported in The Times of London.
A military history expert, Mollo had never seen a science-fiction film before agreeing to meet with Lucas, who was planning his third feature after his Oscar-nominated American Graffiti (1973).
“We discussed a few concepts when I joined the team, and George had a clear vision of what he was looking for. He liked the idea of the baddies having a fascist look about them, with...
His death was reported in The Times of London.
A military history expert, Mollo had never seen a science-fiction film before agreeing to meet with Lucas, who was planning his third feature after his Oscar-nominated American Graffiti (1973).
“We discussed a few concepts when I joined the team, and George had a clear vision of what he was looking for. He liked the idea of the baddies having a fascist look about them, with...
- 10/28/2017
- by Rhett Bartlett
- The Hollywood Reporter - Movie News
Last week we debuted a clip from Mark Hamill's Comic-Con HQ series Pop Culture Quest. In the clip, Hamill was reunited with his original prop lightsaber from the Star Wars film Return of the Jedi. It was pretty cool to see the actor hold the lightsaber for the first time in decades.
During a recent interview with ScreenRant, Hamill was asked how he felt about holding the hilt of the lightsaber after all these years, and this was his reply:
"I didn't know that was going to happen. People sometimes assume that we get to keep our props which, of course, we don't. I didn't know that they were going to have that on set. That's the fun thing about a show like this; it's unpredictable, and you can never be sure exactly what's going to happen. And it has some emotional resonance for me, because I'm not overly sentimental,...
During a recent interview with ScreenRant, Hamill was asked how he felt about holding the hilt of the lightsaber after all these years, and this was his reply:
"I didn't know that was going to happen. People sometimes assume that we get to keep our props which, of course, we don't. I didn't know that they were going to have that on set. That's the fun thing about a show like this; it's unpredictable, and you can never be sure exactly what's going to happen. And it has some emotional resonance for me, because I'm not overly sentimental,...
- 1/20/2017
- by Joey Paur
- GeekTyrant
Spoilers
Ahead of a detailed interview with Star Wars: The Force Awakens costume designer Michael Kaplan (currently hard at work on Episode VIII), we take a brief look at his undeniable achievement in bringing the 1970s – early 80’s back to life right here in the present. How do you make the now look old when paradoxically it is supposed to be the new? Well, you go simple.
We say simple, but we mean ‘back to basics’. This is not the prequels; The Force Awakens takes place thirty years after the Rebellion defeated the Empire. Now both sides are in state of rebuilding so there is little call for Padmae’s luxurious robes or the ritualistic Red Guards of The Return of the Jedi (1983, costume designer Aggie Guerard Rogers). Captain Phasma’s (Gwendoline Christie) brushed armour provides probably the most regal costume in The Force Awakens and even that exists predominately...
Ahead of a detailed interview with Star Wars: The Force Awakens costume designer Michael Kaplan (currently hard at work on Episode VIII), we take a brief look at his undeniable achievement in bringing the 1970s – early 80’s back to life right here in the present. How do you make the now look old when paradoxically it is supposed to be the new? Well, you go simple.
We say simple, but we mean ‘back to basics’. This is not the prequels; The Force Awakens takes place thirty years after the Rebellion defeated the Empire. Now both sides are in state of rebuilding so there is little call for Padmae’s luxurious robes or the ritualistic Red Guards of The Return of the Jedi (1983, costume designer Aggie Guerard Rogers). Captain Phasma’s (Gwendoline Christie) brushed armour provides probably the most regal costume in The Force Awakens and even that exists predominately...
- 12/21/2015
- by Lord Christopher Laverty
- Clothes on Film
For a big budget movie about a lone astronaut who gets stranded on Mars, the spacesuits in The Martian are surprisingly sober in terms of design. There is an attempt here to make everything seem as plausible as possible, costume design especially. Director Ridley Scott’s regular costumer Janty Yates has created possibly the sexiest spacesuits ever seen on screen, and what’s more they are functional. To paraphrase a line in the film, she had to “science the shit out of them”.
Yates collaborated with Nasa looking specifically at their Z1 and Z2 prototypes to create an Eva (‘Extravehicular Activity’ – any time the crew must go outside) suit and surface or ‘bio’ suit (worn on Mars). The surface suit is similar to the blue under-suits she created for Scott’s near future set Prometheus in 2012, although further grounded in reality. The Prometheus under-suits could, in theory, monitor functioning levels of the human body,...
Yates collaborated with Nasa looking specifically at their Z1 and Z2 prototypes to create an Eva (‘Extravehicular Activity’ – any time the crew must go outside) suit and surface or ‘bio’ suit (worn on Mars). The surface suit is similar to the blue under-suits she created for Scott’s near future set Prometheus in 2012, although further grounded in reality. The Prometheus under-suits could, in theory, monitor functioning levels of the human body,...
