Ryan’s Daughter (1970)

Ryan's Daughter (1970)

World War I seems far away from Ireland’s Dingle peninsula when Rosy Ryan Shaughnessy goes horseback riding on the beach with the young English officer. There was a magnetic attraction between them the day he was the only customer in her father’s pub and Rosy was tending bar for the first time since her marriage to the village schoolmaster. Then one stormy night some Irish revolutionaries expecting a shipment of guns arrive at Ryan’s pub. Is it Rosy who betrays them to the British? Will Shaugnessy take Father Collin’s advice? Is the pivotal role that of the village idiot who is mute?

Ryan’s Daughter is a 1970 epic romantic drama film directed by David Lean.[4][5] The film, set in 1916, tells the story of a married Irish woman who has an affair with a British officer during World War I, despite moral and political opposition from her nationalist neighbours. The film is a very loose adaptation of Gustave Flaubert’s novel Madame Bovary.

The film’s stars are American and British: Robert Mitchum, Sarah Miles, John Mills, Christopher Jones, Trevor Howard and Leo McKern. The score was written by Maurice Jarre. It was photographed in Super Panavision 70 by Freddie Young. In its initial release, Ryan’s Daughter was harshly received by critics[1] but was a box office success, grossing nearly $31 million[3] on a budget of $13.3 million, making the film the eighth highest-grossing picture of 1970. It received two Academy Awards, but was not nominated for best picture.

Ryan's Daughter (1970)

About the Story

The daughter of the local publican, Tom Ryan (Leo McKern), Rosy Ryan (Sarah Miles) is bored with life in Kirrary, an isolated village on the Dingle Peninsula in County Kerry, Ireland. She falls in love with the local schoolmaster, Charles Shaughnessy (Robert Mitchum). She imagines, though he tries to convince her otherwise, that he will somehow add excitement to her life.

The villagers are nationalists, taunting British soldiers from a nearby army base. Mr. Ryan publicly supports the recently suppressed Easter Rising, but secretly serves the British as an informer. Major Randolph Doryan (Christopher Jones) arrives to take command of the base. A veteran of World War I, he has been awarded a Victoria Cross, but has a crippled leg and suffers from shell shock.

Rosy is instantly and passionately attracted to Doryan, who suffers from intermittent flashbacks to the trenches of the First World War, also known as the Great War. He collapses. When he recovers, he is comforted by Rosy. The two passionately kiss until they are interrupted by the arrival of Ryan and the townspeople. The next day, the two meet in the forest for a passionate liaison. Charles becomes suspicious of Rosy, but keeps his thoughts to himself.

There is an intermission and an entracte. Charles takes his students to the beach, where he notices Doryan’s telltale footprints accompanied by a woman’s in the sand. He tracks the prints to a cave and imagines Doryan and Rosy conducting an affair. Local halfwit Michael (John Mills) notices the footprints as well and searches the cave. He finds Doryan’s Victoria Cross, which he pins on his own lapel. He proudly parades through town with the medal on his chest, but suffers abuse from the villagers. When Rosy comes riding through town, Michael approaches her tenderly. Between Rosy’s feelings of guilt and Michael’s pantomime, the villagers surmise that she is having an affair with Doryan.

One night, during a fierce storm, IRB leader Tim O’Leary (Barry Foster) – who had killed a police constable earlier – and a small band of his men arrive in Ryan’s pub seeking help to recover a shipment of German arms smuggled by boat from the storm. When they leave, Ryan tips off the British. The entire town turns out to help the rebels. Ryan is the most outwardly devoted to the task, wading into the breakers to repeatedly salvage boxes of bullets and dynamite.

O’Leary is overwhelmed by Ryan’s devotion, and the town is ebullient. They gleefully free the rebels’ truck from the wet sand, and follow it up the hill where Doryan and his troops lie in wait. O’Leary runs for his life. Doryan climbs atop the truck and wounds O’Leary with a rifle, but then he suffers a flashback and collapses. Rosy presses through the crowd in concern, outraging the villagers.

