Israel CELLULOID 35mm FILM Trailer THE BIRDCAGE Promo TIN BOX Hebrew SUBTITLES

Description

DESCRIPTION
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Up for auction is an EXCEPTIONALY RARE FIND , Being an ORIGINAL 35 mm CELLULOID FILM , The TRAILER - PROMO of the movie THE BIRDCAGE with HEBREW SUBTITLES , Still being contained in its ORIGINAL TIN BOX with the ORIGINAL DISTRIBUTOR LABEL ( "GLOBUS GROUP" ) . Very good condition. The CELLULOID FILM looks very fresh , Intact and flexible.
( Pls look at scan for accurate AS IS images )  Will be sent in a special protective rigid sealed packaging .
AUTHENTICITY
: This PROMO TRAILER FILM with HEBREW SUBTITLES is guaranteed ORIGINAL from 1996  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
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Payment method accepted : Paypal .
SHIPPMENT
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SHIPP worldwide via registered airmail $ 29 . Poster will be sent in a special protective rigid sealed packaging.
Handling around 5-10 days after payment.
The Birdcage is a 1996 American comedy film directed by Mike Nichols, adapted by Elaine May, and starring Robin Williams, Gene Hackman, Nathan Lane, and Dianne Wiest. Dan Futterman, Calista Flockhart, Hank Azaria, and Christine Baranski appear in supporting roles. It is an English-language remake of the 1978 Franco-Italian film La Cage aux Folles and the musical of the same name. Contents 1 Plot 2 Cast 3 Soundtrack 4 Reception 4.1 Accolades 5 See also 6 References 7 External links Plot Armand Goldman is the openly gay owner of a drag club in South Beach called The Birdcage; his life partner Albert, an effeminate and flamboyant man, plays Starina, the star attraction of the club. They live together in an apartment above The Birdcage with Agador, their openly gay flamboyant Guatemalan housekeeper who aspires to be in Albert's drag show. One day, Armand's son Val, who resulted from Armand's drunken one-night stand with a woman named Katharine, comes home to announce that he has been seeing a young woman named Barbara whom he intends to marry. Although unhappy about the news, Armand agrees to support Val. Unfortunately, Barbara's parents are the ultra-conservative Republican Senator Kevin Keeley and his wife Louise. Kevin, co-founder of a conservative group called the Coalition for Moral Order, becomes embroiled in a political scandal when the group's co-founder and Kevin's fellow senator is found dead in the bed of an underage black prostitute. Louise and Barbara convince Kevin that a visit to meet the family of his daughter's fiancé would be the perfect way to stave off bad press, so they set out for South Beach. Barbara shares news of her father's plan to Val; to cover the Goldmans' truth, she has told her parents that Armand is straight and a cultural attaché to Greece. Armand dislikes the idea of being forced into the closet, but agrees to play along, enlisting the help of friends and club employees to redecorate the family's apartment to more closely resemble a traditional household. Val and Armand attempt to get Albert out of the house, but when they fail Albert suggests that he will pose as Val's straight uncle. Armand contacts Katharine and explains the situation; she promises to come to the party and pretend to be his wife. Armand then tries to coach Albert on how to be straight, but Albert's flamboyant nature makes the task difficult. When Albert realizes his plan will not fool anyone, he takes offense and locks himself in his room. The Keeleys arrive at the Goldmans' (who are calling themselves "Coleman" for the evening to hide their Jewish heritage) redecorated apartment; they are greeted by Agador, who is attempting to pass as a Greek butler named Spartacus for the night. Unfortunately, Katharine gets caught in traffic, and the Keeleys begin wondering where "Mrs. Coleman" is. Suddenly, Albert enters, dressed and styled as a conservative middle-aged woman. Armand, Val, and Barbara are nervous, but Kevin and Louise are taken in by the disguise. Despite the success of the evening, trouble begins when the senator's chauffeur betrays him to two tabloid journalists, Harry Radman and his photographer, who have been hoping for a scoop on the Coalition story, follow the Keeleys to South Beach. While they research The Birdcage, they also remove a note that Armand has left on the door informing Katharine not to come upstairs. When she arrives, she unknowingly reveals the deceptions, leading Val to confess to the scheme and finally identify Albert as his true parent. Kevin is initially confused by the situation, but Louise informs him of the truth and scolds him for being more concerned with his career than his family's happiness. When attempting to leave, he is ambushed by the