- 10/6/2015
- by Lord Christopher Laverty
- Clothes on Film
The Star Wars franchise is going strong 38 years later. But what about the artists and filmmakers who helped make the 1977 original a hit?
In theatres all over the world in 1977, audiences thrilled at the sights and sounds of Star Wars. Harking back to a bygone age of Flash Gordon and Buck Rogers, it also pointed forward to the coming age of ubiquitous computers and special effects-led blockbusters.
But while the triumphant fanfare of John Williams' score gave Star Wars a confident swagger, its success was far from preordained. George Lucas reworked his script time and again; studios turned his concept down; even the production was rushed and torturous.
By now, the contribution George Lucas, John Williams and Star Wars' cast made to cinema is well documented. But what about some of the other artists, technicians and fellow filmmakers who helped to make the movie such a success? Here's...
In theatres all over the world in 1977, audiences thrilled at the sights and sounds of Star Wars. Harking back to a bygone age of Flash Gordon and Buck Rogers, it also pointed forward to the coming age of ubiquitous computers and special effects-led blockbusters.
But while the triumphant fanfare of John Williams' score gave Star Wars a confident swagger, its success was far from preordained. George Lucas reworked his script time and again; studios turned his concept down; even the production was rushed and torturous.
By now, the contribution George Lucas, John Williams and Star Wars' cast made to cinema is well documented. But what about some of the other artists, technicians and fellow filmmakers who helped to make the movie such a success? Here's...
- 4/22/2015
- by ryanlambie
- Den of Geek
No voice-over performance has ever been nominated for an acting Oscar. Could Scarlett Johansson's role as a sentient operating system in "Her" be the first? I think it very well could be; it's unlike other off-screen performances that have come before. Some of the most iconic performances in film have been voice-overs, from Douglas Rain as Hal 9000, to James Earl Jones as Darth Vader, to Robin Williams as Genie. The problem with most of those performances from an awards perspective is that they're usually enhanced by means beyond the actors' control. How much do you credit Darth Vader to Jones as opposed to the physical presence of David Crowse and Oscar-winning costume design by John Mollo. And how do we separate Williams' charismatic voice-acting from the character animators who created Genie? I suspect that's the same reason motion-capture performances haven't broken through at the Oscars. One may be impresse.
- 10/15/2013
- Gold Derby
Over at the Prometheus Forums is an interesting post and set of picture-comparisons by the poster 'Lethal_Mutation', in which it's suggested that the space-suits in Ridley Scott's Alien prequel, released in early June of this year, derive a lot of tech-dna from a 1962 Soviet science-fiction film called Planeta Bur (aka Planet of the Storms, Planet of Storms, Planet of Tempests, and Storm Planet, among many others).
Lethal_Mutation (those of us who don't speak Russian will have to trust him on this) has translated part of a rather aggrieved article from a popular Russian Prometheus blog...
It appears that the design of the Prometheus spacesuits is not original but based on spacesuits from the Ussr developed in the early 1960's. Spacesuits of a similar design were first shown in the 1961 Soviet science fiction film, Planet of the Storms directed by Paul Klushantsev...It was purchased by the American studio,...
Lethal_Mutation (those of us who don't speak Russian will have to trust him on this) has translated part of a rather aggrieved article from a popular Russian Prometheus blog...
It appears that the design of the Prometheus spacesuits is not original but based on spacesuits from the Ussr developed in the early 1960's. Spacesuits of a similar design were first shown in the 1961 Soviet science fiction film, Planet of the Storms directed by Paul Klushantsev...It was purchased by the American studio,...
- 3/30/2012
- Shadowlocked
It looks like the inspiration for designs of Darth Vader and C3PO have been uncovered. Star Wars costume designers John Mollo and Bermans Nathans may have taken inspiration from old smoke helmets. You really can't deny the likeness of the helmets pictured above.
Here is an explanation of the masks from Collector's Weekly:
"The black leather helmet on the left is labeled "Respirations Apparat" by "G.B.Konic Altona," was made in Hamburg, Germany, and has the look of an African Dan mask. The brass, three-quarter face mask to its right was made in Paris by J. Mandet.
This type of breathing mask had a very simple apparatus, allowing only a short range of operation. When used, air would be forced into the helmet through no more than 13 meters of flexible tubing by means of a bellows operated remotely from the outside. Both of these masks have mica lenses...
Here is an explanation of the masks from Collector's Weekly:
"The black leather helmet on the left is labeled "Respirations Apparat" by "G.B.Konic Altona," was made in Hamburg, Germany, and has the look of an African Dan mask. The brass, three-quarter face mask to its right was made in Paris by J. Mandet.
