Sidney Sheldon Pdf

Sydney Sheldon - If Tomorrow Comes If Tomorrow Comes Sydney Sheldon Hmmm, looks like another genie got out of the bottle Me Fiction Scanned and fully proofed by nihua, 2002-03-24 v4.1 CR/LFs removed and formatting tidied. Pdb conversion by bigjoe. IF TOMORROW COMES by Sidney Sheldon, ©1985 BOOK ONE Chapter 01 New Orleans THURSDAY, FEBRUARY 20.

Basil Sydney (23 April 1894 – 10 January 1968) was an English stage and screen actor.

Career[edit]

Sydney made his name in 1915 in the London stage hit Romance by Edward Sheldon, with Broadway star Doris Keane, and he costarred with Keane in the 1920 silent film of the play. The couple married in 1918, and when Keane revived Romance in New York City in 1921, Sydney made his Broadway debut in the parts. He stayed in New York for over a decade playing classical roles such as Mercutio in Romeo and Juliet (1922), Richard Dudgeon in The Devil's Disciple (1923), the title role in Hamlet (1923), Prince Hal in Henry IV, Part I (1926), and Petruchio in Taming of the Shrew (1927).^{[citation needed]} In 1937 he starred in the murder mystery Blondie White in the West End.

He made over 50 screen appearances, most memorably as Claudius in Laurence Olivier's 1948 film of Hamlet. He also appeared in classic films like Treasure Island (1950), Ivanhoe (1952), and Around the World in Eighty Days (1956), but the focus of his career was the stage on both sides of the Atlantic.

In 1946 he starred with Flora Robson in A Man About the House at the Piccadilly Theatre.

Personal life[edit]

Sydney divorced Keane in 1925.^[1] In 1929, he married actress Mary Ellis, and the couple moved to England.^[2] There he concentrated more on film than on theatre work. In the 1940s, he married English film actress Joyce Howard;^[3] they had three children.

A heavy smoker, Sydney died from pleurisy in 1968, aged 73.

Filmography[edit]

• Romance (1920) as Armstrong
• Red Hot Romance (1922) as Rowland Stone
• The Midshipmaid (1932) as Cmdr. Fosberry
• The Third Clue (1934) as Reinhardt Conway
• Dirty Work (1934) as Hugh Stafford
• The Riverside Murder (1935) as Inspector Philip Winton
• The White Lilac (1935) as Ian Mackie
• The Tunnel (1935) as Mostyn
• The Amateur Gentleman (1936) as Louis Chichester
• Rhodes of Africa (1936) as Dr. Jim Jameson
• Blind Man's Bluff (1936) as Dr. Peter Fairfax
• Crime Over London (1936) as 'Joker' Finnigan
• Talk of the Devil (1936) as Stephen Rindlay
• Accused (1936) as Eugene Roget
• The Four Just Men (1939) as Frank Snell
• Shadowed Eyes (1940) as Dr. Zander
• Spring Meeting (1941) as James
• The Farmer's Wife (1941) as Samuel Sweetland
• The Black Sheep of Whitehall (1942) as Costello
• Ships with Wings (1942) as Capt. Fairfax
• The Big Blockade (1942) as Bit Part (uncredited)
• The Next of Kin (1942) as Naval captain
• Went the Day Well? (1942) as Major Ortler
• Caesar and Cleopatra (1945) as Rufio
• Meet Me at Dawn (1947) as Georges Vermorel
• The Man Within (1947) as Sir Henry Merriman
• Jassy (1947) as Nick Helmar
• Hamlet (1948) as Claudius - The King
• The Angel with the Trumpet (1950) as Francis Alt
• Treasure Island (1950) as Captain Smollett
• The Magic Box (1951)^[4] as William Fox-Talbot
• Ivanhoe (1952) as Waldemar Fitzurse
• Salome (1953) as Pontius Pilate
• Hell Below Zero (1954) as Bland
• Star of India (1954) as King Louis XIV
• Three's Company (1954) as Dr. Graham (segment 'The Surgeon's Story')
• Simba (1955) as Mr. Crawford
• The Dam Busters (1955) as Air Chief Marshal Sir Arthur Harris
• Around the World in 80 Days (1956) as Reform Club Member #2
• Sea Wife (1957) as Bulldog
• Island in the Sun (1957) as Julian Fleury
• A Question of Adultery (1958) as Sir John Loring
• John Paul Jones (1959) as Sir William Young
• The Devil's Disciple (1959) as Lawyer Hawkins
• The 3 Worlds of Gulliver (1960) as Emperor of Lilliput
• The Hands of Orlac (1960) as Maurice Seidelman
• A Story of David (1961) as King Saul

