John e Roy Boulting: differenze tra le versioni
Contenuto cancellato Contenuto aggiunto
←Nuova pagina: {{Wip|Gawain78}} {{Bio | Nome = John Edward | Cognome = Boulting | Sesso = M | LuogoNascita = Bray | GiornoMeseNascita = 21 dicembre | AnnoNascita = 1913 | LuogoMorte = Su... |
Nessun oggetto della modifica |
||
Riga 32:
| Nazionalità = inglese
| ForzaOrdinamento = Boulting
| FineIncipit = sono stati due [[regista|registi]], [[sceneggiatore|sceneggiatori]] e [[produttore cinematografico|produttori cinematografici]] [[Inghilterra|inglesi]], noti anche come '''Fratelli Boulting''', conosciuti soprattutto per una serie di commedie satiriche degli [[Anni 1950|anni cinquanta]] e [[Anni 1960|sessanta]]. Per la maggior parte della loro carriera, hanno l'uno prodotto i film diretti dall'altro e viceversa, dirigendo insieme solo una manciata di film
}}
==Biografia==
La carriera cinematografica dei gemelli Boulting ha inizio nel [[1937]] quando fondano la Charter Films, con cui producono diversi cortometraggi. Il loro primo film di rilievo è ''[[Pastor Hall]]'' ([[1940]]), diretto da Roy e prodotto da John, un'aperta critica del [[nazismo]], ben accolta da critica e pubblico. Anche il successivo ''[[Thunder Rock]]'' ([[1942]]) ha una forte valenza politica, in quanto allegoria anti-isolazionista.
Nel [[1941]] Roy si unisce alla [[Army Film Unit]], per la quale realizza gli importanti documentari bellici ''[[Desert Victory]]'' ([[1943]]) e ''[[Burma Victory]]'' ([[1945]]). John si unisce invece alla [[RAF Film Unit]], per cui realizza ''[[Journey Together]]'' (1945), con protagonista il quasi esordiente [[Richard Attenborough]].
<!--
After the war, Roy's Fame Is the Spur (1947), an intelligent study of a Labour politician who loses his ideals, was coolly received in Labour-run Britain, though it is both unsentimental and very touching. John's compelling adaptation of Graham Greene's Brighton Rock (1948), with its evocation of a tawdry and violent world, was a box-office success and has proved to be an enduring classic. Roy persevered with the mission for a topical, socially relevant, cinema with The Guinea Pig (1948), in which a lower class boy wins a scholarship to an English Public School and has to face entrenched snobbery and class prejudice. It was followed by two films which work effectively as thrillers but are very much rooted in contemporary actuality. Seven Days to Noon (1950) deals with the threat of what would now be called nuclear terrorism; while High Treason (1951) concentrates on subversion and sabotage in the London docks. This period, between 1947 and 1951, represents the Boultings' major achievement, each of the films being trenchant, relevant and distinctive.
There was a lull in the mid-50s when they made several films for Hollywood companies with American stars. None of these is a disgrace; nor is any of them either as socially relevant or as artistically distinctive as their '40s work. Roy directed Single-Handed (1953), a mildly exciting remake of Brown on Resolution (d. Walter Forde, 1935), for Fox-British, and Run for the Sun (1956), a remake of The Most Dangerous Game, in Hollywood; and together they directed Seagulls over Sorrento (1954), a popular West End service comedy re-worked for an American cast, for MGM-British.
What is now most tenaciously associated with the Boultings is the highly successful series of institutional satires begun with Private's Progress in 1956. These films take sharp, but generally good-tempered swipes at such social bastions as the Army, the Law (Brothers in Law (1957)), trade unions (I'm All Right Jack (1959)), the Foreign Office (Carlton-Browne of the F.O. (1959)) and the Church of England (Heavens Above! (1963)). There is no Swiftian ferocity here and it could be said that they represent a softening of the Boultings' 1940s idealism and social purpose; but they are often very funny and hit their targets with deflating accuracy.