paparazzi camped outside to take his picture. Albert then realizes that there is a way for the family to escape without being recognized. He dresses them in drag and they use the apartment's back entrance to sneak into The Birdcage where, by dancing to "We Are Family", they make their way out of the nightclub without incident. Barbara and Val are married in an interfaith service that both families attend. Cast Robin Williams as Armand Goldman Gene Hackman as Senator Kevin Keeley Nathan Lane as Albert Goldman Dianne Wiest as Louise Keeley Dan Futterman as Val Goldman Calista Flockhart as Barbara Keeley Hank Azaria as Agador Spartacus Christine Baranski as Katharine Archer, Val's mother Tom McGowan as Harry Radman Grant Heslov as National Enquirer photographer Soundtrack Three songs written by Stephen Sondheim were adapted and arranged for the film by composer Jonathan Tunick. The song that Albert rehearses during the sequence with the gum-chewing dancer is entitled "Little Dream" and was written specifically for use in the film.[3] Albert's first song as "Starina" is "Can That Boy Foxtrot", cut from Sondheim's Follies. The song that Armand and Katharine sing and dance to in her office, "Love Is in the Air", had been intended as the opening number for the musical A Funny Thing Happened on the Way to the Forum in 1962. The song was cut from the show and replaced with "Comedy Tonight".[4] In addition to the Sondheim songs, Tunick utilized dance-style music such as Donna Summer's "She Works Hard for the Money" and "We Are Family"; along with Gloria Estefan and Miami Sound Machine's "Conga". Reception The film opened on March 8, 1996, and grossed ,275,828 in its opening weekend, topping the box office.[5] It remained at No. 1 for the next three weeks before being derailed by the openings of Primal Fear and A Thin Line Between Love and Hate. By the end of its 14-week run, the film had grossed 4,060,553 domestically and ,200,000 internationally, eventually reaching a total of US5,260,553 worldwide.[2] The film received positive reviews upon its release. On the review aggregation website Rotten Tomatoes, the film holds an 82% approval rating based on reviews from 55 critics. The site's critical consensus reads, "Mike Nichols wrangles agreeably amusing performances from Robin Williams and Nathan Lane in this fun, if not quite essential, remake of the French-Italian comedy La Cage aux Folles."[6] On Metacritic the film has a score of 72% based on reviews from 18 critics, indicating "generally favorable reviews".[7] James Berardinelli wrote in ReelViews, "The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here."[8] Desson Thomson of The Washington Post described the film as "A spirited remake of the French drag farce [that] has everything in place, from eyeliner to one-liner".[9] Owen Gleiberman of Entertainment Weekly called the film "Enchantingly witty".[10] Janet Maslin of The New York Times gave the film a positive review, especially praising Robin Williams' performance: "...this is one of his most cohesive and least antic performances. It's also a mischievously funny one: He does a fine job of integrating gag lines with semi-serious acting..."[11] The Gay & Lesbian Alliance Against Defamation (GLAAD) praised the film for "going beyond the stereotypes to see the characters' depth and humanity. The film celebrates differences and points out the outrageousness of hiding those differences".[12] The film was also nominated for a GLAAD Media Award.[13] Accolades Association Ceremony Date Category Recipient Results 20/20 Awards 2017 Best Costume Design Ann Roth Nominated Best Art Direction Bo Welch Nominated Academy Awards March 24, 1997 Best Art Direction Bo Welch Cheryl Caraski Nominated American Comedy Awards 1997 Funniest Lead Actor in a Motion Picture Nathan Lane Won Funniest Supporting Actor in a Motion Picture Hank Azaria Nominated Funniest Supporting Actress in a Motion Picture Dianne Wiest Won Funniest Supporting Actress in a Motion Picture Christine Baranski Nominated Art Directors Guild Awards 1997 Feature Film Bo Welch Tom Duffield John Dexter Nominated Awards Circuit Community Awards 1997 Best Adapted Screenplay Francis Veber Edouard Molinaro Marcello Danon Jean Poiret Elaine May Nominated Best Art Direction Bo Welch Cheryl Carasik Nominated Honorable Mentions Mike Nichols Nominated Blockbuster Entertainment Awards 1997 Favorite Supporting Actor – Comedy Gene Hackman Won Favorite Supporting Actress – Comedy Dianne Wiest Won Casting Society of America Awards 1997 Best Casting for Feature Film, Comedy Juliet Taylor Ellen Lewis Nominated Chicago Film Critics Association Awards 1997 Best Supporting Actor Nathan Lane Nominated Cinema Audio Society Awards 1997 Outstanding Achievement in Sound Mixing for Feature Films Lee