Ryan's Daughter (1970) Movie Poster

Ryan’s Daughter (1970)

Directed by: David Lean
Starring: Robert Mitchum, Sarah Miles, Trevor Howard, John Mills, Leo McKern, Barry Foster, Marie Kean, Arthur O’Sullivan
Screenplay by: Robert Bolt
Production Design by: Stephen B. Grimes
Cinematography by: Freddie Young
Film Editing by: Norman Savage
Costume Design by: Jocelyn Rickards
Set Decoration by: Josie MacAvin
Art Direction by: Roy Walker
Music by: Maurice Jarre
Distributed by: Metro-Goldwyn-Mayer
Release Date: November 9, 1970

The Goodbye Girl (1977)

The Goodbye Girl (1977)

Taglines: Thank you Neil Simon for making us laugh at falling in love…again.

A divorced woman and her daughter come home to find that her boyfriend has left for an out of town job with no warning. This has happened before. The second surprise comes in the form of another actor who has sublet the apartment from her boyfriend (who did not mention the pair of females who would be in residence). After some negotiation the two decide to share the apartment even though she has vowed to stay away from actors.

The Goodbye Girl is a 1977 American romantic comedy-drama film. Produced by Ray Stark and directed by Herbert Ross, the film stars Richard Dreyfuss, Marsha Mason, Quinn Cummings, and Paul Benedict. The original screenplay by Neil Simon centers on an odd trio: a struggling actor who has sublet a Manhattan apartment from a friend, the current occupant (his friend’s ex-girlfriend, who has just been abandoned), and her precocious young daughter.

Richard Dreyfuss won a Best Actor Oscar for his performance as Elliot Garfield. At the time he became the youngest man to win an Oscar for Best Actor.

About the Story

Dancer Paula McFadden (Marsha Mason) and her ten-year-old daughter Lucy (Quinn Cummings) live in a Manhattan apartment with her married boyfriend, Tony DeForrest, until one day, he deserts her to go act in a movie in Italy. Before he left and unbeknownst to Paula, Tony subleased the apartment to Elliot Garfield (Richard Dreyfuss), a neurotic but sweet aspiring actor from Chicago, who shows up in the middle of the night expecting to move in. Though Paula is demanding, and makes clear from the start that she doesn’t like Elliot, he allows her and Lucy to stay.

Paula struggles to get back into shape to resume her career as a dancer. Meanwhile, Elliot has landed the title role in an off-off-Broadway production of Richard III, but the director, Mark (Paul Benedict), wants him to play the character as an exaggerated stereotype of a homosexual, in Mark’s words, “the queen who wanted to be king.” Reluctantly, Elliot agrees to play the role, despite full knowledge that it may mean the end of his career as an actor. Many theater critics from television stations and newspapers in New York City attend opening night, and they all savage the production, especially Elliot’s performance. The play quickly closes, much to his relief.

Despite their frequent clashes and Paula’s ungrateful attitude to Elliot helping her, the two fall in love and sleep together. However, Lucy, although she likes Elliot, sees the affair as a repeat of what happened with Tony. Elliot convinces Paula that he will not be like that and later picks up Lucy from school and takes her on a carriage ride, during which Lucy admits that she likes Elliot, and he admits that he likes her and Paula and will not do anything to hurt them.

The Goodbye Girl Movie Poster (1977)

The Goodbye Girl (1977)

Directed by: Herbert Ross
Starring: Richard Dreyfuss, Marsha Mason, Quinn Cummings, Paul Benedict, Barbara Rhoades, Theresa Merritt, Patricia Pearcy
Screenplay by: Neil Simon
Production Design by: Albert Brenner
Cinematography by: David M. Walsh
Film Editing by: John F. Burnett
Costume Design by: Ann Roth
Set Decoration by: Jerry Wunderlich
Music by: Dave Grusin
Distributed by Warner Bros, Metro-Goldwyn-Mayer
Release Date: November 30, 1977

Network (1976)

Network (1976)

Taglines: Television will never be the same!