This type of breathing mask had a very simple apparatus, allowing only a short range of operation. When used, air would be forced into the helmet through no more than 13 meters of flexible tubing by means of a bellows operated remotely from the outside. Both of these masks have mica lenses...
- 12/14/2010
- by Venkman
- GeekTyrant
George Lucas, 1977
The original Star Wars (let's not bother with this Episode IV: A New Hope subheading nonsense) lays its cards on the table with its opening shot: a gigantic, evil-looking spaceship chasing down a far smaller craft. Like the rest of the movie, you could watch it with the sound off and completely follow what was going on. It's the purity of the story that has made this film endure, the classic themes handed down through the ages. It may be dressed up with robots, spaceships and trash compactors, but it's the old-as-time hero journey – George Lucas has said he consciously modelled his screenplay on Joseph Campbell's study of comparative mythology The Hero With a Thousand Faces.
In the cynical 70s, the notion of making a movie that mixed Kurosawa and Flash Gordon must have sounded as ludicrous as it does today. The film industry wasn't even ready for...
The original Star Wars (let's not bother with this Episode IV: A New Hope subheading nonsense) lays its cards on the table with its opening shot: a gigantic, evil-looking spaceship chasing down a far smaller craft. Like the rest of the movie, you could watch it with the sound off and completely follow what was going on. It's the purity of the story that has made this film endure, the classic themes handed down through the ages. It may be dressed up with robots, spaceships and trash compactors, but it's the old-as-time hero journey – George Lucas has said he consciously modelled his screenplay on Joseph Campbell's study of comparative mythology The Hero With a Thousand Faces.
In the cynical 70s, the notion of making a movie that mixed Kurosawa and Flash Gordon must have sounded as ludicrous as it does today. The film industry wasn't even ready for...
- 10/21/2010
- by Phelim O'Neill
- The Guardian - Film News
So much has been written about H.R. Giger’s justly-renowned xenomorph design that the human costume design in the Alien films goes largely unnoticed. In the first of a two-part special, we revisit the saga on Blu-ray to look at just how important these costumes are in contextualising primal terror.
Traditionally, costume designers in science-fiction movies depicted the future as being utilitarian, uniform and very clinical: think of Forbidden Planet (1956) or 2001: A Space Odyssey (1968) for good examples of the space-faring look. The early 1970s saw a slight sea-change when Dark Star (1974), the John Carpenter film scripted by future Alien creator Dan O’Bannon, depicted space travel as a grubby, grimy business fit only for slackers. The break with 2001 was intentional, since the film is in part a satire of Kubrick’s vision, but it is also worth noting that Dark Star was a student film that got lucky; it...
Traditionally, costume designers in science-fiction movies depicted the future as being utilitarian, uniform and very clinical: think of Forbidden Planet (1956) or 2001: A Space Odyssey (1968) for good examples of the space-faring look. The early 1970s saw a slight sea-change when Dark Star (1974), the John Carpenter film scripted by future Alien creator Dan O’Bannon, depicted space travel as a grubby, grimy business fit only for slackers. The break with 2001 was intentional, since the film is in part a satire of Kubrick’s vision, but it is also worth noting that Dark Star was a student film that got lucky; it...
- 10/19/2010
- by Simon Kinnear
- Clothes on Film
Since 19th July, The London Film Museum has been running an exhibition of props and costumes from 20th Century Fox movies to celebrate the studio’s 75th anniversary. Clothes on Film decided to make a visit, a bit late in the day, but we had a good look round anyway.
There were not that many costumes in the Fox exhibition (certainly considering the history of the studio), but the museum itself has plenty more to see. Just to be in the same room as some of these memorable outfits is a thrill, especially from more recent movies where memories are fresh. With this is mind, here is our pick of Fox’s lot and the best the museum has to offer:
Australia (2008):
One thing about Baz Luhrmann’s Australia, regardless of the quality of the film itself, is that the World War II era costumes are dazzling . This red...
There were not that many costumes in the Fox exhibition (certainly considering the history of the studio), but the museum itself has plenty more to see. Just to be in the same room as some of these memorable outfits is a thrill, especially from more recent movies where memories are fresh. With this is mind, here is our pick of Fox’s lot and the best the museum has to offer:
Australia (2008):
One thing about Baz Luhrmann’s Australia, regardless of the quality of the film itself, is that the World War II era costumes are dazzling . This red...
