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Date: 02.10.2017

Taming Tony (1917)

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Silent era[ edit ] The earliest cinematic adaptation of the play is D. The blurb for the film stated "if we could see ourselves as others see us what models we would become. There is no known cast list for this film. Benson directed a twelve-minute silent filmed extract from his own Shakespeare Memorial Theatre production, starring himself and his wife, Constance Benson. It is now believed lost, although several stills survive in the library archives of the Shakespeare Birthplace Trust.

This version also shows scenes not in the play. This version is also lost. Intended more as a showcase for a new type of sound system than an adaptation of the play, the film consisted entirely of the scene where Petruchio and Katherina first meet.

Shot using a process known as Voxograph, the actors spoke the complete text during filming, and when the film was played at the theatre, "the same actors, one at each side of the screen but unseen, repeated the words in what was supposed to be synchronisation.

It was expected that the operator , after rehearsal, would be able to project the film so that picture and voice would jibe. One of a series of forty-minute adaptations of classic texts released under the Gems of Literature banner, only the second half of the film survives, and the final scene is incomplete as a result of print damage. This version was simultaneously shot as a silent film, and, depending on whether a given theatre was equipped to screen sound films, was released both as a "talkie" and a silent.

As she moves though the litany of reasons why a woman should obey her husband, she winks toward Bianca Dorothea Jordan , unseen by Petruchio. Bianca smiles in silent communication with Katherina, thus acknowledging that Katherina has not been tamed at all.

Most significantly, when Petruchio outlines his plan to tame her "with kindness" 4. The conversation about the sun and moon, so often seen as a pivotal turning point in the taming is then delivered with a befuddled Petruchio apparently genuinely unsure whether he is looking at the sun or the moon, and a worried Katherina trying to placate him.

However, after a moment, the funeral suddenly transforms into a colourful party which moves from the church through the streets as the credits for the film play. This ritualistic subversion of hierarchy and orthodoxy is a visually powerful and historically detailed dramatization of those medieval festivals of misrule conjecturally derived from the Saturnalian rituals of Rome [ The first moment is behind the stained glass window, when she silently decides to marry him.

The second is when she follows him after he leaves her at the gates of Padua. Zeffirelli and Burton both wanted Elizabeth Taylor to deliver the speech ironically, a la Mary Pickford, but Taylor felt it would be better to speak seriously, and then undermine that seriousness by leaving the banquet without Petruchio, thus subverting his apparent authority over her. Which takes in a lot of people!

The film was part of a series called Shakespeare in Performance, which produced adaptations using relatively complete texts intended for use as educational tools in schools, with the primary aim being to show how the plays would have looked when originally performed.

The production starred Karen Austin and Franklyn Seales. Shrew ; director and cast unknown; sets the play in a contemporary milieu as a husband tries to tame his nagging wife. Gardner Sullivan , directed by Reginald Barker , starring Enid Markey and Dustin Farnum ; relocates the story to modern day New York and Alaska as a boorish prospector attempts to tame a beautiful but spoiled socialite.

Beresford, directed by John B. Davidson ; relocates the story to modern day Yale University where a literature student is inspired by his reading of the play to tame the feminist daughter of a wealthy banker.

Much to her annoyance, her husband is happy to go along with the idea. Gillstrom , starring Evelyn Preer and Edward Thompson; when a man becomes exasperated with his domineering wife, he decides to tame her by initiating divorce proceedings and pretending he has a girlfriend. Eventually, they allow him to present one scene - the initial meeting between Katherina and Petruchio.

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Eventually Shakespeare himself played by Gordon Begg arrives, lamenting the quality of the production, before he is hit by a thrown pie; Taming of the Shrew section written by Adrian Brunel , directed by Alfred Hitchcock.

However, he takes her to his shack in the country where she must learn to live without wealth and privilege. Rama Rao ; set in India, the film is loosely based on certain aspects of the play and tells the story of a rich widow who ill-treats her step-daughter until she is made to see the error of her ways by her two sons-in-law. Krishnaswami, starring Bhanumathi Ramakrishna and Sivaji Ganesan ; the story of a socially conscientious man who fights for the welfare of the local villagers and the spoiled daughter of a rich farmer.