These films benefit greatly from the collaborators with whom the brothers had surrounded themselves, including screenwriter Frank Harvey, cinematographer Max Greene, composer John Addison, editor Anthony Harvey, and a brilliant repertory company of stars and character actors. Peter Sellers, Ian Carmichael and Terry-Thomas all became comedy stars under the Boultings' tutelage, and the films are studded with joyous moments of character observation from the likes of Raymond Huntley, Irene Handl and Dennis Price. These films made money, and some, especially I'm All Right Jack, offer acrid insights into assorted national shoddinesses, but it is hard not to feel that a certain cynicism had overtaken the brothers, even as one is laughing at their diagnoses of pomposity and moral decay.
Apart from this popular series, several other films deserve mention. John directed the Festival of Britain, The Magic Box (1951), with a fabulous star cast, and achieved some poignancy in narrating the life of British film pioneer, William Friese-Greene; Roy directed Happy Is the Bride (1957), a sunny remake of Quiet Wedding (d. Anthony Asquith, 1941); the two co-directed and -produced Suspect (1960), an attempt at a 'B' film that merited respect for its treatment of politics and science, and the tenderly observed comedy-drama of marital difficulties, The Family Way (1966). This latter film, based on Bill Naughton's play, All in Good Time, tackles with sensitivity and warmth the problem of an unconsummated marriage and, even more affectingly, a long-established marriage which has shied clear of truthful understanding. Roy later married the film's star, Hayley Mills, their age gap raising considerable publicity. There was also a return to the morbid psychology of Brighton Rock in Twisted Nerve (1968), a film which was poorly received at the time but has subsequently attained cult status for its bizarre story (by Leo Marks) and the outstanding performances of Hywel Bennett and Hayley Mills.
The Boultings were an influential force behind the scenes in British cinema. Not only were they among the most successful production teams, they also contributed to its industrial muscle as directors of British Lion, an independent distribution company which offered producers an alternative to the Rank/ABPC duopoly. John died of cancer at Sunningdale on 17 June 1985. Roy died of cancer at Oxford on 5 November 2001, without having completed the memoirs he had been working on for some years.
<!-- T
They began with serious, tight, economical drama films such as Seven Days to Noon (1950) and Graham Greene's Brighton Rock (1947) (both with producer: Roy, director: John). They then became known for a series of satirical comedy films which are considered British classics today, such as Private's Progress (1956), Lucky Jim (1957) and I'm All Right Jack (1959), all with the same credits as above, and usually with John as co-writer. The comedies often starred Ian Carmichael as the lead, along with Richard Attenborough and Terry-Thomas; and often Dennis Price, John Le Mesurier, Irene Handl and Miles Malleson.
Line 48 ⟶ 65:
John died on June 17, 1985, in Sunningdale, Berkshire and Roy on November 5, 2001.
Their elder brother Sydney Boulting, became an actor and stage producer as Peter Cotes, he was the original director of The Mousetrap
== Filmografia ==
Line 58 ⟶ 75:
===Regia di John Boulting===
# Rotten to the Core (1965)
... alias Rotten to the Corps (UK)
... alias 8 facce di bronzo (Italy) [it]
*''[[Journey Together]]'' ([[1945]])
*''[[Brighton Rock (film)|Brighton Rock]]'' ([[1947]])
*''[[Stupenda conquista]]'' (''The Magic Box'') ([[1952]])
*''[[Operazione fifa]]'' (''Private's Progress'') ([[1956]])
*''[[Lucky Jim]]'' (''Lucky Jim'') ([[1957]])
*''[[Nudi alla meta]]'' (''I'm All Right Jack'') ([[1959]])
===Regia di Roy Boulting===
Line 87 ⟶ 120:
== Collegamenti esterni ==
*{{imdb nome|0099589}}
*{{imdb nome|0099592}}
*{{en}} [http://www.screenonline.org.uk/people/id/492761/ Scheda biografia su ''Screenonline'', pubblicazione del British Film Institute]
{{Portale|Biografie|Cinema}}
[[Categoria:Famiglie inglesi]]
[[en:John and Roy Boulting]]
| |||