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Batman Returns, The Ring, and Phantom Movie Scenes
From Jaws 2 to Die Hard and Star Wars, the movie scenes that some swear exist - but were never shot...
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I can still see it clear as day. The year was 1992 and I was watching Batman Returns on the big screen, when I was possibly a little too young for it. During the climax the Penguin’s base has been destroyed, Catwoman has gained revenge on Max Shreck and Batman watches a chorus of sad penguins drag their fallen master into the water.
One particular image always stuck with me – the Penguin’s lifeless body floating in the water looking up at the camera, and as it passes out of frame Batman’s torn mask can be seen at the bottom of the water. The only problem with this poetic image is it doesn’t exist. I watched the movie subsequently on video, only to wonder why it was missing. It didn’t crop up on TV airings or as a DVD deleted scene, and searching for information online yielded nothing.
Still, this torn mask image is as vivid to me as the rest of Batman Returns , and anytime I’ve watched it since it always comes back to me. Maybe this shot did exist and was trimmed out following the theatrical release, but considering the way the Penguin’s body sinks instead of floats kind of rules that out.
I’m not the first person to have this weird quirk of memory based on a movie, and many more stories of “phantom scenes” – aka scenes that exist only in the mind of the viewer – have emerged over the years.
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For instance, on his fan commentary for Day Of The Dead screenwriter Roger Avary talks of an alternate ending he recalls from his initial viewing, where Dr. Logan comes back as a zombie and is reunited with his “pupil” Bub. This ending was never shot or even suggested by George Romero; but since Logan is shot in the chest instead of the brain Avary considers his resurrection plausible, and considers it his personal ending.
Critic Alexander Walker cited in his not exactly glowing review of The Devils moments of violence that don’t appear in the movie, including a scene where Oliver Reed’s testicles are crushed. The Devils is hardly lacking in shocking moments, but it contains no such shot of Reed’s masculinity being flatted. Director Ken Russell confronted Walker on this point during a BBC interview focusing on the reaction to the film. When the critic refused to address it, Russell famously rolled up a copy of the Evening Standard and whacked Walker over the head.
In Walker’s defense, it’s possible to infer this during Reed’s torture scene, but it definitely doesn’t happen onscreen. When it comes to these ghost scenes it commonly seems to be exaggerated moments of violence people recall, when the movie itself merely implies them. Some people will swear there’s a deleted shot of Bruce Willis running across broken glass in Die Hard , which is probably them mentally connecting it to his bleeding foot in a later scene. There’s a certain urban myth quality to these phantom moments too. The story will spread of someone remembering a spectacular deleted scene, and suddenly a group of people will back this claim despite such a moment having never existed.
On that front, a good place to start is the enduring myth of The Ring ‘s ‘Brussels cut’. Hideo Nakata’s creepy chiller tells the story of a cursed video that kills those who watch it, and shortly after a screening at the Brussels International Festival of Fantasy Film accounts of an alternate cut spread. Apparently, audience members were told the version being screened was a unique edit, which differed from the regular version in one significant way.
In the movie Sadako’s victims are found with their faces frozen in terror, yet in the Brussels cut their mouths have instead deformed into extremely narrow vertical slits. Those who claim to have seen this version say it made the movie much creepier, yet no proof of it has ever surfaced.
Nakata himself laughs off claims of another edit, and despite rumors the Brussels version has been shown on TV there are no pictures to back it up. What likely happened is somebody saw this cut and imagined the slit mouth visual. They spread the story online, where other fans excitedly picked up on it and passed it on as fact. Considering this is The Ring we’re discussing, it all feels a little meta.
Elsewhere, there’s a small cult surrounding a fabled TV edit of Jaws 2 , which supposedly contains gory carnage the studio removed from the theatrical cut. There was a noticeable dip in bloodshed from Spielberg’s original to the relatively clean follow-up, yet rumors persist a violent version was filmed. This bloody Jaws 2 was allegedly broadcast on Irish television in the early 1980’s and features scenes where most of the victims meet a nasty end.
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One particular scene seems to haunt the nightmares of those who saw it. In the sequence where Marge saves young Sean Brody, only to get swallowed in his place, the audience only sees the shark rise from behind and snatch her. In the extended version however, there’s said to be a front shot of poor Marge stuck within the shark’s mouth. The blood-soaked girl screams while the shark’s jaws chomp down a few times – complete with bone-snapping sound effects – before it sinks again.