- 8/16/2010
- by Chris Laverty
- Clothes on Film
Want to know exactly what a costume designer does? Let Ellen Mirojnick, BAFTA nominated costume designer on films such as Wall Street, Chaplin, and Cloverfield explain it to you. Here she talks exclusively to Clothes on Film.
Clothes on Film: Can you tell us, as simply as possible, what the role of a movie costume designer is?
Ellen Mirojnick: The costume designer is responsible for creating each character’s look that will be the visual translation of the directors’ vision of the film.
Cof: Do all costume designers make costumes themselves?
Em: I don’t sew or stitch myself. I am sure there are some designers who do, but generally the designer works with others who drape, cut and sew.
Cof: How much autonomy are you given as a costume designer and how much influence comes from other sources, the lead actors, director, etc?
Em: As the costume designer,...
Clothes on Film: Can you tell us, as simply as possible, what the role of a movie costume designer is?
Ellen Mirojnick: The costume designer is responsible for creating each character’s look that will be the visual translation of the directors’ vision of the film.
Cof: Do all costume designers make costumes themselves?
Em: I don’t sew or stitch myself. I am sure there are some designers who do, but generally the designer works with others who drape, cut and sew.
Cof: How much autonomy are you given as a costume designer and how much influence comes from other sources, the lead actors, director, etc?
Em: As the costume designer,...
- 4/23/2010
- by Chris Laverty
- Clothes on Film
Episode five of the "Star Wars" saga (grandly designed as nine films), "The Empire Strikes Back" is unquestionably the best installment of 20th Century Fox's science fiction trilogy and arguably the crowning achievement of the fantasy-adventure genre reinvented in the 1970s and '80s by George Lucas and Steven Spielberg.
Destined for boxoffice glory in its rerelease as part of the hugely successful "Stars Wars Trilogy Special Edition," director Irvin Kershner's 1980 sequel to Lucas' 1977 boxoffice powerhouse is beautifully crafted, intelligently scripted and holds up very well.
Indeed, there were not many missteps in its original incarnation. Although there are no major new scenes, "Empire" nonetheless benefits from minor additions and tinkering by Lucas' Industrial Light and Magic (new views of the Cloud City are breathtaking), as well as the improved and remastered soundtrack.
From one of John Williams' finest scores to Norman Reynolds' excellent production design (both were nominated for Academy Awards) to its Oscar-winning sound and special effects, "Empire" continues the "Star Wars" story with an action-packed space opera that has the far-from-invulnerable rebel heroes barely surviving several new clashes with the oppressive Empire.
A major element of "Empire" that's an improvement on "Star Wars" is the film's overall visual scheme. From the superb work of cinematographer Peter Suschitzky ("Mars Attacks!") to the more attractive costuming and hair styles, "Empire" presents a more consistently compelling and wondrous array of planets, space battles and exotic interiors, not to mention many creatures and nonhuman characters, including a lovable and useful pair of robots (Anthony Daniels and Kenny Baker), the growly Chewbacca (Peter Mayhew) and the diminutive sage Yoda (Frank Oz).
Based on Lucas' original story, the script by science-fiction writer Leigh Brackett and Lawrence Kasdan incorporates the first film's sometimes goofy characters but keeps the humor to a minimum. Hiding on Hoth, a remote and icy planet, Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) are a team on the verge of breaking up.
Jedi Knight-in-training Luke gets a message from the specter of Obi-Wan Kenobi (Alec Guinness), while Han has plans to pay off his debts. Enter again merciless Darth Vader (David Prowse, with James Earl Jones' voice), obsessed with finding Luke. Hoth is assaulted and the trio is split up.
One terrific thrill follows another. Han and Leia in the Millennium Falcon zip through an asteroid field, Luke crashes a speeder into the snow and an X-wing fighter into the swamps of a jungle planet. The viewer is taken for quite a ride, but the characterizations and plot developments are also richly satisfying.
Lucas' cinematic universe will never be confused with the serious science fiction of the Frank Herbert/Arthur C. Clarke variety, but in "Empire" there are many imaginative elements to the action -- and the interaction of humans and technology -- that are quite sophisticated for mainstream filmmaking.
Director Kershner proved to be the perfect choice to realize the somewhat darker thrust of "Empire", with its emphasis on Luke's struggle to resist Vader and the "dark side" of the Force.
A film without the usual upbeat payoff, "Empire" instead offers the brilliantly executed fight between Vader and Luke in the Cloud City's reactor shaft. Along with the capture of Han Solo and the unexpected help of his pal Lando Calrissian Billy Dee Williams), revelations about Luke's father and hints of Leia's Jedi abilities give one plenty to chew on while waiting for next month's rerelease of "Return of the Jedi".
