I. Thegallery

^J.thecurtain

312

SkillDeveloping

_Ex.9

StudentA

YouarecallingthePalaceTheatretobooktwoticketsfortheconcertnextWednesdayevening.Youwanttwoseatsinthecircle.Checkthattheper­formancebeginsat7.45.

2.Youarecall1ngtheNewTheatreabouttheballetonFridayandSaturday.Findoutthecostofticketsand1ftheyhaveanyleft.Bookoneseatone1therFridayorSaturday1fyoucan.

3.YouarecallingtheGrandTheatreYou

wantticketsfortheperformanceof"An­tonyandCleopatra"onFriday.(IfnotFriday,thenThursday).Youwant4seatstogetherinthestalls(Iftherearenoneinthestalls,then1nthecircle).

StudentB

1.YouareinthePalaceTheatreboxof­fice.ThereareplentyofticketsfortheconcertonWednesday,whichbeginsat

7.45.Youacceptbookingsbyphonebuttellcallersthattheymustcomeandgettheirticketstomorrow.

2..YouareintheNewTheatreboxoffice.

ThereareplentyofticketsfortheballetonFridayandSaturday.Youhaveseatsinthestallsat£350andinthecircleat

2.50.Youdonottaketelephonebookings.

3.Youare1ntheGrandTheatreboxoffice.

AllticketsfortheperformanceofUAntonyandCleopatra"aresoldoutonFriday,butthereareafewticketsleftforThursday.Butyoudonothavefourseatstogether,eitherinthestallsorinthecircles.

Ex.10ReadtheCritics'Choiceand,Insmallgroups,discuss:

./Whtchplaywouldyouprefertosee?

./Whichplaywouldbemostsuitableforstagingbyyourclass?

./Whichplaywouldbemostlikelytobeacommercialsuccess?

_{Critics'Choice}

ADENOFFAVERSHAH

ThePi1(6288795)

Mon·friat7.30pm;matineeThursat2pm

TerryHands'grippingandperceptiveprodudionoftheanonymousElisabelhanmurderdrama,nowtramlerredfromStratford,revealsilasalasc1naling,enigmatic classic. lenny Agutter ond RobertO'Mahoneyplaytheadulteroucouplewhoseat­tempttokillhertolidhubond(ChritopherBenia·min)combinepathoswithagreeablyblockhumour.

HAPPYFAHILV

DukeolYmk''(8365122)

Mon-Thurat8pm,FriandSatat5.45pmand8.30pm

GilesCooper'sclever,dilurbing1960scom­edyaboutthreegrown-upsiblingsimprisonedinchildhoodritualisstilltheatricallygrippingandfullofpsychologicalandpoliticalnuance.ExcellentdirectionbyMoriaAitkenofonim·pressivec<»>ledbyianOgilvyandAngeloThorne.

313

C!HALEV'SAUNT

Aldwych{8366404)

UntilSept24,Mon·Friat7.30pm,Salat5pmand

8.30pm;matineeWedat2.30pm

GriffRhysJonesmakesoneofthebest"aunts..everin

ajoyousproductionwithanexcellentsupportingcost.

NOISESOFF

Savoy(8368888)

Mon·friat7.45pm.Sotat5pmand8.30

pm;matineeWedot3pm

Thefunniestfarceforyeors.MichaelFrayn'sbrillianHycontrivedcomplexofon-stagedisos·tersandbochtagedramaisstillkeepinghovsesfuUandaudienceshelple$$withlaughterofferitsfirstca$1change.Phylidolaw,BenjaminWhitrowandtherestofMichaelBaemore'scrackcompanyveittheIofbothworlds­

theoommerdolhi1andtheconnoisseur'sclassic.

_{!TheTimes27August1999)}

Ex.11Readthesnatchesofoverheardconversationsanddecidewhichenter­

tainmentsyouwanttoseeInthelightofthesecomments.

a)

...I'veseenboththeOsborneandtheChekhovactually.Mmm.Anygood?

Notreally.Oh,ImeantheOsborne'squiteentertaining.It'sinterestingtoseeitrevived

butIdon'treallythinkthe50shavegotmuchtosaytous...youknow...nowinthe90s.TheChekhov'sjustaborereally.

_{Oh,theygotreallygoodreviews.}

Ok,itwaswelldoneIsuppose,butasfarasI'mconcernedit'sjustabadplay.Oh.comeon!ImeanIrememberseeingitdoneattheOldVicin97...

(LookBackinAngerandThreeSisters)

b)

--··Yeah.butIdon'treallylikemusicals.