This image has embedded itself within a subsection of the fanbase, and the hunt to find this edit continues. It’s likely to be a long search since the producers, filmmakers and actors confirm it was never shot. The lack of blood was a conscious act, since Jaws attracted complaints from parents about the gore. In fact, on the making of Jaws 2 director Jeannot Szwarc talks about his deliberate staging of Marge’s death. He designed it so the shark would rise and Marge would just disappear, which admittedly gives the moment an eerie effect.
So the options are the filmmakers lied and a bloody version was shot, or the people who saw the film at a young age have either misremembered or confused the scene with another movie. It’s easy to see how the lines could get blurred; there’s a scene in Jaws 3 where a character is swallowed and crushed, but it’s a male character and the setting is quite different.
Other examples are plentiful; there’s a persistent rumor of a post credit scene in Raiders Of The Lost Ark , where the Ark burns through the crate before it cuts to black. There’s talk of an extended Die Hard scene where Ellis asks the terrorists for some coke and is disappointed when they bring him a can instead (he does enjoy a can of Coca-Cola on screen, though). Lastly, there was talk for many, many years of the deleted Biggs Darklighter scenes from Star Wars being shown to some audiences in 1977, only for Lucas to trim them out in subsequent edits.
So where do these phantom memories come from? There are numerous explanations, including the brain filling in blanks when it can’t complete a connection. If it can’t fully reconcile pieces of information, it will often stitch them together. For the Biggs scenes, it’s likely the fans in question read the novel and saw the pictures of Darklighter and Luke in the Star Wars storybook, and their memory did some creative sewing.
There’s also a theory these false memories have something to do with The Mandela Effect. This term refers to any incident where people collectively misremember an event, despite having no contact with each other. It refers especially to the strange phenomenon of people remembering Nelson Mandela dying in prison in the 1980s when in fact he died a free man in 2013. They recall a televised funeral and a moving speech from his widow and are stunned to learn it’s all within their minds.
Their memories pulled together disparate facts about Mandela’s life and reached the same conclusion. Fervent believers in this theory also think there’s some Sliders -esque parallel universe shenanigans happening; let’s stick with memory being a tricky thing for now, though.
If there’s a collective example of a phantom memory amongst movie fans, and one that has an easy solution, it’s the mythical alternate ending for Big . The movie tells the story of Josh, who wishes to be grown-up and comes to regret that choice when his wish comes through. The film ends on a bittersweet note when his love interest Susan learns he’s literally a boy trapped in a man’s body. She declines the chance to become young again to stay with him, and in the last shot he becomes a teen again and they wave goodbye.
The alt ending of Big – which was allegedly aired on television in New Zealand – continues from the final shot, and finds Josh in class. A new student sits beside him, and when he looks over he’s shocked to find it’s Susan, who changed her mind and became young to be with him. This ending stayed with fans for years, but if it ever existed no one could find the footage.
It turns out this lost ending was neither made up or mysteriously buried. Fans did, in fact, see this ending, it just wasn’t for Big . The same year it was released there was another age swap movie called 14 Going On 30 , which featured the same premise. In the final scene , the lead character is sitting in class when he realizes the new female student is a young version of his love interest. The scene is exactly how fans described the phantom Big ending, and since the two films share so many elements it’s easy to see how they got them confused.
So if you’ve ever clearly remembered a scene from a movie, only to be shocked when you found it doesn’t exist, just know you’re not alone. Also, if your version of Batman Returns happens to contain an extra shot during Penguin’s demise, please be sure to get in touch.
This article originally appeared on Den of Geek UK .
Tv/streaming, collections, great movies, chaz's journal, contributors, we all live in a red submarine....
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Ed Harris in "Phantom" is like Steve Carlton with the Philadelphia Phillies in 1972 — delivering a wall-to-wall, amazing performance that's lost in a sea of dreadfulness.
That season, Carlton won 27 games for a Phillies team that finished 59-97. Harris delivers a nomination-worthy performance in a movie with a throwaway title, an abundance of closeups that provoke unintentional laughs, a few bizarre supernatural touches and one of the loopier endings in recent memory.
If they gave a Cy Young Award for acting, Harris would be a contender. That he kidnaps our attention and holds it throughout "Phantom" while playing a Soviet submarine captain who speaks English without a trace of an accent makes his work all the more impressive.
Inspired by true events, as they say, but filled with speculative fiction, "Phantom" takes place almost entirely aboard a nearly obsolete Soviet submarine in 1968. The sub will be stripped of some key elements and then sold to the Chinese — but first there's one last mission.
Harris plays Demi, a craggy-faced, world-weary Soviet sub commander who battles epilepsy, drinks too much and is plagued by flashbacks that seem right out of a horror movie. Nearing the end of his career, Demi has never escaped the shadow of his father, a legend in Soviet military lore. (How's that for an unoriginal twist?) But even though Demi's wearing a Soviet uniform, in charge of a Soviet ship and living in, well, the Soviet Union, I spent the first few minutes of the film wondering if Demi was actually an American, given that he was speaking perfect English without a trace of an accent.
