By Kenneth Lonergan
"A triumph . . . this sort of bold American storytelling you discover too infrequently on the movies."-Michael Phillips, Chicago Tribune
Academy Award® nominated author and director Kenneth Lonergan has written a stirring drama that used to be referred to as "extraordinarily ambitious" by way of Time and "a movie of infrequent attractiveness and surprising gravity" by way of Rolling Stone. not on time for four years in post-production, the movie was once ultimately published in 2011, with a director's lower following on DVD in 2012. Our variation will contain the scripts of the whole director's minimize, besides an advent and key tie-in art.
Margaret is the tale of a long island teen whose existence is profoundly altered after witnessing a negative coincidence. it's the amazing trip of an emotional teenager who abides via her ethical code and needs to set issues correct, yet whose blameless beliefs come crashing opposed to the tough realities of the grownup international. it's a tale of adlescent, love, the results of error, and the elemental questions of morality as confronted by way of in a rare state of affairs.
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Additional resources for Margaret: A Screenplay
What counts is that each sequence is a kind of meditation or filmic song on this fundamental theme as revealed by the mise en scène, whose aim is not to demonstrate but to show or to revel. Moreover, how could anyone resist the moving spiritual presence here of Ingrid Bergman? Beyond this actress, how could the viewer remain insensitive to the intensity of a mise en scène in which the universe seems to be organized along spiritual lines of force, to the point that it sets them off as manifestly as the iron filings in a magnetic field?
Our Ozu, the Ozu we know well, is mostly the latter Ozu, of such films, in addition to Tokyo Story, as An Autumn Afternoon (1962), Floating Weeds (1959), and Late Spring (1949). This is not an unbearable fate. Late Ozu would not exist without the experience that preceded it, it’s true; but what we have is a treasury. That treasury is one of at least two that Japanese cinema has bequeathed to us, the other being from Akira Kurosawa. Even as, in his own nation, Kurosawa is called the most Western of Japanese directors, Ozu is called the most Japanese of filmmakers by his countrymen, and an American like me can see at least a little bit of why this is so.
As an assistant I could drink all I wanted and spend my time talking. ” There is no evidence that Ozu gave up drinking and talking, but there’s plenty of evidence that he soon got a reputation for hard work. In 1927 he made his first film. He wrote the script with Kogo Noda, with whom he also wrote the script of Tokyo Story in 1953, as well as many other scripts. Most of Ozu’s early pictures were light comedies, like the very first movie he worked on as an assistant. I have no intention, though, of sketching his whole career for more than the obvious reasons: some of the early films have disappeared, and the remaining ones have not all been available in the United States.