The actor and singer on the enduring appeal of the Who, the unspoilt charm of Sicily – and why Singin' in the Rain was the happiest night out in London
Patsy Kensit is an actor, singer and author and was born in Hounslow, London. Her mother was a publicist and her father an associate of the Kray twins. Patsy began acting at the age of four, appearing in an advert for Birdseye frozen peas. In 1972 she had her first big screen role in For the Love of Ada. Two years later she appeared in The Great Gatsby alongside Robert Redford and Mia Farrow, whom she later portrayed in a biopic titled Love and Betrayal: The Mia Farrow Story. In her late teens she fronted the band Eighth Wonder, who had two top 20 hits. At the same time she starred in Absolute Beginners, Julien Temple's musical adaptation of Colin Macinnes's novel.
Patsy Kensit is an actor, singer and author and was born in Hounslow, London. Her mother was a publicist and her father an associate of the Kray twins. Patsy began acting at the age of four, appearing in an advert for Birdseye frozen peas. In 1972 she had her first big screen role in For the Love of Ada. Two years later she appeared in The Great Gatsby alongside Robert Redford and Mia Farrow, whom she later portrayed in a biopic titled Love and Betrayal: The Mia Farrow Story. In her late teens she fronted the band Eighth Wonder, who had two top 20 hits. At the same time she starred in Absolute Beginners, Julien Temple's musical adaptation of Colin Macinnes's novel.
- 10/12/2013
- by Ben Marshall
- The Guardian - Film News
With the Cannes Film Festival beginning next week, it’s timely that Octubre, which snagged the Un Certain Regard Jury prize in 2010, is set to hit theaters in New York today. With a decidedly deadpan sense of humor Octubre is a Peruvian comedy reminiscent of the tale of Silas Marner.
In Lima, October is a time of religious celebration in which Christians pray for the change they wish to see. While the streets are full of vibrant colors, the lives of the impoverished residents are decidedly lackluster. Here, we meet Clemente (Bruno Odar), a stone-faced moneylender with a penchant for prostitutes. His is a steadfastly solitary life until one of his former paid paramours breaks into his home to leave him the fruits of her labor: a beautiful (but oft wailing) baby girl. Clemente immediately attempts to give her back, but can’t locate the missing mother. As the baby...
In Lima, October is a time of religious celebration in which Christians pray for the change they wish to see. While the streets are full of vibrant colors, the lives of the impoverished residents are decidedly lackluster. Here, we meet Clemente (Bruno Odar), a stone-faced moneylender with a penchant for prostitutes. His is a steadfastly solitary life until one of his former paid paramours breaks into his home to leave him the fruits of her labor: a beautiful (but oft wailing) baby girl. Clemente immediately attempts to give her back, but can’t locate the missing mother. As the baby...
- 5/6/2011
- by Kristy Puchko
- The Film Stage
Quick! Name the dullest book you ever had to read for a class. No, not Pilgrim's Progress. The other one. No, no. Not Silas Marner, either. The third-dullest book you had to read for class? Paradise Lost, of course. The epic poem about the Fall of Man. Alex Proyas is making an action-heavy version of the book, which makes total sense, right? It will include aerial warfare. Maybe Adam will even wield a machine gun! Also, the film may be in 3D. Three dimensions of Eve in the buff (I hope they get Eva Green for Eve, because she looks great in three dimensions). In strange twist, it appears as though Proyas has landed Bradley Cooper as the devil, strange because Cooper was tapped to play the lead in the Crow reboot, which Proyas originated. That film is now facing legal complications.
So what do we think of Adam and...
So what do we think of Adam and...
- 5/5/2011
- by Dustin Rowles
So how does it feel to look back on the legacy of The Railway Children after 40 years?
People have taken it on as a film they wanted to show their children. You have new generation of young who look at it. And you wonder "why does this still relate?" but I suppose it just does. I think Lionel made something that was so completley honest in the way. He did it so that you're not stuck with values of the seventies- he's trying to get across the Edwardian time setting, and you're left with the story and he does it really beautifully. He really understands every element of film making-really: great sound; really great music by Johnny Douglas; brillant photography. He chose people around him that he really cared about, like Bernard Cribbins who he just admired as an actor and had worked with before. The whole setup was just like a family.
People have taken it on as a film they wanted to show their children. You have new generation of young who look at it. And you wonder "why does this still relate?" but I suppose it just does. I think Lionel made something that was so completley honest in the way. He did it so that you're not stuck with values of the seventies- he's trying to get across the Edwardian time setting, and you're left with the story and he does it really beautifully. He really understands every element of film making-really: great sound; really great music by Johnny Douglas; brillant photography. He chose people around him that he really cared about, like Bernard Cribbins who he just admired as an actor and had worked with before. The whole setup was just like a family.
- 4/6/2010
- Screenrush
So how does it feel to look back on the legacy of The Railway Children after 40 years?
People have taken it on as a film they wanted to show their children. You have new generation of young who look at it. And you wonder "why does this still relate?" but I suppose it just does. I think Lionel made something that was so completley honest in the way. He did it so that you're not stuck with values of the seventies- he's trying to get across the Edwardian time setting, and you're left with the story and he does it really beautifully. He really understands every element of film making-really: great sound; really great music by Johnny Douglas; brillant photography. He chose people around him that he really cared about, like Bernard Cribbins who he just admired as an actor and had worked with before. The whole setup was just like a family.
People have taken it on as a film they wanted to show their children. You have new generation of young who look at it. And you wonder "why does this still relate?" but I suppose it just does. I think Lionel made something that was so completley honest in the way. He did it so that you're not stuck with values of the seventies- he's trying to get across the Edwardian time setting, and you're left with the story and he does it really beautifully. He really understands every element of film making-really: great sound; really great music by Johnny Douglas; brillant photography. He chose people around him that he really cared about, like Bernard Cribbins who he just admired as an actor and had worked with before. The whole setup was just like a family.
- 3/31/2010
- Screenrush
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