Turns out writer-director Todd Robinson has made the bold and somewhat goofy choice to have all his actors talk in their normal voices, as if they're doing a table read and not in full costume with the cameras rolling. Whether it's William Fichtner as Demi's fiercely loyal right-hand man, Alex, or David Duchovny as Bruni, a "technician" who clearly has ulterior motives joining Demi's crew at the last moment, everybody just speaks "American."
Granted, it's always a bit jarring when a film about, say, German soldiers in World War II has all the actors speaking English with German accents — but it's even more unsettling when a bunch of "Soviet" sailors are talking about "the Americans," and yet they all sound like they're from Jersey or Chicago or Cali.
Robinson does a fine job of maneuvering the cast and his camera through the sub's narrow, labyrinthine corridors, but the murky, claustrophobic atmosphere turns thuddingly dull because we almost never leave the submarine, and the submarine almost never surfaces. "Phantom" paints itself into a tiny corner where there's little choice but to rely on tight shots of sweaty actors communicating in what we presume to be authentic sub-speak as Demi and his loyal crew square off against Bruni and his nefarious plans for the vessel.
There's a mutiny, as there so often is with movies of this sort, and we finally learn what Bruni and his KGB thugs have in store for the old sub. Suffice to say they've got a plan that could trigger World War III — or just get everybody aboard killed for no good reason. We get the obligatory few scenes in which a character goes on and on about another character's back story, for no other reason than to fill in the audience. Eventually we learn the true nature of those horrific flashbacks plaguing Demi.
With his smirk and his cool line readings, Duchovny is wildly miscast as a Cold War Soviet spy. Fichtner does fine work as a No. 2 whose loyalty to his commander and his country go hand in hand. Everybody else tries hard with material that asks us to not only suspend disbelief but also to expel it for the duration of the film. The ending is a howler, provoking uneasy chuckles when we're supposed to be feeling chills and maybe a tear or two. Whatever really happened with that sub in 1968, we can be reasonably sure this wasn't it.
But then there's Harris, holding our attention, whether he's springing into action or motionless, simply reflecting on a hard life nearing its end, with more failures than triumphs, more regrets than warm memories. It is a stellar performance from an actor who always comes to play, even when the story almost guarantees a lost cause.
Renaissance: A Film by Beyoncé
The Zone of Interest
Rated R for scenes of violence
Ed Harris as Demi
David Duchovny as Bruni
William Fichtner as Alex
Lance Henriksen as Markov
Johnathon Schaech as Pavlov
Julian Adams as Bavenod
Written and directed by
- Todd Robinson
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The phantom of the opera: 5 accurate scenes from the book (& 5 inaccurate details).
Joel Schumacher's 2004 adaptation of the epic The Phantom of the Opera might have missed the mark on some details, but nailed a few as well.
One of the most beloved popular music plays in the world, The Phantom of the Opera has been adapted to several platforms. From various theater performances to different movie versions, this French gothic novel by Gaston Leroux is a classic tale that stands the test of time.
RELATED : 10 Things You Didn't Know About The Phantom Of The Opera
Written in 1909, The Phantom of the Opera follows the story of a disfigured character hiding in the most secluded corners of the Paris Opera House. Erik, also known as the Opera Ghost or the Phantom, fell in love with the amateur prima donna, Christine Daaé, whose voice can make the angels weep. The 2004 movie adaptation, starring Gerard Butler as Erik and Emmy Rossum as Christine, received mixed criticisms. While some details were on point, others missed the mark.
Hit: The New Margarita
Christine Daaé landed on her newfound fame after the opera house’s main singer, Carlotta, backed out from the performance. Madame Giry, the warden of the ballerinas, suggested Christine take Carlotta’s place. She said that the young girl has been taking her voice lessons from the ‘Angel of Music’.
The character of Christine Daaé is a young, naïve girl whose talent has been hidden for years. The moment she took the center stage, it was a mesmerizing view. Emmy Rossum perfectly delivered that character of a young lady whose dreams are about to come true.
Miss: The Chandelier
The main issue with this adaptation is the shuffling of scenes. For instance, the falling of the chandelier scene in the novel happened sometime during the first part of the story. In the movie, it occurred towards the finale. They also made the Phantom responsible for the accident when in fact, in the novel, it was a matter of wear and tear.
The chandelier is a very important element in the story. In the prologue of the film, the broken chandelier was part of the auction. This was adapted from the musical theater version, not from the novel.