THE EMPIRE STRIKES BACK
20th Century Fox
A Lucasfilm Ltd. production
Director Irvin Kershner
Producer Gary Kurtz
Writers Leigh Brackett, Lawrence Kasdan
Executive producer George Lucas
Music John Williams
Director of photography Peter Suschitzky
Production designer Norman Reynolds
Editor Paul Hirsch
Costume designer John Mollo
Sound Ben Burtt
Color/stereo
Cast:
Luke Skywalker Mark Hamill
Han Solo Harrison Ford
Princess Leia Carrie Fisher
Lando Calrissian Billy Dee Williams
Obi-Wan Kenobi Alec Guinness
C-3PO Anthony Daniels
R2D2 Kenny Baker
Chewbacca Peter Mayhew
Darth Vader David Prowse
Running time -- 127 minutes
MPAA rating: PG...
Destined for boxoffice glory in its rerelease as part of the hugely successful "Stars Wars Trilogy Special Edition," director Irvin Kershner's 1980 sequel to Lucas' 1977 boxoffice powerhouse is beautifully crafted, intelligently scripted and holds up very well.
Indeed, there were not many missteps in its original incarnation. Although there are no major new scenes, "Empire" nonetheless benefits from minor additions and tinkering by Lucas' Industrial Light and Magic (new views of the Cloud City are breathtaking), as well as the improved and remastered soundtrack.
From one of John Williams' finest scores to Norman Reynolds' excellent production design (both were nominated for Academy Awards) to its Oscar-winning sound and special effects, "Empire" continues the "Star Wars" story with an action-packed space opera that has the far-from-invulnerable rebel heroes barely surviving several new clashes with the oppressive Empire.
A major element of "Empire" that's an improvement on "Star Wars" is the film's overall visual scheme. From the superb work of cinematographer Peter Suschitzky ("Mars Attacks!") to the more attractive costuming and hair styles, "Empire" presents a more consistently compelling and wondrous array of planets, space battles and exotic interiors, not to mention many creatures and nonhuman characters, including a lovable and useful pair of robots (Anthony Daniels and Kenny Baker), the growly Chewbacca (Peter Mayhew) and the diminutive sage Yoda (Frank Oz).
Based on Lucas' original story, the script by science-fiction writer Leigh Brackett and Lawrence Kasdan incorporates the first film's sometimes goofy characters but keeps the humor to a minimum. Hiding on Hoth, a remote and icy planet, Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) are a team on the verge of breaking up.
Jedi Knight-in-training Luke gets a message from the specter of Obi-Wan Kenobi (Alec Guinness), while Han has plans to pay off his debts. Enter again merciless Darth Vader (David Prowse, with James Earl Jones' voice), obsessed with finding Luke. Hoth is assaulted and the trio is split up.
One terrific thrill follows another. Han and Leia in the Millennium Falcon zip through an asteroid field, Luke crashes a speeder into the snow and an X-wing fighter into the swamps of a jungle planet. The viewer is taken for quite a ride, but the characterizations and plot developments are also richly satisfying.
Lucas' cinematic universe will never be confused with the serious science fiction of the Frank Herbert/Arthur C. Clarke variety, but in "Empire" there are many imaginative elements to the action -- and the interaction of humans and technology -- that are quite sophisticated for mainstream filmmaking.
Director Kershner proved to be the perfect choice to realize the somewhat darker thrust of "Empire", with its emphasis on Luke's struggle to resist Vader and the "dark side" of the Force.
A film without the usual upbeat payoff, "Empire" instead offers the brilliantly executed fight between Vader and Luke in the Cloud City's reactor shaft. Along with the capture of Han Solo and the unexpected help of his pal Lando Calrissian Billy Dee Williams), revelations about Luke's father and hints of Leia's Jedi abilities give one plenty to chew on while waiting for next month's rerelease of "Return of the Jedi".
THE EMPIRE STRIKES BACK
20th Century Fox
A Lucasfilm Ltd. production
Director Irvin Kershner
Producer Gary Kurtz
Writers Leigh Brackett, Lawrence Kasdan
Executive producer George Lucas
Music John Williams
Director of photography Peter Suschitzky
Production designer Norman Reynolds
Editor Paul Hirsch
Costume designer John Mollo
Sound Ben Burtt
Color/stereo
Cast:
Luke Skywalker Mark Hamill
Han Solo Harrison Ford
Princess Leia Carrie Fisher
Lando Calrissian Billy Dee Williams
Obi-Wan Kenobi Alec Guinness
C-3PO Anthony Daniels
R2D2 Kenny Baker
Chewbacca Peter Mayhew
Darth Vader David Prowse
Running time -- 127 minutes
MPAA rating: PG...