References[edit]

1. ^Historical Dictionary of American Theatre
2. ^A Special Relationship
3. ^Obituaries in the Performing Arts
4. ^Release date for The Magic Box, in IMDb.

External links[edit]

• Basil Sydney at IMDb
• Basil Sydney at the Internet Broadway Database

Equus is a 1977 psychological drama film directed by Sidney Lumet and written by Peter Shaffer, based on his play of the same name. The film stars Richard Burton, Peter Firth, Colin Blakely, Joan Plowright, Eileen Atkins, and Jenny Agutter. The story concerns a psychiatrist treating a teenager who has blinded horses in a stable, attempting to find the root of his horse worship.

Lumet's translation of the acclaimed play to a cinematic version incorporated some realism, in the use of real horses as opposed to human actors, and a graphic portrayal of the blinding. Despite some criticism of this approach, the film received positive reviews, with awards for Burton, Firth and Agutter.

Plot[edit]

Hesther Salomon, a magistrate, asks her platonic friend Martin Dysart, a disillusioned psychiatrist who works with disturbed teenagers at a hospital in Hampshire, England, to treat a 17-year-old stable boy named Alan Strang after he blinded six horses with a sickle. With Alan only singing TV commercial jingles, Martin goes to see the boy's parents, the non-religious Frank Strang and his Christian fundamentalist wife Dora. She had taught her son the basics of sex and that God sees all, but the withdrawn Alan replaced his mother's deity with a god he called Equus, incarnated in horses. Frank discloses to Martin that he witnessed Alan late at night in his room, haltered and flagellating himself, as he chanted a series of names in Biblical genealogy-fashion which culminated in the name Equus as he climaxed.

Martin begins winning the respect and confidence of Alan, who shares his earliest memory of a horse from when he was six and a man approached him on a horse named Trojan. Alan imagined the horse spoke to him, and said his true name was Equus, and this was the name of all horses. The man took Alan up on Trojan, which the boy found thrilling, but his parents reacted negatively and injured him taking him off the horse. Martin also meets the stable manager, who reveals Alan secured his job through another employee, Jill. Devastated at the horses' injuries she indirectly caused, Jill has taken medical leave.

Eventually, Alan admits to Martin that he would secretly take horses away from the stables at night to ride them nude, chanting prayers to Equus until he reached orgasm, after which he caressed them lovingly. Martin envies the boy's passionate paganism, in comparison to his own empty life, where he has ceased intimacies with his wife and is plagued by nightmares of ritualistically slaughtering children in Homer's Greece, wearing the Mask of Agamemnon. Given an aspirin serving as a placebo 'truth drug', Alan further reveals that one evening Jill tempted him to go to a Swedish pornographic film at a local cinema, where he was shocked to see his father. Going back with Jill to the stables, she stripped and offered him sex but he was unable to perform and, although she was sympathetic, told her to leave. Naked, and tormented that Equus sees all and is a jealous god, he blinded the horses.

Martin is left troubled by the fact that he can treat Alan to take away his pain but in the process will deprive the boy of his passion, leaving him as emotionally neutered as Martin himself.