-No,neitherdoInormally,butBobhadalreadygottheticketsandIonlywentalongtokeephimcompany,really.AndI'dneverbeentotheVictoriaPalaceeither.

-And?

-Well,itwasquiteentertaining.Oh,thereweresomelovelysongsandthedancingwasgood,too.

-ThinkI'denjoyit?

-WellonthewholeIthinkyouwould,yeah...

(GodOnlyKnows)

c)

-...Ididn'tthinkmuchofitreally.

-Whynot?

-Well,Imean,IfIgotothetheatre,Iexpectmorethanjustalaugh.OratleastIwanttoseesomeactorsI'veheardof.Imean,haveyoueverheardofPeterGravesorHelenChristie?

314

-No,Idon'tthinkso.

·-Wellthen,

(NoSex,Please-We'reBritish)

d)

..IwasoncetakentoseeswanLakeMwhenIwasatschool.Neveragain!

-Butthisisdifferent,youknow,thisisn'tswanLake"Themusic'sreallylivelyandthedancingisn'tanythinglikeyouseein"SwanLake.Well,it's..it'sjustfun.

-I'mnotkeen.really.I'drathergotothepictures.

-Oh,comeon.Don'tbesuchastick-In-the-mud.It'sreallyagreatshowandyouneverknow,itmightconvertyoutoballetLook,Ipromiseyouyou'llenjoyrt.I'llevenbuytheticketsforyou.

.._Well,inthatcase,perhaps1'1!come...

(Fa9ade)

Ex.12Shareimpressionsofaperformance.

1.Itwasanunforgettableperformance.Developtheidea.

2.Mlfelt\ikewalkingoutM.Developtheidea.

3.Actoutaconversationduringtheinte.val.Yourfriendlikestheperfonnanceandyoudon't.

REVIEWOFAPERFORMANCE

Ex.13AnewproductionofRichardIllreceivedbothfavourableandunfavourablereviews.Thecritics'reactionmadefront·pagenewsInallnawapapers.Comparethetworeviewsthatfollow.

NopraisecouldbetoohighforthebriUiantactingandstagingofthefamousplaybyW.Shakespeare.RichardIllwaswritteninthe1590s,butitwasachillingrelevancetothemodemworld.ThestoryofRichard'sriseandfancarriesauniversalmessageaboutthepoliticsofpower,andRichardEyre'sdirectioncombineswithBobCrowley'sdesigntodrivethemessagehomebysettingtheproductioninthe1930s.

ianMcKellenasRichardisremar1<able.Hardlyeveroffstage,heradiateseviland

corruptionthroughouttheplay.HeissupportedbysomebriUiantperformances,ParticularlyeffectiveisClareHiggingswhoplaystheroleofQueenElizabeth.But

^{therealstandoutforthereviewerisJoyceRedman,whoplaystoperfectiontheroleof}

theDuchessofYork.

Thecostumesarehighlyeffective,andarmyunilonnsandblackbootsreflectthe

riseoffascism.Anyoneinterestedinthetheatreshouldexperiencethisperformance.

315

RichardEyre'sRicharrill/openedthisweektotittersfromtheaudienceandthe

worstreviewsoftheyear.

Don'ttrustthosereviews.Thespoctacleisfarworsethanhashithertobeenmadeout.amilestooeinthehistoryofcoarseacting.

Theproductionwasnotablefortheincomprehensionwithwhichlinesweredeliv­

eredandforthemostwildmomentsof"interpretation.'

AstoMrMcKellen'spertormance,itwasderanged.Thefinalbattlesceneisun­

convincingwithsokliersinheavySUitsofarmourdankingacrossthestageThehugesteelsetiscoldandumnterest1ngandthelightingIsgloomy.

Inall,Richarrilllisadepressingplay,andthisproductionofterslittlelightreliefdulingthe3^11,hourpertormance.

..sWriting

WriteafavourableIunfavourablereviewofaperlormance

316

_UNIT3

_THECINEMA

FocusVocabulary

c1nemajilmmovie

actionIad\·ertturcfilm

biopiccar/rumcomedydrama

di.w.terfilm

jfJntasyfilmhorrorfilmmusical

.ciencefictionfilm

soapopera

thrillerwarfilmwestt•rn

CinemaIsamediumofmassentertainment.ttIsbothanartandanindustry.Ithasapowerfulimpactonourmindandsoul.

Ex.1Thinkofanoldpersonthatyouknowquitewell,forexample,agrandparentoraneighbour.WhichofthefollowingstatementsonthecinemawouldheIsheagreewith?Inthespaceprovided,write5againstanystatementheIshewouldtotallyagreewithand0againstanystatementtheywouldtotttllydisagreewith.Put4,3;2or1toshowIntermediateattitudes.