Dichter Gene S. Cantamessa Nominated GLAAD Media Awards 1997 Outstanding Film – Wide Release — Nominated Golden Globe Awards January 19, 1997 Best Motion Picture – Comedy or Musical — Nominated Best Actor in a Motion Picture – Comedy or Musical Nathan Lane Nominated International Monitor Awards 1997 Theatrical Releases – Color Correction David Bernstein Won MTV Movie + TV Awards June 10, 1997 Best Comedic Performance Robin Williams Nominated Best On-Screen Duo Robin Williams Nathan Lane Nominated Online Film & Television Association Awards 1997 Best Motion Picture – Comedy/Musical Mike Nichols Nominated Best Actor in a Comedy/Musical Nathan Lane Nominated Best Supporting Actor in a Comedy/Musical Hank Azaria Nominated Satellite Awards January 15, 1997 Best Actor in a Motion Picture – Comedy or Musical Nathan Lane Nominated Best Supporting Actor in a Motion Picture – Comedy or Musical Gene Hackman Nominated Screen Actors Guild Awards February 22, 1997 Outstanding Performance by a Male Actor in a Supporting Role Nathan Lane Nominated Outstanding Performance by a Male Actor in a Supporting Role Hank Azaria Nominated Outstanding Performance by a Cast in a Motion Picture Hank Azaria Christine Baranski Dan Futterman Gene Hackman Nathan Lane Robin Williams Dianne Wiest Won Writers Guild of America Awards March 16, 1997 Best Screenplay Based on Material Previously Produced or Published Elaine May Nominated **** Mike Nichols, the director of such well-received films as The Graduate and Working Girl, has taken the outrageous 1978 French farce, La Cage aux Folles, and, by tweaking, updating, and Americanizing it, come up with a huge winner. The Birdcage, as it's called, is one of those rare motion pictures with side-splitting laughs where the humor never stays dormant for long. Using the talents of choreographers and set designers who don't know the meaning of "moderation", this movie is a triumph of the stylistically absurd. This is the third "big" cross-dressing movie to reach American screens in as many years (the other two being The Adventures of Priscilla, Queen of the Desert and To Wong Foo, Thanks for Everything! Julie Newmar), and the first to have a short title. But, as flashy and splashy as the man-dressed-as-a-woman scenario can be, The Birdcage (like Priscilla) is as much about being gay as it is about transvestitism, and it advances a message of equality, love, and acceptance. "We Are Family" isn't just the film's opening number; it's the theme song. For some twenty years, Armand (Robin Williams) and Albert (Nathan Lane) have lived together as husband and wife (so to speak). Both are openly gay, and comfortable with their sexuality. They are partners in business as well as out of it -- Armand operates a drag nightclub where Albert is the star performer. They have a son, Val (Dan Futterman), the product of Armand's one-night tryst twenty-one years ago with big-time executive Katherine Archer (Christine Baranski). As far as his upbringing is concerned, Val is as much Albert's son as Armand's, and he's not ashamed of his unusual family situation -- at least not in the normal course of things. But things are no longer normal. Val is engaged to the 18-year old daughter of Senator Keeley (Gene Hackman), the co-founder of the Coalition for Moral Order who believes that Billy Graham is too liberal. Since there's no way that Keeley would sanction a marriage between his daughter and the son of a gay couple, Val pleads with his father to pretend to be straight, if only for one night. The result of this, as might be expected, is a hilarious disaster. Although most of the jokes come from Elaine May's screenplay, it's the performances that make them funny. Robin Williams, despite his reputation for unfettered mania, is surprisingly restrained throughout most of The Birdcage, doing a little serious acting along the way. Nathan Lane, playing the effeminate Albert, is the real star, whether he's trying to swagger like John Wayne (to act manly) or costumed like a housewife. Williams and Lane work well as a couple, feeding off one another in the fashion of all great comedy twosomes. Gene Hackman has the straight man's role, and he fits into it wonderfully. His antics to escape reporters and his reaction to Val's parents are two of the film's comic highlights. Dianne Wiest, Dan Fullerman, Calista Flockhart (as Val's fiancee, Barbara), and Christine Baranski all turn in solid supporting performances. The only one who's too over-the-top is Hank Azania as Armand and Albert's houseboy, Aggedor. His exaggerated mannerisms are frequently as irritating as they are amusing. The Birdcage rivals A Midwinter's Tale for the funniest movie released thus far in 1996. In fact, the film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here. The structure of The Birdcage is designed to show us that there isn't much difference between conservatives and liberals or straight and gay people. Nichols' picture preaches tolerance and understanding, but neatly camouflages such themes beneath gaudy sets, colorful costumes, and unrestrained humor. The script has a few lulls, and there are times when it doesn't make a lot of sense, but there are few better ways to spend a chilly winter evening than peering through the bars of The Birdcage.