Wednesday, April 24, 2019

RIP Voja Miric

The great actor left a trail in the golden age of our cinema!


The actor Voja Miric has died at the age of 86. He was an actor who achieved a large number of roles in the golden age of our cinema. Despite popularity, in the mid-eighties he left the acting and retreated to a peaceful life.

He was a Serbian film and television actor. He was born in Trstenik in 1933, and is best remembered for his role in the film "Dervish and Death" in the role of Ahmed Nurudin, especially remembered by older viewers for his impressive character.

Despite his popularity, in the mid-1980s he left acting and retreated into a peaceful life, far from the light of the stage and film reflectors.

He came onto the scene with a strange case: as a grammar school teacher from Kruševac, he left with a friend to try out a new performance by the city theater and got a role - an old man of eighty years. Soon he and his brother moved to Belgrade, enrolled in "Abrašević", and then at the Academy:

“And I came here by chance. I wanted to study building and architecture, my family wanted me to be a lawyer, and I went into acting” - said the actor.

He graduated in the class of professor Tanhofer and then started at the Novi Sad Theater, but after a military service he continued in the Belgrade drama, in order to finally go to the "liberals". In the film, he played fifty roles (ten major films), in 1964 won the Silver Arena for the film "Official Position" by Fadil Hadzic, and ten years later the Golden Arena for "Dervish and Death" by Zdravko Velimirovic.

MIRIC, Voja (Vojislav Miric)
Born: 4/7/1933, Trstenik, Serbia, Yugoslavia
Died: 4/23/2019, Belgrade, Serbia

Voja Miric’ westerns – actor:
Frontier Hellcat – 1964 (Stewart)
Flaming Frontier – 1965 (Joe)

Tuesday, April 23, 2019

RIP Terry Rawlings

Terry Rawlings, Film Editor on 'Alien,' 'Blade Runner' and 'Chariots of Fire,' Dies

The Hollywood Reporter
By Rhett Bartlett

The London native also cut, among many other movies, 'Watership Down,' 'Yentl,' 'Legend' and 'GoldenEye.'

Terry Rawlings, who received an Oscar nomination for best picture winner Chariots of Fire and edited the Ridley Scott films Alien, Blade Runner and Legend, has died. He was 85 or 86.

Rawlings died Tuesday at his home in Hertfordshire, England, the Guild of British Film and Television Editors told The Hollywood Reporter.

The London native also cut Barbra Streisand's and David Fincher's directorial debuts on Yentl (1983) and Alien 3 (1992), respectively, and worked on Pierce Brosnan's first outing as James Bond with GoldenEye (1995).

His other work included Michael Winner's The Sentinel (1977) and Bullseye! (1990); Phillip Noyce's The Saint (1997); The Fugitive spinoff U.S. Marshals (1998); Entrapment (1999); and Joel Schumacher's Phantom of the Opera (2004).

In the opening of the sci-fi classic Blade Runner (1982), Rawlings receives a "supervising editor" credit. "I was the only editor, and the reason I had to have that [credit] was I wasn't a member of the American union then," he recalled in a 2012 interview.

"To work over in America was very difficult, because of union problems, and I had to work on the film in a little hotel place because I wasn't allowed at Warner Bros. to cut it there."

The studio hired Marsha Nakashima as a cover, and she received an "editor" credit at the end of the movie.

Blade Runner is notorious for its multiple versions and changes requested by studio executives after the film underperformed upon its debut.

"When it was first taken to America, it was with no commentary, and it ended with them [Harrison Ford and Sean Young] going through the doors. And when we ran it over there, people were saying, 'We don't understand it.' Nobody understood it to start with, it was so ahead of its time."

A solution was to introduce the now famous Ford voiceover, and the film's ending was changed to a happier, more upbeat finale using aerial footage shot from The Shining.

The voiceover was eventually removed in subsequent rereleases after a screening error in a Santa Monica cinema showed the original cut one night.

"I think it's great when the door closes," Rawlings said. "You make up your own mind. They're not going off holding hands in a car, which was dreadful."

Rawlings' first partnership with Scott was as dubbing editor on the director's outstanding 1977 debut drama, The Duellists.

"When Ridley was going to do Alien [released in 1979] I got a call from his office because he wanted me to do the sound," he said. "I said I didn't want to do the sound, I wanted to cut it!"

Rawlings met with producers Gordon Carroll and David Giler, who were mightily impressed with his editing of Martin Rosen's animated Watership Down (1978).

"Oh, Alien was one of the most exciting periods of editing I have ever had, I think, because I was doing this really for the first time on my own, having done [1977's] The Sentinel," he said.

"Watership Down wasn't quite the same. But this, even though it wasn't a big film when we first started — it was going to be just an ordinary little horror film, or a little space journey film, nothing special — and yet it just developed into this monster, literally!"

