"The Greatest Show on Earth" (1952)

"The Greatest Show on Earth" (1952)

"The Greatest Show on Earth" (1952)

The dramatic lives of trapeze artists, a clown, and an elephant trainer are told against a background of circus spectacle. - "The Greatest Show on Earth" is American drama film produced and directed by Cecil B. DeMille; shot in Technicolor; and released by Paramount Pictures. Set in the Ringling Bros. and Barnum & Bailey Circus, the film, narrated by producer/director, Cecil B. DeMille, stars Betty Hutton and Cornel Wilde as trapeze artists competing for the center ring, and Charlton Heston as the circus manager running the show. James Stewart also stars in a supporting role as a mysterious clown who never removes his make-up, even between shows, while Dorothy Lamour and Gloria Grahame also play supporting roles."

Classic (Released Prior to yr 2000)

"An American in Paris" (1951)

"An American in Paris" (1951)

"An American in Paris" (1951)

Three friends struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman. - "An American in Paris" is a 1951 American musical film inspired by the 1928 orchestral composition "An American in Paris" by George Gershwin. Starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, and Nina Foch, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Saul Chaplin, the music director.

The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. Songs and music include "I Got Rhythm", "I'll Build A Stairway to Paradise", " 'S Wonderful", and "Love Is Here to Stay". The climax of the film is "The American in Paris" ballet, a 17-minute dance featuring Kelly and Caron set to Gershwin's "An American in Paris". The ballet sequence cost almost half a million dollars to shoot."

Classic (Released Prior to yr 2000)
Product Four

Fourth Product

Phosfluorescently e-enable adaptive synergy for strategic quality vectors. Continually transform fully tested expertise with competitive technologies. Appropriately communicate adaptive imperatives rather than value-added potentialities. Conveniently harness frictionless outsourcing whereas state of the art interfaces. Quickly enable prospective technology rather than open-source technologies.

Buy Now
product tag 4
Third Product

Third Product

Phosfluorescently e-enable adaptive synergy for strategic quality vectors. Continually transform fully tested expertise with competitive technologies. Appropriately communicate adaptive imperatives rather than value-added potentialities. Conveniently harness frictionless outsourcing whereas state of the art interfaces. Quickly enable prospective technology rather than open-source technologies.

Buy Now
product tag 3
Second Product

Second Product

Phosfluorescently e-enable adaptive synergy for strategic quality vectors. Continually transform fully tested expertise with competitive technologies. Appropriately communicate adaptive imperatives rather than value-added potentialities. Conveniently harness frictionless outsourcing whereas state of the art interfaces. Quickly enable prospective technology rather than open-source technologies.

Buy Now
product tag 2
image one

First Product

Phosfluorescently e-enable adaptive synergy for strategic quality vectors. Continually transform fully tested expertise with competitive technologies. Appropriately communicate adaptive imperatives rather than value-added potentialities. Conveniently harness frictionless outsourcing whereas state of the art interfaces. Quickly enable prospective technology rather than open-source technologies.

product tag 1
Pete Anthony | Conductor / Arranger

Pete Anthony - "Keeping Up Tempo"

Let's just start from the beginning: what is your musical background?

I was primarily a composer.  I have a degree in composition from Williams College, and then I went right into the film scoring program at USC.  After that, I studied composition and orchestration privately. I've always played piano - poorly, I might add - and I used to be a fairly good trumpet player for about 14 years, until the end of college.

Clef Notes
0 comments
Olivier Assayas | Director

Seven Questions for Olivier Assayas

indieWIRE: Does "Irma Vep" belong to an aesthetic tradition?

Olivier Assayas: That's tough to answer because for the first time I've made a film which fit into a genre, which is movies about movies. I knew that I was on ground that had already been covered so that encouraged me to be as radical as I could, to invent my own way of thinking about cinema and not do it like Truffaut when he did "Day For Night". I tried to make something I'm not used to doing, which is comedy, but at the same time I thought this could be a comedy about an ambitious subject-- the creative process. It's like an exercise in film schizophrenia, and in that sense the film tries to move away from looking like anything else.

The Director's Chair
0 comments
Subscribe to