- 2/21/1997
- The Hollywood Reporter - Movie News
"Star Wars", a Lucasfilm for 20th Century Fox, will undoubtedly emerge as one of the true classics in the genre of science fiction-fantasy films. In any event, it will thrill audiences of all ages for a long time to come.
The film, written and directed by George Lucas and produced by Gary Kurtz, is magnificent in scope, but the script and the engaging performances also add an effective human element to the totally believable technological aspects. Lucas combines excellent comedy and drama and progresses it with exciting action in tremendously effective space battles.
Likable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects to illuminate a motion picture screen.
The story is set "a long time ago in a galaxy far, far away," where the evil Grand Moff Tarkin (Peter Cushing) rules the Galactic Empire from his Death Star, an enormous artificial planet manned by Imperial Storm Troopers.
Princess Leia Organa (Carrie Fisher), one of the leaders of the rebel forces, gets hold of the plans for the Death Star, which reveal its one weak point. When she is captured, she sends these charts on to Ben "Obi-Wan" Kenobi (Alec Guinness), the last of the Jedi Knights, who were once the guardians of peace and justice and who drew their power from the "Force", a mystical energy field composed of all living matter.
Kenobi enlists Luke Skywalker (Mark Hamill), whose father had also been a Jedi Knight and who has inherited the "Force", and together with Han Solo (Harrison Ford), a smug and cynical space smuggler whose ship and services they entice with promises of great riches, they go off to save the princess and the galaxy.
Cushing and Guinness are outstanding in their roles, and Fisher, Hamill and Ford all create personable characterizations, full of youthful energy and desires, who are capable or rising to heroic deeds despite their charming immaturity, which also adds fun and identification. Much of the comedy relief is provided by a nagging, pessimistic robot (Anthony Daniels) and a self-propelled computer (Kenny Baker), who are two of the most adorable characters ever to enliven a film.
David Prowse is commanding as Lord Darth Vader, a Jedi Knight who has sold his soul to evil, and Peter Mayhew is amusing as Chewbacca, a simian (right out of "Planet of the Apes") who is Solo's first mate. Credit for the success of the unique characters should go to special production and mechanical effects supervisors John Stears, costume designer John Mollo (whose futuristic designs are superb) and makeup supervisor Stuart Freeborn.
The technical credits are extraordinary, although they are too numerous to list here. Suffice it to say that everyone involved should be extremely proud of this enormous achievement. Special mention, however, must be made of John Barry's fantastic production design, Gilbert Taylor's awe-inspiring photography, John Dykstra's special photographic effects supervision (which makes imaginative use of laser beams and other technological devices) and Paul Hirsch, Marcia Lucas and Richard Chew's perfectly paced editing.
John Williams has composed a rich, luxuriant score that engulfs the ear as performed by the London Symphony Orchestra. The Dolby sound is also a major asset in that it is sparkling clear and, in the battle sequences, achieves an enveloping, thunderous pitch without hint of distortion.
The film, written and directed by George Lucas and produced by Gary Kurtz, is magnificent in scope, but the script and the engaging performances also add an effective human element to the totally believable technological aspects. Lucas combines excellent comedy and drama and progresses it with exciting action in tremendously effective space battles.
Likable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects to illuminate a motion picture screen.
The story is set "a long time ago in a galaxy far, far away," where the evil Grand Moff Tarkin (Peter Cushing) rules the Galactic Empire from his Death Star, an enormous artificial planet manned by Imperial Storm Troopers.
Princess Leia Organa (Carrie Fisher), one of the leaders of the rebel forces, gets hold of the plans for the Death Star, which reveal its one weak point. When she is captured, she sends these charts on to Ben "Obi-Wan" Kenobi (Alec Guinness), the last of the Jedi Knights, who were once the guardians of peace and justice and who drew their power from the "Force", a mystical energy field composed of all living matter.
Kenobi enlists Luke Skywalker (Mark Hamill), whose father had also been a Jedi Knight and who has inherited the "Force", and together with Han Solo (Harrison Ford), a smug and cynical space smuggler whose ship and services they entice with promises of great riches, they go off to save the princess and the galaxy.
Cushing and Guinness are outstanding in their roles, and Fisher, Hamill and Ford all create personable characterizations, full of youthful energy and desires, who are capable or rising to heroic deeds despite their charming immaturity, which also adds fun and identification. Much of the comedy relief is provided by a nagging, pessimistic robot (Anthony Daniels) and a self-propelled computer (Kenny Baker), who are two of the most adorable characters ever to enliven a film.