Hit: The Toad
Perhaps the only comedic part of the story is anything that involves Carlotta. The Phantom wanted Christine to sing but the new managers weren’t taking his orders seriously so they let Carlotta sing. Just when the diva is about to belt a tune, she croaked like a toad!
RELATED : The Phantom Of The Opera (2004): 10 Facts About Joel Schumacher’s Film
The Phantom had warned both the managers and Carlotta before the performance but no one listened. This scene is very significant in the plot because it proves that The Phantom will do anything to make his protégé, Christine, the star of the opera house.
Miss: The Sword-Fight
There is no mention of any sword-fight in the novel so this is just theatrics. The location of the said sword-fight, a churchyard, is where Christine comes to visit her father’s grave and where the Angel of Music sings to her.
This added element is possibly done to add more tension between the two gentlemen. Raoul, a viscount and Christine’s childhood friend, is the Phantom’s rival. Most of the fight scenes in the novel are made of traps and tricks, and the use of a sword as the Phantom’s weapon is very unlikely of his character.
Hit: The Viscount
Viscount Raoul de Chagny is the love interest of Christine. His character, truth be told, is overshadowed by the presence of the Phantom. Despite this, both of his personalities in the novel and film are spot on, as a nobleman and as Christine’s childhood sweetheart.
The viscount displays the attitude of a hopeless romantic lover. He’s always acting like a knight in shining armor and often at Christine’s beck and call. Most of his scenes with Christine is him clinging and pining over her, both of which are evident in the movie.
Miss: The Rose
At the end of the movie, an old Raoul appears to be visiting Christine’s grave. As he approaches her tombstone, he saw a red rose on the side of it—an indication that the Phantom has paid her a visit. There is nothing like this in the novel because the Phantom killed himself at the end of the story.
RELATED : Phantom Of The Opera: 10 Memes That Would Make Even The Phantom Laugh
There was no depiction of them growing old, although Raoul and Christine went on with their lives and happily lived together. Before taking his own life, Erik made Christine promise to bury him along with the wedding ring he gave her. Therefore, this scene is another shift from the original plot.
Hit: The Mirror
The mirrors in the story are representations of a façade. In Christine Daaé’s dressing room, her mirror is a doorway towards the cellar where the Phantom’s dwelling is located. Erik built this because his character is not fond of doors. He walks through walls, trap-doors, and mirrors.
Although quite a brief scene, the mirror that was used is made of mechanics that could be opened from the outside. This mirror is only mounted in the young singer’s room, as Erik likes to pay her a visit very often and conduct his ‘voice lessons’ to her.
Miss: The Torture Chamber
The audience had a brief view of the Phantom’s torture chamber, a place built to torment a victim to the point of killing their own selves by hanging. In the movie, Raoul fell below the stage and landed in a room full of identical mirrors. This is not an accurate depiction of the torture chamber because it is situated somewhere else.
The mirrors are meant to reflect the view from the outside, so the person inside will die of hunger and thirst, and their minds will be tortured until the only option left is to kill themselves using the rope tied to a tree inside the chamber.
Hit: The Trap-Door
Erik is known as the trap-door lover , and this is his way in and out of the opera house. There are quite a few scenes where we see the trap-doors he built, although he rarely used them as illustrated in the novel. There are quite more of these in the book than presented in the film.
Some of the scenes where he managed to pull his tricks using trap-doors are when he switched Carlotta’s mouth spray that made her croak and when Raoul was going down the flight of stairs and he fell in the lake.
Miss: The Persian
One of the important people missing in the film is The Persian. The scriptwriters may have omitted this character and used Madame Giry’s character as the Phantom’s old friend. In the novel, the Persian was the one who saved Erik from his untimely demise. The movie showed Madam Giry helping him escape when they captured him and treated him like a freak .
Both the Persian and the torture chamber are important details of the story. Their omission has affected the entire plot since these two are linked with each other. These are parts of the finale scene in the novel, which is totally different in the movie.
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Best New Year's Eve movie scenes - amazing end-of-year movie moments
Now, this is how you end a year.
2023 was a year that brought us many rather unpleasant things: a cost of living crisis, war and Musk turning Twitter/X into something of a cesspool.
As we look to 2024, though, the skies seem to be a lot brighter. And that's the thing: a New Year holds a lot of promise, both in real life and cinematically. It's a time for new starts, big parties and, thanks usually to a lot of booze and a need for affection, big confessions. It's a night full of excitement, apprehension and heightened emotion.
Here are 11 of the most memorable New Year scenes in movies, from the desperately romantic to the romantically desperate, and with more than one death...