CinemaAttitudes'questionnaire

1.Goingtothecinemaoccupiestimethatwouldbespentinmore D

wholesomerecreation.

2.Iamtiredoffilms-Ihaveseentoomanypoorones. C]

3.Thecinemaisthebestcivilizingdeviceeverdeveloped. CJ

4.FilmsarethemostImportantcauseofcrime. [J

317

_{5.Filmsareallrightbutafewgivetherestabadname. D}

6.Iliketoseefilmsonceinawhile,buttheydodisappointyousome- D

times.

7.Ithinkfilmsarefairlyinteresting. D

_{8.Filmsarejustaharmlesspastime. D}

^{9.Goingtothecinematomeisjustawaytokilltime.} D

^{10.Theinfluenceofthecinemaisdecidedlyforgood.} D

11.Filmsaregoodcleanentertainment. _D

^{12.Filmsincreaseone'sappreciationofbeauty.} D

^{13.I'dnevermissthecinemaifwedidn'thaveit.} D

^{14.Itisasintogotothecinema.} D

^{15.Therewouldbeverylittleprogresswithoutthecinema.} D

^{16.Filmsarethemostvitalformofarttoday.} 0

_{17.Afilmonceinawhileisagoodthingforeverybody. D}

18.AfilmonceinawhileisoneofthefewgoodthingsIcanenjoyby D

myself.

19.Filmsarewhollybadforchildren. D

_{20.Iliketoseeotherpeopleenjoyfilms,whetherIenjoythemmyselfornot. 0}

_{21.Filmsaretoblamefortheincreaseinsexualoffence. 0}

22.Thecinemaisoneofthegreateducationalinstitutionsforthecom- D

_monpeople.

^{23.Youngpeoplearelearningtosmokeanddrinkfromfilms.} D

^{24.Thecinemaisthebestcheapentertainment.} D

^{25.There'stoomuchviolenceonscreen.} 0

Nowtick(-1thestatementsthatYOUagreewith.

_WordMeaning

_{Ex.2Readthedeflnitlonsbelowthenwritethetypesoffilmsintherightcolumn.}

jactionIadventurefilm

1biopiccartooncomedydrama

318

disastermoviefantasyfilmhorrorfilmjuvenilefilmlovesto

musical

sciencefictionfilmthriller

warfilm

westem

1.Filmdealingw1lhmajordisasters.suchasearth-quakes,largefires,planecrashes,etc.

2 Inthisfilm,loveandromancearethekeyelements.

3.Filmtodowithsomeaspectofwar.

4 Afilmaboutthelifeofaparticularperson.

5 Inthisfilm,excitementisgeneratedfromactionse-quences

6.Filmaimedatchildrenandyoungpeople.

7 Filmwhichsetsouttomaketheaudiencelaugh. B.FilmabouttheAmericanwildwest,usuallywith

cowboys.Indiansandgunfights.

9 Filmsetinthefuture.andoftentodowithspacetravel.robots.etc.

10FilmwherethecharactersandIorsituationscouldnotexistinreallife.Oftendealswithmagicandmystery,fantasticvoyages,etc.

11Averydramaticfilmwheretensionandsuspenseisdeliberatelymaintainedandisacentralfeatureoftheplot

12.Inthisfilm.thefocusISonhumanrelationshipsratherthanaction.

13.Afilmwherethemainaimistoterrifytheaudience.

14_Alsocalledananimatedfilm.Herethefilmismadebyphotographingdrawingsratherthanusingliveactors

15.Af1lmwheretheemphasisisonmusic.Itusually

conta1nslotsofsongs.

Ex.3Readthefilmreviewsbelow,thendecidewhattypeoffilmeachoneis.Choosefromthetypesofnlmaboveandwriteyouranswer.sundereachtitle.

Earthquake(1987)

Type _

Anepictawithastar-studdedcastaboutthedestructionoflosAngeles,asthemostcatastrophicearthquakeofallt1meripsthroughSouthernCalifornia,affectingthelivesofallwholivethere.Excellentspe<:1aleffectsmakeupfarthetediousandclichedplot

···-.,...,.-•_,:...••••.•,.,_,_,_.-·.:.;·,·.<-••......:1

TheAviator(2005)

_{fyp•·--=::--,--:-;c;:}

^{Setbetween1927and1947,themoviefol-}

lowsHowardHughesashemerrilyspendshisinheritedmillionstoconquerHollywoodandtheskies.Itisatal.e'NOrthtellingandthedirector(MartinScorcese)doesitwithstyle,

^{authorityanddash,thoughatexcessive} _'

^{lengthofnear1ythreehoursLeonardodiGa-}

v

prioscoresasHughesandCateBlanchettcon-

tributesawittytwistasabossyKatharine -

.,::bm."--<•••·'• ·

319

_{RaidersoftheLostArk(1981}}

_{TheWizardofOz{1939)}

pe _

Type _ _

_..