David Prowse is commanding as Lord Darth Vader, a Jedi Knight who has sold his soul to evil, and Peter Mayhew is amusing as Chewbacca, a simian (right out of "Planet of the Apes") who is Solo's first mate. Credit for the success of the unique characters should go to special production and mechanical effects supervisors John Stears, costume designer John Mollo (whose futuristic designs are superb) and makeup supervisor Stuart Freeborn.
The technical credits are extraordinary, although they are too numerous to list here. Suffice it to say that everyone involved should be extremely proud of this enormous achievement. Special mention, however, must be made of John Barry's fantastic production design, Gilbert Taylor's awe-inspiring photography, John Dykstra's special photographic effects supervision (which makes imaginative use of laser beams and other technological devices) and Paul Hirsch, Marcia Lucas and Richard Chew's perfectly paced editing.
John Williams has composed a rich, luxuriant score that engulfs the ear as performed by the London Symphony Orchestra. The Dolby sound is also a major asset in that it is sparkling clear and, in the battle sequences, achieves an enveloping, thunderous pitch without hint of distortion.
- 1/31/1997
- The Hollywood Reporter - Movie News
Words were not Charlie Chaplin's medium. His genius was in his movement, where he snowballed seemingly simple jerks and quirky gestures into powerful, comedic poetry. When sound swept in, Chaplin resisted the talkies.
Words, words, words -- how they slow down the action, dilute the meaning, diffuse the universality of the message. Unfortunately, once again Charlie's been done in by sound: With this reverential biopic, director Richard Attenborough has cranked out a many-reel, talky talkie.
While a comprehensive, and obviously affectionate depiction of Chaplin's cataclysmic life and career, this ''Chaplin'' has no waddle in its walk, no twirl in its cane, no tilt to its hat -- it's a careful stroll down the middle of the road, headed toward a quick sunset at the boxoffice. Serious comedy buffs at select-site venues will find it lightweight, transmitting the facts but hardly distilling the essence of Charlie Chaplin.
The best parts of ''Chaplin'' are the interlaced snippets of his greatest works, ''Modern Times, '' ''The Gold Rush'' -- if little else, this release should spur rental of his classics.
Told in flashback as an aged Charlie Chaplin (Robert Downey Jr.) discusses his autobiography with his editor (Anthony Hopkins), this earnest film scrupulously traces Chaplin's life from his troubled London childhood to his triumphant return to a country and business that had spurned him, namely his trip to Hollywood in 1972 to receive a special Academy Award.
The flashback structure, while detailing Chaplin's pratfall-laden life through expositional dialogue, unfortunately drains it of its convulsive and tragic drama.
His many marriages to troubled waifs, his political battles with governmental philistines, his artistic struggles to maintain his silent soul within a medium that had gone to sound -- all are detailed, few are fully fleshed. The screenwriters (William Boyd, Bryan Forbes, William Goldman) too often tend to talk about it rather than show it: Two elderly gents sitting around a fireplace in Switzerland sipping tea and recalling the horrors of HUAC, or a catastrophic marriage, or the demise of UA.
Under Attenborough's conscientious directorial hand, the story is all very, very proper and detached -- the kind of non-moving stuff the slapstick masters would have heaped on the cutting room floor.
A tip of the hat to Downey for his smartly somber depiction of Chaplin. If comedy is the ''groan made gay, '' Downey captures the rebellious outrage of Chaplin's comic spirit. Dan Aykroyd is a delight as master slapstician Mack Sennett, while James Woods, in a brief appearance, is spellbinding as a Red-baiting prosecutor.
In perhaps the film's most layered and touching portrait, Geraldine Chaplin magnificently shows the torment of her real-life grandmother.
Technical contributions are solid and well-conceived. Cinematographer Sven Nykvist invests ''Chaplin'' with a fittingly muted hue, while costume designers John Mollo and Ellen Mirojnick convey the contrasts in Chaplin's colossal life, from London flophouse to Hollywood hilltop.
CHAPLIN
TriStar
Mario Kassar Presents
A Carolco/Le Studio Canal +/RCS Video Production
A Richard Attenborough Film
Producers Richard Attenborough, Mario Kassar
Director Richard Attenborough
Screenwriters William Boyd, Bryan Forbes, William Goldman
Story Diana Hawkins
Based upon ''My Autobiography'' by Charles Chaplin and ''Chaplin: His Life and Art'' by David Robinson
Co-producer Terence Clegg
Associate producer Diana Hawkins
Director of photography Sven Nykvist
Production designer Stuart Craig
Editor Anne V. Coates
Music John Barry
Costume designers John Molla, Ellen Mirojnick
Color/Stereo
Cast:
Charlie Chaplin ... Robert Downey Jr.