Happy New Year? Let's hope so...
Best New Year's Eve movie scenes
1 . The Godfather, Part II
One of the saga's pivotal moments takes place on the cusp of a new year. At the President's New Year celebration, Michael Corleone (Al Pacino) lets his brother Fredo (John Cazale) know that he knows he is the man who's trying to have him killed. Then he seals his fate with a kiss.
Watch The Scene on YouTube
2 . The Apartment
Another romantic comedy that concludes at the beginning of a new year. Makes sense, really. New beginnings. New loves. Booze. In this, Fran Kubelik (Shirley MacLaine) realises at a New Year party that her affair with a married man is never going to be fulfilling and runs all the way to CC Baxter (Jack Lemmon), the office drone who's been providing a flat for the adulterous relationship. The final line is still a killer.
Watch the scene on YouTube
3 . Ghostbusters II
All of the Ghostbusters sequel's finale is set on New Year's Eve, as spooky, painting-dwelling ghost Vigo attempts to return to the mortal world. But the best scene is this sequence in which the scourges of spirit kind hitch a lift on the Statue of Liberty and ride her to glory through the streets of New York, starting a party as they go.
4 . When Harry Met Sally
Come midnight on New Year's Eve, many of us are struggling to string a coherent sentence together. In Rob Reiner's majestic romantic comedy, Harry (Billy Crystal) waits until the stroke of midnight to tell Sally (Meg Ryan) everything he's felt about her for years but never quite said. And it's one of the best speeches in cinema.
5 . Trading Places
We're really enjoying the Eddie Murphy resurgence right now - with Dolemite Is My Name and his stint on SNL, but this is still one of the funniest lines from the days when Eddie Murphy was consistently incredible.
6 . The Phantom Thread
PT Anderson does it again when it comes to New Year. While Bogie Nights showed a night of debauchery, The Phantom Thread shows a night that's all about being ostentatious. The result is one of the most stunning-looking scenes in cinema history.
7 . Boogie Nights
Signalling the end of the year, the decade and an era of unbridled hedonism for the adult movi stars in Paul Thomas Anderson's astonishing drama, one character sees in the New Year with the end of his life.
8 . The Gold Rush
One of the most famous moments in cinema occurs during a scene in which a lonely gold prospector (Charlie Chaplin) fantasises about hosting a New Year's Eve party for the woman he loves. Then he amuses them with an elegant little dance with bread roll feet. But then he wakes up alone...
9 . Sunset Boulevard
Faded silent movie star Norma Desmond (Gloria Swanson) slowly loses her marbles in Billy Wilder's grand drama. Her slipping grip on sanity and dignity is particularly highlighted in a scene where she invites accidental house guest Joe (William Holden) to a New Year's Eve party, then reveals that they're the only guests. A romantic end is tragically unlikely.
10 . Poseidon
The same scene in the original is equally worthy of inclusion, but if the flawed remake had a great strength it was the moment that the huge cruise ship flooded and became the playground for a race against death. And no, we're not just putting this in here for the moment that Fergie from the Black Eyed Peas has a bit of a weep and then gets washed away. Don't be so cynical.
11 . The Hudsucker Proxy
It all gets too much for Norville Barnes (Tim Robbins), an eager graduate who found himself installed as head of Hudsucker Industries, then sucked in and spat out by the corporate world. When it all goes wrong, he climbs to the top of the company tower on New Year's Eve intent on killing himself. But his plan doesn't go as intended.
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The Strange, True Story Behind One Of The Saddest ‘Phantom Thread’ Characters
Poor little rich girl
The title of Paul Thomas Anderson's vibrantly strange film Phantom Thread refers to the secret words that fashion designer Reynolds Woodcock (Daniel Day-Lewis) likes to sew into his haute couture garments for wealthy women in 1950s Britain. One of Woodcock's most important clients is the heiress Barbara Rose (Harriet Sansom Harris). Anderson gives Harris only four scenes in Phantom Thread , and they are not long in terms of length. But it seems to me that Barbara Rose is like a message stitched into the fabric of the narrative, and her appearance feels crucial to understanding the rather obscure meanings of the movie.
Though her first name is Barbara, it did not occur to me that Harris was playing a role based on the Woolworth heiress Barbara Hutton until her second scene, where Anderson stages Barbara Rose's humiliating press conference announcing her marriage to a noted playboy, who is clearly meant to be the infamous Porfirio Rubirosa. When I got home from seeing Phantom Thread , I Googled Hutton and Rubirosa and found photos from their own press conference, which looks exactly like the one in the film, down to the couch they are sitting on and their positions on it.