StevenSpielberg'sall-actionblockbuster

withHamsonFordasIndianaJones,whoissenttofindthelegendarybiblicalAri<oftheCovenantbeforeitcanbestolenandusedbytheNazisintheirplanforworlddomination.Aspectacularmulti-miltiondol­larversionofthe1930sSaturdaymorningserials,anditworkssowellbecauseofeverybody'senthusiasmandsenseoffun.

·,:(^..

_{IceCastles(1978}}

^Type.___

Tear-jeri<ingromanceaboutayoungcou­plewhomeetonanicerinkandquicklyfallinlove.Bothfindfameandfortuneontheice-heasaprofessionalhockeyplayer,sheasanOlympicchampiondancer-buttragedystrikeswhenshebecomesblind.

_{WaroftheWorlds(2005)}

^{pe __}

likehismovie'shomicidalspaceinvaders,StevenSpielbergshowsnomercy.Inthedirevtor'shllndingeradaptationofH.Well'sclassnovel,thesuspenseandscaresstartearlyandkeepcomingwithferociousintensity.ButmosttyWarisasizzingpopcornmovieofferingtwohoursofsolidstoryandgee-whiz.,specialeffects-drivenscares,allviewedfromthecom­fortablesafetyofone'sseatinatheatre.

320

JudyGarlandgivesadazzlingperformancein

thismuch-lovedmovie.SheisyoungDorothywhoisknockedunconsciouswhenatornadoripsthroughherKansasfarmhouseandwhowakesupintheTechnicolourwor1dofOz(thefilmstartsinblackandwhite).AperfectMGMproductionwithimaginativesets,photography,costumesandmake-up.Theclassicsongsin·eludeFollowtheYellowBn'ckRoadandtheOscar-winningOvertheRainbow.

_{BridgetJones:theEdgeofReason(2005)}

^{Type __}

Ifyoucosiedupto2001'sBridgetJones'sDiary­countmeamongitstans-thissequelwillprovealmostasengagingbecauseit'sdejavuallagain.Zellweger,FirthandGrantallgiveentertainingperformances,withGrantfirstamongequals.Themoreincorrigiblecharacterheplays,thegreaterhisscampishcharm.

_{MillionDollarBaby(2005)}

^pe

Moviesdon'tcomebetterorricherinmeaningthanthisOscar-nominatedbeautybydirectorClintEastwood,whichfollowsthedeepeningrelation- ,shipbetweenaboxer(HilarySwank)andhertrainer(Eastwood).MorganFreemancostars.

_·^it

^{.( I}

....

ClassCommunication

_{Ex.4Thinkofafilmtitletomatcheachofthefollowingtypesoffilm.}

comedy animatedfilm(cartoon) romanticdrama	sciencefictionftlmJamesBondfilmhistoricalfilm	kitchensinkdramamusical detectivefilm
psychologicalthriller	western	documentaryfilm
horrorfilmsoapopera	adventurefilm policedrama	tearjerkerItear-tearingfilm bioplc

Ex.5WhatwasthelastfilmyousaweitherInthecinemaoronTV?WhattypeoffilmwasIt?Whoplayedthehero,theheroine,thevillain,etc?

AnEffectiveMovieReview

Ex.6Manypeopleprefertoreadafilmreviewbeforetheychooseafilmtosee.

Bart: HowaboutthemoviethatgotsuchagoodreviewinZeallastweek?Susanne:Whatdiditsay?Ican'tremember.NowwheredidIputthatmagazine?

Hereitis.

Zeal's MOVIE

REVIEW

byRichHirsch

Citylifeisomoviethatwehovewaitedalongtimefor.Afilmthatiscom·pletelylackingInviolenceandcrueltyisawelcomechange.Foronce,peoplewhowonttoIoughatamoviewillnotbedisappointed.Itisfunnybutprofound;realistic

andstimulating.Theplotisunsophisticatedanduncomplicatedandpackedwithhumaninterest.Itdealswiththeproblems,intrigues,andprejudicesthatayoungmanfromthecountryfacesinhisnewlifeasaclerkinabigindustrializedcity.

IV'v::Niefanswillalsoenjoythefinestfilmmakingtechniquesthatwehoveseeninyears.