Mack Sennett ... Dan Aykroyd
Hannah Chaplin ... Geraldine Chaplin
J. Edgar Hoover ... Kevin Dunn
George Hayden ... Anthony Hopkins
Mildred Harris ... Milla Jovovich
Hetty Kelly ... Moira Kelly
Douglas Fairbanks ... Kevin Kline
Paulette Goddard ... Diane Lane
Edna Purviance ... Penelope Ann Miller
Sydney Chaplin ... Paul Rhys
Fred Karno ... John Thaw
Mabel Normand ... Marisa Tomei
Running time -- 142 minutes
MPAA Rating: PG-13
(c) The Hollywood Reporter...
Words, words, words -- how they slow down the action, dilute the meaning, diffuse the universality of the message. Unfortunately, once again Charlie's been done in by sound: With this reverential biopic, director Richard Attenborough has cranked out a many-reel, talky talkie.
While a comprehensive, and obviously affectionate depiction of Chaplin's cataclysmic life and career, this ''Chaplin'' has no waddle in its walk, no twirl in its cane, no tilt to its hat -- it's a careful stroll down the middle of the road, headed toward a quick sunset at the boxoffice. Serious comedy buffs at select-site venues will find it lightweight, transmitting the facts but hardly distilling the essence of Charlie Chaplin.
The best parts of ''Chaplin'' are the interlaced snippets of his greatest works, ''Modern Times, '' ''The Gold Rush'' -- if little else, this release should spur rental of his classics.
Told in flashback as an aged Charlie Chaplin (Robert Downey Jr.) discusses his autobiography with his editor (Anthony Hopkins), this earnest film scrupulously traces Chaplin's life from his troubled London childhood to his triumphant return to a country and business that had spurned him, namely his trip to Hollywood in 1972 to receive a special Academy Award.
The flashback structure, while detailing Chaplin's pratfall-laden life through expositional dialogue, unfortunately drains it of its convulsive and tragic drama.
His many marriages to troubled waifs, his political battles with governmental philistines, his artistic struggles to maintain his silent soul within a medium that had gone to sound -- all are detailed, few are fully fleshed. The screenwriters (William Boyd, Bryan Forbes, William Goldman) too often tend to talk about it rather than show it: Two elderly gents sitting around a fireplace in Switzerland sipping tea and recalling the horrors of HUAC, or a catastrophic marriage, or the demise of UA.
Under Attenborough's conscientious directorial hand, the story is all very, very proper and detached -- the kind of non-moving stuff the slapstick masters would have heaped on the cutting room floor.
A tip of the hat to Downey for his smartly somber depiction of Chaplin. If comedy is the ''groan made gay, '' Downey captures the rebellious outrage of Chaplin's comic spirit. Dan Aykroyd is a delight as master slapstician Mack Sennett, while James Woods, in a brief appearance, is spellbinding as a Red-baiting prosecutor.
In perhaps the film's most layered and touching portrait, Geraldine Chaplin magnificently shows the torment of her real-life grandmother.
Technical contributions are solid and well-conceived. Cinematographer Sven Nykvist invests ''Chaplin'' with a fittingly muted hue, while costume designers John Mollo and Ellen Mirojnick convey the contrasts in Chaplin's colossal life, from London flophouse to Hollywood hilltop.
CHAPLIN
TriStar
Mario Kassar Presents
A Carolco/Le Studio Canal +/RCS Video Production
A Richard Attenborough Film
Producers Richard Attenborough, Mario Kassar
Director Richard Attenborough
Screenwriters William Boyd, Bryan Forbes, William Goldman
Story Diana Hawkins
Based upon ''My Autobiography'' by Charles Chaplin and ''Chaplin: His Life and Art'' by David Robinson
Co-producer Terence Clegg
Associate producer Diana Hawkins
Director of photography Sven Nykvist
Production designer Stuart Craig
Editor Anne V. Coates
Music John Barry
Costume designers John Molla, Ellen Mirojnick
Color/Stereo
Cast:
Charlie Chaplin ... Robert Downey Jr.
Mack Sennett ... Dan Aykroyd
Hannah Chaplin ... Geraldine Chaplin
J. Edgar Hoover ... Kevin Dunn
George Hayden ... Anthony Hopkins
Mildred Harris ... Milla Jovovich
Hetty Kelly ... Moira Kelly
Douglas Fairbanks ... Kevin Kline
Paulette Goddard ... Diane Lane
Edna Purviance ... Penelope Ann Miller
Sydney Chaplin ... Paul Rhys
Fred Karno ... John Thaw
Mabel Normand ... Marisa Tomei
Running time -- 142 minutes
MPAA Rating: PG-13
(c) The Hollywood Reporter...
- 12/7/1992
- The Hollywood Reporter - Movie News
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