Christopher Hampton

Christopher Hampton

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The Evening Standard Theatre Awards,

Christopher Hampton - Evening Standard Theatre Awards at the Old Vic - London, United Kingdom - Sunday 22nd November 2015

Christopher Hampton

Sunset Boulevard Photocall

Glenn Close, Don Black , Christopher Hampton - Andrew Lloyd Webber's 'Sunset Boulevard' photocall held at the Coliseum Theatre. - London, United Kingdom - Monday 2nd November 2015

Glenn Close, Don Black and Christopher Hampton
Glenn Close
Glenn Close
Glenn Close
Christopher Hampton, Glenn Close and Don Black
Glenn Close

Harvey Weinstein Pre-BAFTA Dinner - Departures

Claudia Winkleman, Christopher Hampton and BAFTA - Claudia Winkleman, Christopher Hampton and Heather Kerzner Friday 10th February 2012 Harvey Weinstein Pre-BAFTA Dinner - departures

Claudia Winkleman, Christopher Hampton and Bafta

A Dangerous Method Review

Cronenberg's brainy approach makes this film fascinating but demanding as it traces the birth of psychoanalysis through the relationship and rivalry between Sigmund Freud and Carl Jung. The film radiates intelligence through clever direction and strong performances.

In 1904 Zurich, Jung (Fassbender) tests Freud's theoretical "talking cure" on manic patient Sabina (Knightley). And it works, revealing Sabina's own skills as a potential shrink. Two years later, Jung travels to Vienna to meet Freud (Mortensen), and they start a working friendship. But when Freud refers an outspoken patient (Cassel), Jung starts to question his morality. As a result, he starts an affair with Sabina, which is much hotter than his comfortable marriage to Emma (Gadon). But this causes him to question Freud's theories, leading to a clash of the titans.

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The 49th New York Film Festival Premiere Of A Dangerous Method At Alice Tully Hall

Christopher Hampton Wednesday 5th October 2011 The 49th New York Film Festival premiere of A Dangerous Method at Alice Tully Hall New York City, USA

Christopher Hampton
Christopher Hampton, David Cronenberg and Michael Fassbender

Premiere Of Sin Nombre Held At The Cuzon Cinema

Christopher Hampton Tuesday 11th August 2009 Premiere of Sin Nombre held at the Cuzon cinema London, England

Christopher Hampton

Atonement Review

Halfway into his masterful 2005 adaptation of Jane Austen's Pride & Prejudice, Joe Wright's camera enters the tight hallways and expansive rooms of a late-18th-century estate with several suites dedicated to smoking, gossiping and dancing. Fluidly drifting through encounters and gestures, the camera picks up the lilting remnants of conversations both benign and interesting. It's a miraculous and graceful scene that palpably exudes the feeling of being caught in a nest of gadflies.

The same shot can be found in Wright's adaptation of Ian McEwan's monumental Atonement, though the setting is now 1930s France. Three soldiers from London come upon a beach filled with soldiers waiting to return to their respective homelands. The camera glides past sergeants executing diseased horses, a choir of damaged infantry men and dozens of wounded battalions. Smoke bellows from scrap fires and a looming ferris wheel turns in the distance as the three English soldiers make their way into a bar.

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Carrington Review

I hate to stereotype...but I will anyway. I simply find it inconceivable that a real woman could go for 17 years without once changing her hair. The woman in question is Emma Thompson, portraying English painter Dora Carrington in post-WWI England. The hairdo in question is a peculiar blonde bob that has the daunting task of making Thompson look "boyish."

If you're like me, you're saying to yourself, "Who is this Dora Carrington, and why would someone make a movie about her?" Well, I still don't have the answer to that one. Carrington was something of a homebody who thrived on shocking Victorian sensibilities with her outrageous behavior, the bulk of which involved sexual promiscuity in some fashion or another. Most notable among her odd and largely meaningless "flings" was a doomed-from-the-start relationship with troublesome writer Lytton Strachey (Jonathan Pryce), a bearded, neo-Oscar Wilde who couldn't function normally without substantial babysitting from Carrington and/or any number of her lovers.

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Dangerous Liaisons Review

Until The Quiet American, this was only decent thing Christopher Hampton had ever written, and why shouldn't he, he had the source material to help him. The film famously follows backstabbing and intrigue in France, 200 or so years ago, as kissing cousins place a bet over whether Valmont (John Malkovich) can land prissy Marie (Michelle Pfeiffer), ruining countless lives along the way. It would be almost perfect if it wasn't for southern belle Swoosie Kurtz mucking up the works. Probably the best adaptation of the celebrated novel you can find.

Total Eclipse Review

Picture this: A movie about two 19th century French poets. How does that sound? It sounds like a bad idea because it is a bad idea.

It's a worse idea than the talent in this picture would probably care to admit to. Leonardo DiCaprio stars in yet another true-story-about-poets movie this year, following up his excellent portrayal of teenage wacko Jim Carroll in The Basketball Diaries with one of even more wacko teenager Arthur Rimbaud in Total Eclipse. David Thewlis (Naked) is Paul Verlaine, a slightly older poet who becomes entranced with Rimbaud, who returns his affections with little more than scorn and physical abuse. Verlaine in turn passes this abuse on to his pregnant wife, Mathilde (Romane Bohringer).

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The Quiet American Review

Academy Award-winning director Steven Spielberg did it again this year. So did Steven Soderbergh, who seems to do it all the time. I'm talking about releasing two movies in the same year, a practice that can result in walloping one-two punches like 1993's Jurassic Park and Schindler's List, or swings-and-misses like Full Frontal and Solaris.

Joining their ranks is director Phillip Noyce, another director who has released two films in the same year, though he's the only one, in my opinion, who might find himself competing against his own film come awards season.

Continue reading: The Quiet American Review

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