**** CELLULOID FILM HISTORY A quick history of film stock Before movies were a thing, film stock was used for photography. Eventually, a few select individuals realized how single frames of cinema film stock could come together to create a moving image. From here, moving pictures were born as a novelty and evolved into a titan of the entertainment industry. You can get an idea for celluloid film history and evolution in the video below. It also covers cinema film stock types and some of the science that goes into making a piece of physical motion picture film. Celluloid film history • What is film made of? Advances in technology made better film stock products that would be less flammable and easier to handle, along with film stock that could be used by professionals and amateurs alike. Companies like Eastman-Kodak led the way and became massive brands in the world of cinema film stock. To this day, Kodak reigns supreme as possibly the largest provider of physical film. Along with things like Technicolor, motion picture film continued to innovate and improve the equipment everyone was already using. But as technology moved ahead, other forms of recording came into play, such as magnetic tapes. As far as movie theaters were concerned, however, celluloid film remained supreme. Some directors started to embrace and experiment with digital early on, such as Steven Soderbergh and George Lucas. In the case of Lucas, Star Wars: Episode II - Attack of the Clones (2002) was the first major release to get a digital release in major markets. By the time of the 2010s, digital projection had become the norm, as many theaters switched around the same time most movies were being shot digitally. RELATED POSTS The History of CinemaScope → A Brief History of Motion Pictures → How IMAX Changed Movies Forever → CELLULOID FILM EXAMPLES Celluloid film today When film stock was the only option around, no one was really asking why they were using it as the only motion picture film stock. But once digital filmmaking started to dominate, more people started to speak out about what makes it so special. Perhaps unsurprisingly, the change from celluloid film to digital by many has resulted in some pushing very hard in favor of physical film stock. As a result, many contemporary filmmakers, both professional and amateur, have been able to reexamine what it is about celluloid film that makes it so desirable. The video below talks about the very contemporary “fight” that persists between celluloid film vs digital, their differences, and how the medium itself is used for the story being told. It more or less establishes that the celluloid film vs digital fight is one that must always be left to the filmmakers and the stories they want to tell. Celluloid film history • celluloid film vs digital Directors (and evangelists) Quentin Tarantino and Christopher Nolan believe in not just filming on celluloid, but watching it that way, too. A few of their movies have gotten special engagements that show the films on actual celluloid film, but not everyone has the massive pull they do. Outside of major Hollywood players, other filmmakers have used traditional celluloid film, either in place of digital or a in combination. Both Greta Gerwig’s Little Women and Noah Baumbach's Marriage Story (both from 2019) were shot, and in some cases presented, on 35mm. Even before that, other filmmakers stuck to celluloid film for one reason or other. Keeping the aesthetic of celluloid film (which can be replicated with digital film grain filters) is one major reason why some directors like using physical over digital. There’s also quality reasons, such as the incredibly high resolution that physical motion picture film can give to an image. For some, the idea that celluloid film limits the amount of mistakes they make is a benefit. By having mistakes be of greater consequence, filmmakers have to plan things out with greater care and accuracy. For a lot of filmmakers, shooting on celluloid film is very much sticking with a tradition that still endures to this day. Sure it can take a bit more work, but sometimes that extra effort with film is worth it. Whether it’s for a specific aesthetic or ideological reasons, celluloid film, from shoots to projection, is still very much alive.         ebay5880 folder206