Cast[edit]

• Richard Burton as Dr. Martin Dysart
• Peter Firth as Alan Strang
• Colin Blakely as Frank Strang
• Joan Plowright as Dora Strang
• Harry Andrews as Harry Dalton
• Eileen Atkins as Hesther Saloman
• Jenny Agutter as Jill Mason
• Kate Reid as Margaret Dysart
• John Wyman as Horseman
• Frazier Mohawk as the Ringmaster
• Elva Mai Hoover as Miss Raintree
• Ken James as Mr. Pearce
• David Gardner as Dr. Bennett
• James Hurdle as Mr. Davies
• Sheldon Rybowski as Child
• Brook Williams as Art

Production[edit]

Development[edit]

Director Sidney Lumet saw the play Equus when it was first performed in London between 1973 and 1975, and also saw productions with Anthony Perkins and Richard Burton.^[1] Lumet found that Perkins' performance was excellent, but felt the stage productions failed to capture the conflict of the character Martin Dysart, which he believed was meant to represent writer Peter Shaffer's inner turmoil.^[1]

Shaffer and Lumet spent more than one year preparing the screenplay before filming began.^[2] Much of the dialogue in Shaffer's play is preserved, accurately, in the screenplay.^[3]

Marlon Brando and Jack Nicholson were considered for the part of Dysart in the film version. However, Burton's stage performance won over audiences, despite concerns about his alcoholism.^[4]

Filming[edit]

In stage productions, the horses are portrayed by human actors, often heavily built, athletic men wearing tribal-style masks.^[4] Lumet did not believe this could adequately be done in a film version, concluding a degree of realism was required, 'because the reality he [Alan] was being watched in was going to create the dilemma within him'.^[5] For horse-related stunts, the filmmakers consulted Yakima Canutt, who had previously worked on almost all of John Wayne's early western films.^[6] The horse riding and blinding scenes were shot initially in natural light before moving to unrealistic lighting, to capture conflicting Apollonian and Dionysian world views.^[5] With cinematographer Oswald Morris and production designer Tony Walton, Lumet developed a complex colour scheme avoiding easily identifiable colours, preferring to combine colours to emphasise duality.^[7]

The scene where Firth rides the horse nude was filmed in one take, in an uninterrupted shot lasting four and a half minutes.^[8] Whereas the blinding scene was done in pantomime on stage, Lumet opted to graphically display it to convey the horror. Much of the footage shot depicted the horses' heads morphing into faces of Jesus, Dora Strang and Frank Strang, and a glimpse of a Balinese dagger. However, Lumet decided this was unsubtle and cut much of this, only keeping the dagger to portray ancient impulses.^[2]

Despite being a British and American production set in Hampshire, England, filming took place entirely in and around Ontario, Canada.^[9] The scenes in the stable and Alan's room were filmed in the Toronto International Film Studio in Kleinburg, while downtown Hampshire was doubled with Georgetown and Halton Hills.^[10] The Stang family house was a real house located in the Toronto suburb of Riverdale. The film was produced during the height of the 'tax shelter era' of Canadian filmmaking, in which foreign producers flocked to the country in order to take advantage of the Capital Cost Allowance which allowed investors to deduct up to a 100% of a film's budget provided it met certain requirements. That, combined with the value of the Canadian dollar and abundance of cheaper crew and locations than those found abroad, lead to a boom period in Canadian filmmaking.^[11]

Reception[edit]

Sidney Sheldon Movies List

Critical reception[edit]

Lumet acknowledged that the film was 'very vulnerable to attack', and critics were bound to ask why a film was needed when the play was 'perfect', but initial reviews were 'respectful'.^[1]Roger Ebert gave the film two and a half stars, arguing the realism in actual horses and their blinding, 'strangely enough, get in the way of the play's own reality: the obsession that the two characters come to share'; however, Ebert complimented Burton and Firth on their performances.^[12]Vincent Canby, chief critic for The New York Times, wrote that he preferred the theatricality of the stage production, but 'Now, after seeing Sidney Lumet's comparatively realistic film version, it's possible to appreciate Mr. Shaffer's text for what it is— an extraordinarily skillful, passionate inquiry into the entire Freudian method'. Canby also found the movie's realism excessive, and said that 'the movie exhausts us with information', specifically citing the scene where Alan rides a horse bareback as giving the viewers 'anticlimactic detail'. Canby also concluded 'This is the best Burton performance since Who's Afraid of Virginia Woolf?'^[13]Molly Haskell's review in New York remarked that the film came 'not a moment too soon' for fans of the play,^[14] and that Burton was eloquent, Firth 'brings out the ugly and unpleasant qualities of the boy', while Jenny Agutter 'is rudely treated as the girl who, in another of those preposterous conventions of sixties movies, offers herself nude to the sensitive youth only to have him spurn her'.^[15]Jesse Kornbluth, writing for Texas Monthly, called the film 'an unqualified success', even though he felt the play was only of interest to 'middle-brow' audiences.^[16]