Hugh Hudson directed Chariots of Fire (1981), about Olympians Eric Liddell and Harold Abrahams at the 1924 Paris Summer Games. Its most famous sequences involve slow-motion running, which Rawlings expertly crafted from thousands of feet of film.

"Well, at that time, you had all these fantastic films with all this wonderful footage of the people running, and we're basically going to show the same kind of stuff all over again," he aid. "So I thought, 'Wouldn't it be nice to sort of show these things like a ballet with these great long dissolves, where they're just going through one another?' So I tried that and it worked."

Vangelis' iconic score had yet to be written, so Rawlings edited the film with temporary music from the Greek musician's 1979 album, Opéra sauvage.

"I love the buildup to the hundred meters, when they're digging in, all that stuff, that's great," he said. "What made Vangelis' music work so well was the contrast between Gilbert & Sullivan and the religious music."

At its preview screening, the audience stood and roared at the film's finale.

"And it suddenly dawned on me, what it was all about: It was completely the way the Americans think. If you try hard enough, you succeed, and that's what they believe in more than anybody, more than we do [in England]."

The film won four Academy Awards (best picture, original screenplay, costume design and score), but Rawlings lost out on Oscar night to Michael Kahn of Raiders of the Lost Ark.

Rawlings was born in London in 1933 and began his career in the sound department, honing his craft as a dubbing editor on the Peter Sellers film Trial and Error (1962), Bryan Forbes' The L-Shaped Room (1962) and Ken Russell's Women in Love (1969), The Music Lovers (1971) and The Devils (1971).

He received an American Cinema Editors career achievement award and five BAFTA nominations across his career — for Women in Love, Isadora (1968), Alien, Chariots of Fire and Blade Runner — but never won.

In interviews, he often cited Yentl as one of the favorite films he edited.

"I love music. Music is very important to me," he said. "To work on a musical with [Streisand] was very special. She is fantastic to be with, she is a hard-working person. She's the only person to sing in the whole picture."

During a 2014 BAFTA tribute, Fincher said in a prerecorded message that "the best editors are alchemists, and they're equal parts poet and blacksmith. They can forge something — they make pieces go together that should never work. They can take footage that was intended for one thing and use it to illuminate a whole new idea in a sequence that you maybe never conceived.

"Then, on top of that, if they're really, really special, they have a way of becoming your best friend. I was very fortunate on my first movie to work with Terry. To this day, it's an extremely happy memory.”

Born: 1933, London, England, U.K.
Died: 4/23/2019, London, England, U.K.

Terry Rawlings’ westerns – dubbing editor:
Lawman – 1971
Chato’s Land - 1972

RIP Martin Böttcher

He was one of the greats of German entertainment, television and film music. His compositional handwriting is unmistakable, his sound unmistakable: the melodies of his Winnetou film scores are legendary. Martin Böttcher has written the music for over 50 feature films and 300 television productions. On April 19th, the composer died at the age of 91 years, as BR-KLASSIK learned from a close family circle.

Everybody knows the melodies of the Winnetou film scores, and this also applies to many of his television music, which in a sense brought him to every German living room: "Sonderabteilung K1", "Forsthaus Falkenau", "Pfarrer Braun". Martin Böttcher received numerous prizes and awards for his work, including the Federal Cross of Merit on the band, the "Look & Listen - Telepool BR Music Award" and honorary membership in the US Max Steiner Society - alongside Benny Goodman, Frank Sinatra and others.
From the interceptor to the guitar

The musical home of the great-grandson of a Weimar Hofkapellmeister, born in Berlin in 1927, was jazz. Shortly before the end of the war, he was drafted into the Luftwaffe and trained on the rocket-propelled interceptor Messerschmidt Me 163 "Komet". He did not fly anymore, but aviation remained one of his passions. During his captivity, he began to play the guitar, practiced the 16 hours every day, and then began his professional musical career as a rhythm guitarist in the dance and entertainment orchestra of the then Northwest German Radio in Hamburg. Already in 1952 he wrote a first film music for a documentary.

    Role models? For me, Henry Mancini was a great composer and arranger.

Martin Böttcher

In 1954, Martin Böttcher said goodbye to his dance orchestra and gave up the guitarist activity to devote himself primarily to composing and arranging at the desk above the music paper. Unlike, for example, his colleagues Werner Müller and Bert Kaempfert, who also profiled themselves as composing and arranging as a big band leader, Martin Böttcher completed rather few live performances as an orchestra conductor.

In a constant flow he composed for the film. The first famous titles were "Die Halbstarken" and "Endstation Liebe", both with Horst Buchholz in the leading roles, later the Father Brown thrillers with Heinz Rühmann, a series of Edgar Wallace thrillers and of course the ten "Winnetou" - Films with Pierre Brice and Lex Barker in the lead roles, whose signature tunes Martin Böttcher international fame in the 1960s. The "Old Shatterhand" theme from 1962 topped the charts for 17 weeks and sold more than 100,000 times, a real sensation back then.