We first see Harris’ Barbara Rose tottering up the steps of Woodcock’s atelier on the arm of a male handler. Harris walks in such a way that she gets across the idea that this woman is so rich and so fragile that she has lost the ability to move from one place to another without help. (The consumption of large quantities of alcohol is, also, maybe part of her mobility problem here.) Her face is quivering with hope and expectation as she ascends those stairs, but these are quickly dashed when Woodcock fits her for a dress. Barbara Rose looks at herself in an offscreen mirror as she is fitted, and her eyes bulge with grief as she exclaims, “I’m still so ugly!” She begins to pull at the fabric at the top of the green dress in an attempt to hide her face, and Woodcock, a control freak, severely reprimands her for this.
The way that Harris says, “I’m still so ugly” is extremely upsetting, and she seems to have accessed some deep-seated emotion within herself to represent Barbara Rose’s despair. Phantom Thread is a movie filled with performances that feel like the best Method acting from the mid-20th century, when actors like Montgomery Clift and Julie Harris seemed to know every minute of each day in the past lives of their characters. Harris does this thing where she drags up very raw grief from within herself and then controls it physically and reins it in, which is what Barbara Rose has to do socially in this situation. It reminded me of the scene in Anderson’s Boogie Nights (1997) when Philip Seymour Hoffman’s character, Scotty J., confessed his love to Mark Wahlberg’s Dirk Diggler and then sat in a car afterward repeating, “I’m a fucking idiot” in an inconsolable way.
Phantom Thread is partly about power dynamics between people, and none shift more than in this fitting scene with Barbara Rose, who tells Woodcock that she expects him at her wedding. He does not want to go, but she stares at him and tells him that she “really must insist.” The effect of this change is emotionally dazzling because Harris has shown us such a private moment of Barbara Rose’s unhappiness with herself, and now she shows her getting her own back by asserting her power over this distinguished man and treating him like a servant. What’s indelible here is that Harris doesn’t make the change in attitude too extreme. When Barbara Rose says that she “must insist” that Woodcock go to her wedding, her face and her voice still sound a little soft and shaky. But she has issued a command, and it must be followed.
Woodcock does go to the very sad press conference, and his frustrated girlfriend Alma ( Vicky Krieps ) stands next to him and looks very dismayed. It seems as if Alma is dismayed because she feels compassion for Barbara Rose, and maybe she does. But Alma decides to use the Barbara Rose situation as a kind of chess move with her very difficult lover.
When Barbara Rose gets so drunk at her wedding reception that her head falls into her dinner plate, Alma gets upset, and Woodcock tells her not to cry, but Alma says instead that she is angry. Not angry about what the world has made of poor Barbara Rose, but angry that Barbara Rose is not treating one of his garments with the proper respect. This is the first indication in Phantom Thread that Alma has a twisted psychology that makes Woodcock’s own Oedipal issues seem mild in comparison.
In an earlier scene, Woodcock had unguardedly spoken to Alma of his “ugly” governess, who did not want to sew his beloved mother’s wedding dress because she superstitiously believed it would hurt her own chances of marriage. Alma stores this information away, and now she makes use of it to impress Woodcock and begin her campaign to vanquish the looming influence of his dead mother.
Woodcock and Alma go back to Barbara Rose’s hotel room and actually strip his dress off of her drunken body, and then when they go outside, Woodcock kisses Alma intensely, as if to say, “You’re even crazier than I am, what a relief!” They are a romantic match, these two, and that’s what Phantom Thread dramatizes in its screwball melodrama way. But Harris dramatizes—with very limited screen time—what can happen to a person who is unlucky in love.
Hutton was married to Rubirosa for less than two months, and in exchange, he received a coffee plantation in the Dominican Republic, jewelry, polo ponies, and roughly 2.5 million dollars from her. So it was an expensive month-and-a-half for Hutton, and Barbara Rose will probably have to shell out just as much money for her own playboy (hopefully he is just as skillful a bedroom technician as Rubirosa was reputed to be). It seems clear that Anderson’s big heart goes out to Barbara Rose, even if she is just a pawn in the game of the main characters.
Lesley Manville is superlative in Phantom Thread as Woodcock’s forbiddingly controlled sister Cyril, and more than worthy of attention for supporting actress awards. (When Cyril warns Woodcock not to pick a fight with her because she will have him “on the floor” if she chooses to strike out at him, you believe her.) But Harris is just as worthy in her own much shorter screen time, and her memorable performance as Barbara Rose is an example of that hopeful adage: “There are no small parts only small actors.”
