Als Protegé von Königin Elizabeth I. (Quentin Crisp) kommt der junge, bildschöne und verträumte Orlando (Tilda Swinton) in höchste höfische. Orlando „Dieselbe Person. Überhaupt kein Unterschied. Nur ein anderes Geschlecht.” Dienstag Mai Kasse/Apéro um Uhr, Film um Uhr. Orlando jetzt legal online anschauen. Der Film ist aktuell bei maxdome verfügbar. Edelmann Orlando wird von Königin Elisabeth I. reich beschenkt - mit.
Orlando (Film)«Sally Potter hat den unsterblichen ‹Orlando› von bis in die Ausser mit der Mann-Frau-Dialektik erreicht der Film wirkungsvoll auch mehrmals die. Als Protegé von Königin Elizabeth I. (Quentin Crisp) kommt der junge, bildschöne und verträumte Orlando (Tilda Swinton) in höchste höfische. Orlando jetzt legal online anschauen. Der Film ist aktuell bei maxdome verfügbar. Edelmann Orlando wird von Königin Elisabeth I. reich beschenkt - mit.
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Zeichentrickfilme und vieles mehr online schauen und auch Orlando Film wollt Filme Orlando Film anschauen, um 20! - Aktuell im Streaming:Elizabeth - Das goldene Königreich.
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How did you buy your ticket? View All Photos Movie Info. In , nobleman Orlando Tilda Swinton inherits his parents' house, thanks to Queen Elizabeth I Quentin Crisp , who commands the young man to never change.
After a disastrous affair with Russian princess Sasha Charlotte Valandrey , Orlando looks for solace in the arts before being appointed ambassador to Constantinople in , where war is raging.
One morning, Orlando is shocked to wake up as a woman and returns home, struggling as a female to retain her property as the centuries roll by. Sally Potter.
Christopher Sheppard. May 7, British Screen Productions, Rio, Adventure Pictures, Mikado Films, Lenfilm Studio, Sigma.
Tilda Swinton Orlando. Billy Zane Shelmerdine. Lothaire Bluteau The Khan. John Wood Archduke Harry. Charlotte Valandrey Sasha.
Heathcote Williams Nick Greene, Publisher. Quentin Crisp Queen Elizabeth I. Peter Eyre Mr. Thom Hoffman King William of Orange.
Jimmy Somerville Singer, Angel. Sally Potter Director. Sally Potter Screenwriter. Christopher Sheppard Producer. Aleksei Rodionov Cinematographer.
Ben van Os Production Design. Michael Buchanan Art Director. Michael Howells Art Director. To be born into wealth, or into poverty, or into the traditions of a particular nation?
Most of us will never know. We are stuck with ourselves, and as long as we live, will always see through the same eyes and interpret with the same sensibility.
Yes, we can learn and develop, but so much of what makes us ourselves is implanted at an early age, and won't budge.
Stanley Kauffmann writes in the New Republic that the novel was originally written for, and inspired by, Vita Sackville-West, said to be one of Woolf's lovers.
It comes out of that pre-Beauvoir time in the earlier 20th century when society still regarded women as second-class citizens, not fit to vote, but when many women were energetically assaulting society's quaint notions as quickly as they could.
Orlando, the omnisexual hero-heroine of the story, is played throughout by Tilda Swinton , who is definitely a woman and not particularly androgynous; her obvious femininity is explained in an early scene by a reference to the male fops and dandies of Elizabeth's reign, who in their fashions and vanities outdid their women.
Orlando, as a man, owns an estate with a great home on it, and is told during a visit by the queen that he can keep it forever - but only if he always remains young, fresh and ageless.
So, he does. In a bow to the film's underlying theme, Elizabeth is played by Quentin Crisp , the octogenarian who wrote a famous book, The Naked Civil Servant, about his long years of shocking the British with his flamboyant homosexuality.
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Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: Tilda Swinton Orlando Quentin Crisp Queen Elizabeth I Jimmy Somerville Orlando's Father Elaine Banham Orlando's Mother Anna Farnworth Clorinda Sara Mair-Thomas Favilla Anna Healy On her deathbed, the queen promises an androgynous , young nobleman named Orlando a large tract of land and a castle built on it, along with a generous monetary gift; both Orlando and his heirs would keep the land and inheritance forever, but Elizabeth will bequeath it to him only if he assents to an unusual command: "Do not fade.
Do not wither. Do not grow old. His attempts to befriend a celebrated poet backfire when the poet ridicules his verse.
Orlando then travels to Constantinople as English ambassador to the Ottoman Empire , and is almost killed in a diplomatic fracas. Waking seven days later, he learns something startling: He has transformed into a woman.
The now Lady Orlando comes home to her estate in Middle-Eastern attire, only to learn that she faces several impending lawsuits arguing that Orlando was a woman all along and therefore has no right to the land or any of the royal inheritance that the queen had promised.
The succeeding two centuries tire Orlando; the court case, bad luck in love, and the wars of British history eventually bring the story to the present day i.
Orlando now has a young daughter in tow and is in search of a publisher for her book. The literary editor who judges the work as "quite good" is portrayed by Heathcote Williams —the same actor who played the poet who had, earlier in the film, denigrated Orlando's poetry.
Having lived a most bizarre existence, Orlando, relaxing with her daughter and daydreaming philosophically under a tree, finally has found a tranquil niche.
Director Sally Potter described her approach to the adaptation as follows:. My task The most immediate changes were structural.
The storyline was simplified [and] any events which did not significantly further Orlando's story were dropped. The film contains some anachronisms not present in the novel.
For example, upon Orlando's arrival in Constantinople in about the year , England is referred to as a "green and pleasant land", a line from William Blake 's Jerusalem , which in reality was not written until Potter argued that "whereas the novel could withstand abstraction and arbitrariness such as Orlando's change of sex , cinema is more pragmatic.
There had to be reasons—however flimsy—to propel us along a journey based itself on a kind of suspension of disbelief. The decision whether to join a union in Florida is up to individual employees.
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