English Professor James M. Welsh felt using real horses in the film was understandable, but argued the outdoor scenes infringed on the 'abstract theatrical design' that gave the play its creativity.^[3] Welsh also felt the explicit blinding was 'potentially repulsive', and 'much of the spirit of the play is lost as a consequence'.^[17]

Sidney Sheldon Pdf Books

The film received generally positive reviews, currently holding a 67% rating on Rotten Tomatoes, based on 21 reviews.^[18] In 2005, the American Film Institute nominated Richard Rodney Bennett's music for AFI's 100 Years of Film Scores.^[19]

Accolades[edit]

Sidney Sheldon Pdf Books

References[edit]

Sidney Sheldon Pdf Novels

1. ^ ^abcApplebaum 2006, p. 74.
2. ^ ^abApplebaum 2006, p. 76.
3. ^ ^abErskine & Welsh 2000, p. 111.
4. ^ ^abSmith, Richard Harland. 'Equus (1977)'. Turner Classic Movies. Retrieved 24 October 2016.
5. ^ ^abApplebaum 2006, p. 75.
6. ^Barlow 2008, p. 301.
7. ^Applebaum 2006, pp. 75-76.
8. ^Cunningham 2001, p. 30.
9. ^'AFI|Catalog'. catalog.afi.com. Retrieved 23 January 2020.
10. ^Applebaum 2006, p. 77.
11. ^'Tax Shelter Films | The Canadian Encyclopedia'. www.thecanadianencyclopedia.ca. Retrieved 23 January 2020.
12. ^Ebert, Roger (9 November 1977). 'Equus'. Rogerebert.com. Retrieved 23 October 2016.
13. ^Canby, Vincent (17 October 1977). ''Equus': Film of a Different Color'. The New York Times. Retrieved 23 October 2016.
14. ^Haskell 1977, p. 91.
15. ^Haskell 1977, p. 92.
16. ^Kornbluth, Jesse (December 1977). 'The Two Horsemen of Sidney Lumet'. Texas Monthly. p. 152.
17. ^Erskine & Welsh 2000, p. 112.
18. ^'Equus (1977)'. Rotten Tomatoes. Retrieved 18 February 2021.
19. ^'AFI's 100 Years of Film Scores Nominees'(PDF). Retrieved 6 August 2016.
20. ^'The 50th Academy Awards (1978) Nominees and Winners'. Academy of Motion Picture Arts and Sciences. Retrieved 1 April 2012.
21. ^'Film in 1978'. British Academy of Film and Television Arts. Retrieved 23 October 2016.
22. ^'Equus'. Hollywood Foreign Press Association. Retrieved 23 October 2016.
23. ^'1977 Award Winners'. National Board of Review. Retrieved 23 October 2016.

Bibliography[edit]

• Applebaum, Ralph (2006). 'Colour and Concepts'. Sidney Lumet: Interviews. University Press of Mississippi. ISBN1578067243.
• Barlow, Aaron (2008). 'The Greatest Cowboy Star You've Never Heard Of'. Film and Television Stardom. Cambridge Scholars Publishing.
• Cunningham, Frank R. (2001). Sidney Lumet: Film and Literary Vision (Second ed.). The University Press of Kentucky. ISBN0813190134.
• Erskine, Thomas L.; Welsh, James M. (2000). Video Versions: Film Adaptations of Plays on Video. Westport, Connecticut and London: Greenwood Press. ISBN0313301859.
• Haskell, Molly (7 November 1977). 'An Unstable Fable'. New York.

External links[edit]

• Equus at IMDb
• Equus at AllMovie
• Equus at Rotten Tomatoes