TheactingissuperbwithleeYoungandBarbaroMartinattheirbest.CityLifeiseosilythemastamusingandthemostprofessionalmovieintown-thebestinalongtime.

llla114 ₃₂₁

Suzanne:Thatsoundsgreat.Whereisitplaying?Bart: AttheOlympia.Let'sgo.

RereadthemoviereviewfromZealmagazine.ThenreadthefollowingreviewaboutthesamemoviefromToday'sMoviesmagazine.Asyouread,thinkofthedifferentpointsofviewexpressedInthetworeviews.

CITYLIFE:OIYEOFTHISJZNl'SWORSTJfiOYIES

leeYoungtsnowappearingattheStarCinemamCrlyLrle,oneoftheyear'smostunintereshng,unrealisticmoviesYoungisusuallyaterrificactorwhomakesex­c.ellentmovies,but1nCitylifehisactingisextremelypoor.Theplotissouncompli­cated!hatIIisstupidandunbelievable.Itdealsspectficollywithproblemsor0bigindustrializedcityBarbaraMartin,ofcourse,isbeautiful,butnotveryprofoundorevenamusrnginherroleasYoung'sgirlfriend.

Themovterscalledacomedy,butitisrarelytrulyfunny.Otherreviewershaves01dthatthtsmoviersgoodbecauseitisnonvdent;atthesametimeitshowsrealisminashmulatingway.Weagreethatveryfewmoviesnowodayshaveplotsthatarelackinginvtolent,hateful.cruel,andfearfulplots.But,unfortunately,thismovtealsolocksrealtsmandgoodacting

Thectnematographytsquitegood,howeverJeffreyLongley,thecinematogra­

pher,usedhtscameroswell.Themoviemayhaveoweakplotandpooracting,butarttsticollytlrsajoytosee

^{Butabeautifulmovieisnotenough.Itmustalsobewellactedandhoveastrongplot.}

Maketwocolumnsonaseparatepieceofpaper.WriteZealononecolumnandTO·day'sMoviesontheother.Thenchoosetheapproprl.tewordsfromthefollowinglistandwritethemInthecorrectcolumntoshowwhatthereviewsthoughtofCityLife.SomewordsmaygoInbothlists.Trynottolookatthetworeviews.Choosefrom:

unsophisticateduncomplicatedrarelyfunny

profound

goodcinematography

_superbacting

amusingprofessionalpooracting

unbelievablerealisticbeautiful

weakplotunrealistic

322

Ex.7Developthefollowingdialogues.Saywhatfilmyou'dliketosee,whattypeoffilmItis,whatreviewssayaboutit,whoIsstarringetc.

WhatShallWeDoThisEvening?

^1.

Whydon'twegotothecinema?

_{ThatwouldbeverymceThankyou.Whatisonat ?}

^{lt1s _}

Illp1ckyouupabout730

R1ghtSeeyoulater

2.

Doyoufeellikegoingtothepictures?

Thatsoundslikeagoodidea.Thankyou.Whatshallwesee?

Let'smakeit6.30atyourplace.That'llbeOKbyme.

3.

Wouldyouliketocometothemoviewithmetonight?I'dloveto.What'son?

It'sawesternThereviewsare---------------­GreatI'llcallroundforyouafterdinner.

OK.I'llbeready.

4.

Howaboutcomingoutwithmethisevening?SoundsgreatWhereshallwego?

Shallwesayroundaboute1ght?Fme.Seeyouthen

JtSWriting

Ex.8Writeamoviereviewforamagazine.Don'tforgettogivethisinformation.Rememberthatyoumustnotusethepronoun!whenyouwriteareview.

1 Whattsthenameofthemovte?

2 Wherets1ton?

3. Howlongdoesttlast?

4 Whoaretheprincipalactors?

5 WhatIStheplot?

6 Whowerethebestactors?

7 Why?

8 Howgoodwerethefilmmakingtechniquesforproducingspecialeffects?

9. Whatdidn'tyoulike?

10.Shouldpeoplegotoseethismovieornot?

323

RevisionandConsolidation

I.Putoneofthefollowingprepositionsinthesentencesbelow.

^{to in behind during at} on

1.Wesat thestalls.

2.Theusheretteshowedus ourseats.

3.Thereweretwoactors thestage.

4. You'dbetterask theboxoffice.

5.Myfavouriteactresswas theplay.

6. Duringtheperformance,workISgoingon thescenes.

7. Peopleusuallyhaveadrinkoracigarette theinterval.

8.Ourseatswere thethirdrow.

9. Hepreferstosit thefront;shelikestobe theback.

10.Iliketosit themiddle.

11.Itwasn'tmade location.

12.Isthereagoodfilm tonight?

13.What's theOdeon?

14.Thisfilmisbased abook.