Madhavan , starring Jayalalithaa and Sivaji Ganesan ; the story of a rich young man who marries a woman educated abroad, leading to a tempestuous marriage. Udayashankar ; directed by M. Rajashekar, starring Malashri and Raghavendra Rajkumar ; Kannada language film telling a story broadly identical to the original. He decides to tame her by forcing her to have sex with as many of his friends as he can, something she is more than happy to do. Brauner, directed by Gary Hardwick, starring Gabrielle Union and LL Cool J ; relocates the play to modern Los Angeles, where a shrewish woman is constantly interfering in the affairs of her family and friends.

Fed up with the intrusion, they get together and pay a local playboy to date her and teach her a lesson, but he finds himself unexpectedly falling for her.

When he introduces her to his family, they decide she is not ladylike enough and set about taming her. However, when several members of the cast complain that the play is sexist, the director decides to rewrite it, removing any misogyny, and renaming it The Taming of the Shrew - Reborn. A heavily edited sixty-minute modern-dress performance, written by Worthington Miner and directed by Paul Nickell, it starred Lisa Kirk and Charlton Heston.

The production is also notable insofar as when she hugs Petruchio after her climactic speech, she winks at the camera. Henderson writes "this version relentlessly reiterates conventional post-war ideas of gender difference [ The initial script was written by Michael Hogan , who included the Induction, and kept Sly on stage for the entire show, which culminated with him beating his own wife, much to the delight of the actors who have just performed for him.

This script, however, was heavily rewritten by Hall of Fame producer William Nichols, who removed the frame. The production instead opens with Grumio Jerome Kilty addressing the camera directly, inviting the audience to view the "antic players. This is the first known television version to include the Sly framework. Elizabeth Schafer describes the effect of using the Induction in a TV production as " Brechtian without ever being too solemn.

Conceived by director Michael Bogdanov as a direct reply to the BBC Television Shakespeare, which he loathed, the series examined six plays using National Theatre actors and a live audience, with whom Bogdanov and the actors would speak, often re-acting scenes using different suggestions from audience members.

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The Taming of the Shrew episode was the basis of a two-part Roundhouse Theatre workshop starring Suzanne Bertish and Daniel Massey , which addressed whether or not the play demeans women, or depicts how they are demeaned in society. The episode opens with a boy who is annoyed that he has to read The Shrew for his homework, rather than watching his favourite programme, Moonlighting itself. He goes to his room and begins reading, and the episode then takes place in his mind as he imagines the members of the cast of Moonlighting in an adaptation of the play itself, with Cybill Shepherd as Katherina and Bruce Willis as Petruchio.

This version adapted the end of The Taming of a Shrew to round out the frame; after Sly announces he now knows how to tame a shrew, he proudly walks back into the tavern to confront the hostess, but almost immediately, he is flung back out, in exactly the same way as the episode began.

However, she allows her ego to get the better of her, and unconsciously attempts to take over the production from the director, who ultimately fires her, and hires her best friend for the role instead.

Written in modern prose, the episode relocates the story to contemporary London, where Katherine Shirley Henderson is an abrasive career politician who is told she must find a husband if she wants to become the party leader. To put him off, Bianca announces she will not marry until her sister is married as she believes Katherine will never marry. Harry then arranges a meeting between his friend Petruchio Rufus Sewell and Katherine.

Harry bets Petruchio that he will not be able to woo Katherine, so, determined to prove him wrong, Petruchio sets out to win her over.

Each episode of the show is hosted by an actor discussing their favourite Shakespearean play with other actors and theatrical professionals. Footage is included from D. The casting of Cleese as Petruchio was not without controversy at the time. He had never performed Shakespeare before, was not a fan of the first two seasons of the BBC Television Shakespeare, and took some persuading from Miller that the BBC Shrew would not be, as he feared "about a lot of furniture being knocked over, a lot of wine being spilled, a lot of thighs being slapped and a lot of unmotivated laughter.

So he behaves just as outrageously as she does in order to make her aware of the effect that her behaviour has on other people [ The child then has a mirror held up to it and is capable of seeing what it looks like to others. Henderson was unimpressed with this approach, however, writing "it was the perfect production to usher in the neo-conservative s" and "this BBC-TV museum piece unabashedly celebrates the order achieved through female submission.

Speaking of the somewhat controversial decision to remove the induction, Miller wrote "I find [it] terribly hard to do in any other format but the stage: It would be on television a little extra programme tagged on before the programme proper begins.

We made this decision for the following reasons: As with all of the episodes Jonathan Miller directed, he allowed the work of celebrated artisans to influence his design concepts. In the case of Shrew, the street set was based on the work of architect Sebastiano Serlio , as well as the Teatro Olimpico , designed by Andrea Palladio.