The series of Böttcher's television music is long: it still includes popular series such as "The Crime Museum", "Gertrud Stranitzki" with Inge Meysel, "It does not always caviar" with Siegfried Rauch, "Air Albatross" with Wolf Roth, "Happy holidays "with Claudia Rieschel, Simone Rethel and Sigmar Solbach as well as" Pfarrer Braun "with Ottfried Fischer.
The Böttcher sound

In all of these film and television music Martin Böttcher cultivated a sound that is characterized by great originality and independence. They are memorable diatonic melodies, paired with a harmonic harmony over powerful bass lines, embedded in a warm, soft, full-sounding overall sound. In fact, it would be difficult to find a Böttcher piece in which one would not recognize after 15 seconds the unmistakable signature of the composer.

BOTTCHER, Martin (Martin Hermann Böttcher)
Born: 6/17/1927, Berlin, Berlin, Germany
Died: 4/20/2019,Rendsburg, Schleswig-Holstein, Germany

Martin Böttcher’s westerns -  composer:
The Treasure of Silver Lake - 1962
Apache Gold – 1963
Frontier Hellcat - 1964
Last of the Renegades – 1964
The Desperado Trail - 1965
Flaming Frontier – 1965
Rampage at Apache Wells – 1965
The Halfbreed – 1966
The Man with the Long Gun – 1968
The Rudi Carrell Show (TV) - 1971
Winnetous Rückkehr (TV) – 1998
Auf den Spuren Winnetous (TV) – 2004
Winnetou und der Schatz der Marikopas - 2006
Winnetou (TV) – 2016

RIP Hannelore Elsner

Hannelore Elsner, German Film and TV Star, Dies at 76

The Hollywood Reporter
By Scott Roxborough

One of the great originals of European cinema, she starred in such films as 'No Place to Go,' 'Cherry Blossoms' and 'Go for Zucker.'

Hannelore Elsner, a German actress who moved easily between art house cinema and mainstream television without losing her edge, or her army of local fans, has died, aged 76. Matthias Prinz, a lawyer for the family, confirmed Elsner died peacefully Sunday, April 21, after a short and sudden illness.

While not well known outside continental Europe, Elsner was a major star in Germany, one of the country's most famous actors and a regular in both film and television. She was also one of the last great originals, a larger-than-life personality who seemed fearless in her choice of roles and in her intense acting style.

As Hanna Flanders in Oskar Roehler's black-and-white drama No Place to Go (2000), Elsner acts with the intensity and authority of a silent film diva, playing a woman on the edge of despair whose life as an East German sympathizer living in West Germany tears apart when the Berlin Fall falls. She goes for laughs in Dany Levy's Jewish farce Go for Zucker (2004) as the disgusted goy wife of small-time con man Jackie Zucker (Henry Hubchen), who embraces her husband's sudden re-conversion to Judaism on the promise the new pious image could land him a fat inheritance. And in Doris Dorrie's melodrama Cherry Blossoms (2008) she plays against type as a meek housewife with an inner passion for Japanese Butoh.

Born July 26, 1942, in Burghausen in Bavaria, Elsner grew up in Munich. She lost her older brother to an Allied bomb attack during World War II. Her father, an engineer, died when she was eight. Classically trained, Elsner started her career on stage.

She quickly moved to film and TV roles, but spent the first two decades of her career playing roles in a series of largely forgettable light comedies and romantic dramas, often as the sexy scarlet alongside 1960s German heartthrobs such as Bubi Scholz and Peter Alexander. It was not until the 1970s and '80s that she began to earn a reputation as a character actor, thanks to roles from New German Cinema auteur Edgar Reitz (The Trip to Vienna, The Tailor from Ulm) and Hungarian master Istvan Szabo (1980's The Green Bird).

Her role as police detective Lea Sommer in German series The Commissioner, which ran from 1994 to 2006, made Elsner became a bona fide TV star and broke new ground for the portrayal of women in German television.

But Elsner enjoyed her greatest critical success in her late 50s with her return to the big screen. Her performance in No Place to Go won her the first of two German Film Awards for best actress. From then until her death, she was an omnipresent figure onscreen, playing both in mainstream comedies such as Jesus Loves Me (2012); children's features, including the Hanni and Nanni franchise; and dramas like Lars Kraume's Familienfest (2015) and Kirschbluten & Damonen, Dorrie's sequel to Cherry Blossoms, which bowed in German theaters earlier this month.

International audiences will be able to see her final, English-language performance in Joshua Sinclair's upcoming period drama A Rose in Winter, where she plays a supporting role alongside Zana Marjanovic as the Jewish-born Catholic saint Edith Stein.

ELSNER, Hannelore (Hannelore Elstner)
Born: 7/26/1942, Burghausen, Bavaria, Germany
Died:  4/21/2019, Bavaria, Germany

Hannelore Elsner’s western – actress:
Challenge to White Fang – 1974 (Jane Leclerc)