In the 1970s, terrorist violence is the stuff of networks’ nightly news programming and the corporate structure of the UBS Television Network is changing. Meanwhile, Howard Beale, the aging UBS news anchor, has lost his once strong ratings share and so the network fires him. Beale reacts in an unexpected way. We then see how this affects the fortunes of Beale, his coworkers (Max Schumacher and Diana Christensen), and the network.

Network is a 1976 American satirical black comedy-drama film written by Paddy Chayefsky and directed by Sidney Lumet, about a fictional television network, UBS, and its struggle with poor ratings. The film stars Faye Dunaway, William Holden, Peter Finch, and Robert Duvall and features Wesley Addy, Ned Beatty, and Beatrice Straight.

The film won four Academy Awards, in the categories of Best Actor (Peter Finch), Best Actress (Faye Dunaway), Best Supporting Actress (Straight), and Best Original Screenplay (Paddy Chayefsky).

In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. In 2002, it was inducted into the Producers Guild of America Hall of Fame as a film that has “set an enduring standard for U.S. American entertainment”.

In 2006, the two Writers Guilds of America voted Chayefsky’s script one of the 10 greatest screenplays in the history of cinema. In 2007, the film was 64th among the 100 greatest American films as chosen by the American Film Institute, a ranking slightly higher than the one AFI had given it ten years earlier.

Network (1976)

About the Story

Howard Beale, the longtime anchor of the Union Broadcasting System’s UBS Evening News, learns from the news division president, Max Schumacher, that he has just two more weeks on the air because of declining ratings. The two old friends get drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday’s broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell.

Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is “bullshit”. Beale’s outburst causes the newscast’s ratings to spike, and much to Schumacher’s dismay, the upper echelons of UBS decide to exploit Beale’s antics rather than pull him off the air. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows “I’m as mad as hell, and I’m not going to take this anymore!”

Diana Christensen heads the network’s programming department; seeking just one hit show, she cuts a deal with a band of radical terrorists (a parody of the Symbionese Liberation Army called the “Ecumenical Liberation Army”[citation needed]) for a new docudrama series called The Mao Tse-Tung Hour for the upcoming fall season. When Beale’s ratings seem to have topped out, Christensen approaches Schumacher and offers to help him “develop” the news show. He says no to the professional offer, but not to the personal one, and the two begin an affair.

When Schumacher decides to end Beale as the “Angry Man” format, Christensen convinces her boss, Frank Hackett, to slot the evening news show under the entertainment division so she can develop it. Hackett agrees, bullying the UBS executives to consent and firing Schumacher. Soon afterward, Beale is hosting a new program called The Howard Beale Show, top-billed as “the mad prophet of the airwaves”. Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale’s signature catchphrase en masse: “We’re as mad as hell, and we’re not going to take this anymore.”

At first, Max and Diana’s romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher leaves his wife of over 25 years for Christensen. But Christensen’s fanatical devotion to her job and emotional emptiness ultimately drive Max back to try returning to his wife, even though he doesn’t think she’ll agree, and he warns his former lover that she will self-destruct at the pace she is running with her career. “You are television incarnate, Diana,” he tells her, “indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality.”

Network Movie Poster (1976)


Directed by: Sidney Lumet
Starring: Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Wesley Addy, Kathy Cronkite, Conchata Ferrell, Cindy Grover
Screenplay by: Paddy Chayefsky
Production Design by: Philip Rosenberg
Cinematography by: Owen Roizman
Film Editing by: Alan Heim
Costume Design by: Theoni V. Aldredge
Set Decoration by: Edward Stewart
Music by: Elliot Lawrence
Distributed by Metro-Goldwyn-Mayer
Release Date: November 27, 1976