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‘The Phantom’ Review: The Death Penalty for a Doppelgänger
This documentary examines the circumstances of a 1983 killing in Texas, for which it contends the wrong man was convicted and executed.
By Ben Kenigsberg
“The Phantom,” a documentary from Patrick Forbes, examines a case that in recent years has been cited as an example of a likely wrongful conviction that ended in the death penalty. Carlos DeLuna was executed in Texas in 1989 for the murder of a Corpus Christi gas station convenience store clerk. At his trial, he implicated another man, Carlos Hernandez. The prosecution dismissed Hernandez as a phantom.
But the movie, based on an account by a Columbia law school professor, James Liebman, and his researchers, amasses evidence that Hernandez, who died in 1999, was no apparition. It indicates that he had a history of violence and that the investigation was hasty. The film’s most damning suggestion is that the conviction didn’t simply involve mistaken identity — two men named Carlos, who knew and resembled each other and were both in the area of the crime, getting mixed up — but, in the film’s argument, required an almost willful insistence on turning a blind eye to what was known.
Adapting research that is, by now, hardly breaking news, Forbes has some solid strategies for making the material cinematic. Shooting in glossy wide-screen, he uses an effective blend of reconstructions and interviewees to take viewers through the night of the killing. Earlier in the film, he has people involved in the original trial, like a witness, Kevan Baker, and a prosecutor, Steve Schiwetz, discuss details of the case in a courtroom, and even playact versions of their words from the proceedings (the dialogue isn’t verbatim, judging from the trial transcript ). A bow-tied, suspendered, haunted-looking medical examiner contributes to the ghostly ambience.
The Phantom Not rated. Running time: 1 hour 22 minutes. In theaters.
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The 11 best Natalie Portman movies, ranked
- Natalie Portman has been acting for most of her life and it's resulted in some memorable movies.
- She won an Oscar for "Black Swan" and was nominated for her performance in "Closer."
- Here are her all-time best movies, ranked.
Whether it's a big blockbuster like the "Star Wars" prequels or dramas like "Black Swan" or "May December," Oscar winner Natalie Portman always brings her A-game to the movies she stars in.
Below, we ranked 11 of her best movies.
11. "Thor: Love and Thunder" (2022)
Out of every Marvel movie she starred in as Thor's on-and-off flame Jane Foster, "Thor: Love and Thunder" is the one where Portman had the most to work with.
In hopes of overcoming her cancer, Jane becomes Mighty Thor, giving Portman the opportunity to show off her tough personal and deliver some great comedic bits opposite Chris Hemsworth.
10. "Lucy in the Sky" (2019)
"Lucy in the Sky" may be one of Portman's lesser-known movies, but she delivers a riveting performance as astronaut Lucy Cola.
After completing her first space mission and returning to Earth, Lucy begins to unravel personally and professionally as her desire to head back to space takes her over the edge. She becomes extremely jealous when she's passed over for the next mission, and she finds out the person who recommended she stay grounded is the guy she's sleeping with (played by Jon Hamm).
The movie has a wild conclusion that's based on the real-life headline-grabbing incident from the early 2000s in which astronaut Lisa Nowak packed her car with various weapons and drove 900 hours non-stop from Houston to Orlando to confront the person who took her spot.
9. "Star Wars: The Phantom Menace" (1999)
Portman, who was only in her late teens at the time, played Queen Padmé Amidala in the first of the "Star Wars" prequels, giving the character a strong sense of self and drive.
Unfortunately, Padmé loses that aspect of herself in the following movies, to make room for the fatal relationship she has with Anakin Skywalker.
8. "Garden State" (2004)
Portman plays Sam, the love interest in Zach Braff's feature directing debut, "Garden State." Unfortunately, the role is often considered one of the worst offenders of the Manic Pixie Dream Girl trope. Still, even despite the label, Portman's performance is one of the most tender and moving of her entire career.
7. "Heat" (1995)
Though she's only in a few scenes in this Michael Mann classic, Portman makes the most of her limited screen time, holding her own opposite Al Pacino as the stepdaughter of his work-obsessed police detective character.
6. "May December" (2023)
In this team-up with director Todd Haynes and his consistent collaborator Julianne Moore, Portman delivers an impressive performance as an actor shadowing a notorious woman (Moore) for her next movie.
Portman plays the part with a mix of comedy, manipulation, and drama, making it an instant highlight in her filmography.
5. "Brothers" (2009)
In this American remake of the 2004 Danish movie, Portman is fantastic as Grace Cahill, a woman grieving the loss of her husband, Captain Sam Cahill (Tobey Maguire), a presumed-dead prisoner of war.
