{"id":8862,"date":"2014-05-19T13:14:54","date_gmt":"2014-05-19T17:14:54","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=8862"},"modified":"2014-05-19T22:19:46","modified_gmt":"2014-05-20T02:19:46","slug":"film-british-legends-of-stage-and-screen-claire-bloom-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=8862","title":{"rendered":"Film: British Legends of Stage and Screen – Claire Bloom (2012)"},"content":{"rendered":"

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\"BritishLegendsOfStageAndScreen_R2\"<\/a>Film<\/strong>: Very Good<\/p>\n

Transfer<\/strong>: \u00a0n\/a \u00a0\/ Extras<\/strong>:\u00a0\u00a0n\/a<\/p>\n

Label:\u00a0\u00a0<\/strong>\u00a0Odeon Entertainment<\/p>\n

Region:<\/strong>\u00a0\u00a0\u00a02 (PAL)<\/p>\n

Released:<\/strong>\u00a0\u00a0\u00a0\u00a0December 10, 2012<\/p>\n

Genre:<\/strong> \u00a0Documentary \/ Biography \/ TV \/ Film History<\/p>\n

Synopsis:<\/strong> Detailed interview with a reflective Claire Bloom, actress of stage, screen, and classic TV productions.<\/p>\n

Special Features:<\/strong>\u00a0 \u00a0n\/a<\/span><\/p>\n

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Review:<\/strong><\/p>\n

Claire Bloom\u2019s career is profiled in this 8-episode series produced by Britain\u2019s Sky Television (released in a 3-disc Region 2 DVD set), with the actress\u2019 recollections augmented with stills and film clips of her work in stage and film \/ TV, respectively.<\/p>\n

The daughter of a blue collar family, Bloom studied dancing and acting before achieving her first big break as the co-star in Charlie Chaplin\u2019s Limelight<\/strong> (1952), and working with some of Britain\u2019s top stage and screen talent throughout her career. Her ongoing relationship with then-married Richard Burton is given special attention \u2013 the two appeared in plays and films (Alexander the Great<\/a><\/strong>, Look Back in Anger<\/strong>, The Spy Who Came in from the Cold<\/a><\/strong>) over almost a decade \u2013 as are her marriages to Rod Steiger (with whom she appeared in The Illustrated Man<\/strong>) and author Philip Roth, and she reflects on some her famous directors, favourite roles, and the transition from hottie to mother onscreen, but one also senses a slight sadness in Bloom that her film career never matured into a steady streak with heavier roles.<\/p>\n

Bloom\u2019s screen persona was always a little chilly – she excelled in emotionally restrained, desperate, or surreptitious characters \u2013 and she came off perhaps a little too sultry for Hollywood (such as the sleek, manipulative women in The Haunting<\/a><\/strong>), resulting in less varied roles. The exceptions remain Charly<\/a><\/strong> (1968) <\/strong>and later A Doll\u2019s House <\/strong>(1973), but by the end of the seventies her roles were less intriguing, except perhaps in TV, like the classic series Brideshead Revisited<\/strong> (1981). Bloom cites a few recent coups with director Woody Allen (a small role in Crimes and Misdemeanors<\/strong>, and a much smaller spot in Mighty Aphrodite<\/strong>), and there\u2019s a brief nod to her recurring role as the world\u2019s most loathsome mother in Doc Martin<\/a><\/strong> (2003-2013).<\/p>\n

Now in her eighties, Bloom\u2019s career is quite remarkable, and although director Anthony Fabian tends to favour sustained talking head shots (with some very peculiar side angles for cutaways), this is a rare and personal self-portrait, free from fluff and filler clips, with some frank self-reflections.<\/p>\n

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\u00a9 2014 Mark R. Hasan<\/p>\n

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External References:<\/strong>
\nIMDB<\/a>\u00a0—\u00a0TJFF 2014 Listing<\/a>
\n\u00a0<\/span>
\nVendor Search Links:<\/strong>
\nAmazon.ca<\/a>\"\" \"\" —\u00a0<\/span> Amazon.com<\/a>\"\" \"\" —\u00a0<\/span> Amazon.co.uk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Detailed interview with a reflective Claire Bloom, actress of stage, screen, and classic TV productions…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[18],"tags":[2783,2782,2746,2778],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2iW","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8862"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8862"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8862\/revisions"}],"predecessor-version":[{"id":8898,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8862\/revisions\/8898"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8862"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8862"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8862"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}