She finds solace in Sam's brother Tommy (Jake Gyllenhaal) until he unexpectedly returns home from war, leading to chaos as he struggles to readjust, showing symptoms of post-traumatic stress disorder.
Portman's portrayal of a wife and mother trying to hold it all together brilliantly shows how war affects even those who never see combat.
4. "Léon: The Professional" (1994)
Portman made her feature-film debut in "Léon: The Professional," and it was obvious even then that she was a star in the making. She showcases talent far beyond her years as she plays a young girl who befriends an assassin (Jean Reno).
3. "Closer" (2004)
In this movie adaptation of the hit play, director Mike Nichols takes Portman's talents and guides her into a performance that would catapult her into becoming one of her generation's great actors.
Portman, who received an Oscar nomination for her performance, plays the mysterious Jane Jones (though she also uses the name Alice Ayres, after reading it on a tombstone), who mixes sex and manipulation to get whatever she wants from any man who crosses her path.
2. "Jackie" (2016)
Portman also received an Oscar nomination for "Jackie." Here, she gives a stirring performance as first lady Jacqueline Kennedy in the aftermath of her husband John F. Kennedy's assassination.
1. "Black Swan" (2010)
Portman won the best actress Oscar for her fantastic performance as a ballerina committed to landing the lead in a production of Tchaikovsky's "Swan Lake" by any means necessary.
In "Black Swan," directed by Darren Aronofsky, Portman masterfully plays good and bad equally well, delivering an intoxicating portrayal of a character pushing herself to the edge of madness to get what she wants.
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A disgraced Indian soldier carries out a series of assassinations in the hope of restoring his honour. A disgraced Indian soldier carries out a series of assassinations in the hope of restoring his honour. A disgraced Indian soldier carries out a series of assassinations in the hope of restoring his honour.
- Hussain Zaidi
- Parveez Sheikh
- Saif Ali Khan
- Katrina Kaif
- Sabyasachi Chakrabarty
- 107 User reviews
- 29 Critic reviews
- 4 nominations
- Daniyal Khan
- Nawaz Mistry
- R.A.W. Chief Roy
- Raw Agent Alok
- (as Sohaila Kapoor)
- Khalid Hussain
- Samit mishra
- (as Mohammed Zeeshan Ayyub)
- Policeman Interrogated Shahzaad
- Pakistani Minister
- Otto Bexley
- All cast & crew
- Production, box office & more at IMDbPro
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Did you know
- Trivia This is Kabir Khan's fifth film having a connection with Pakistan. The previous ones are Kabul Express, New York, Ek Tha Tiger and Bajrangi Bhaijaan.
- Connections Featured in Making of 'Phantom' (2016)
- Soundtracks Afghan Jalebi (Ya Baba) Written by: Amitabh Bhattacharya Produced by: Pritam Chakraborty Performed by: Asrar Shah
User reviews 107
- Sep 3, 2015
- How long is Phantom? Powered by Alexa
- August 28, 2015 (India)
- Nadiadwala Grandson Entertainment
- UTV Motion Pictures
- See more company credits at IMDbPro
- $7,500,000 (estimated)
- Aug 30, 2015
- Runtime 2 hours 16 minutes
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Where did they film cemetery scene in Phantom of the Opera?
Table of Contents
- 1 Where did they film cemetery scene in Phantom of the Opera?
- 2 What cemetery was used in Phantom of the Opera?
- 3 Where did the setting of Phantom of the Opera come from?
- 4 Are there any adaptations of The Phantom of the Opera?
This is the graveyard from the Phantom of the Opera movie. In movie, it’s located in Paris, however, in the book it’s located in Perros-Guirec.
What cemetery was used in Phantom of the Opera?
Laurel Hill Cemetery Cinema in the Cemetery: The Phantom of the Opera with Not-So-Silent Cinema | Laurel Hill Cemetery.
Did Emmy Rossum really sing in the Phantom of the Opera?
Can Emmy Rossum actually sing? Yes, she is a classically trained singer. Performing alongside the likes of Plácido Domingo and Luciano Pavarotti at the Metropolitan Opera since the age of seven, Emmy’s perfect singing voice was left relatively untouched during the editing process of The Phantom of the Opera.
Is Phantom of the Opera historically accurate?
The story of Erik and Christine Daaé is fictitious. However, Mental Floss reports parts of The Phantom of the Opera are based on historical events. For example, one of the more famous scenes in Lloyd Webber’s version of the story is the sequence where the chandelier falls.
Where did the setting of Phantom of the Opera come from?
Are there any adaptations of the phantom of the opera.
Who was the lead actor in The Phantom of the Opera?
Is the Palais Garnier The Phantom of the Opera?