Watch Full Length The Song of Names Without Registering tamil imdb tt1657517
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Creator: Grand Cinema
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Duration 1Hour, 53 minute / Resume Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe to find him / Countries Hungary, Canada / 
/ 189 Vote / Jeffrey Caine. Category: Games Description of App: Challenge your music knowledge with Music Quiz Guru! Music Quiz Guru works without your own music library. Start guessing thousands of songs in 25 different genres right away! Listen to song and choose the right answer in 30 seconds. Game will continue until you have answered three times wrong. There are 3 different game modes where you can guess the song, artist or album. **INTERNET CONNECTION REQUIRED** Device(s) App Was Tested On: VoiceOver Performance: VoiceOver reads all page elements. Button Labeling: All buttons are clearly labeled. Usability: The app is fully accessible with VoiceOver and is easy to navigate and use.
Hah! It's indeed time Hollywood recognized that nazis are a JoJo reference. YouTube. Good stories makes good movies. thats it. Well I'm glad the actor from what's eating Gilbert grape is back. I wish they dropped a date when it releases.
This is a magnificent film, a poignant, eloquent story of love, grief, loss, and identity. Overall A- A talented young violinist disappears before his premiere performance. Decades later, his foster brother tries to find him, only to discover that their lives have been lived in the long shadow of the Holocaust. Release date January 10, 2020 Violence B Sexual Content B- Profanity C Substance Use Why is The Song of Names rated PG-13? The MPAA rated The Song of Names PG-13 for some strong language, brief sexual material, thematic elements, and smoking. Run Time: 113 minutes Parent Movie Review It’s 1951 and Dovidl Rapoport (Jonah Hauer King) is on the cusp of greatness. The gifted young violinist has released a record to rapturous acclaim and his premiere concert has sold out. But as the orchestra and patrons shuffle in their seats, the star performer fails to appear. Dov’s disappearance is devastating to his adopted English family. His Polish father (Jakub Kotynski) brought him to England prior to the war for safety and musical education and entrusted him to the care of music publisher Gilbert Simmonds (Stanley Townsend). Gilbert’s son, Martin (Misha Handley) and Dov (played as a child by Luke Doyle) are initially combative before becoming as close as brothers. But when his bankrupt and devastated father dies shortly after the abortive concert, Martin is left with grief, anger, and questions that won’t rest. Thirty-five years later, a middle-aged Martin (Tim Roth) sees a young violinist follow the same pre-performance ritual as his erstwhile brother. Jolted into the past, Martin realizes that Dov must be alive and sets out on a journey through his memories and across the world to find him and solve the mystery of his disappearance. The Song of Names is a magnificent film; a poignant, eloquent story of love, grief, loss, and identity. All six actors who portray Dov and Martin across their life spans bring authenticity and passion to their roles. And Howard Shore’s deeply emotional musical score gives the film a soul that breathes, sings, and weeps. This is not a story that will leave viewers unmoved. It peers deeply into the core of our humanity: our love for family, our need to belong, the strength of community, and the power and dignity that come from the remembrance of those we’ve lost. Given the film’s subject, parents will be relieved to note that negative content is comparatively minor and sanitized. Although World War II and the Holocaust are critical themes in the story, no graphic violence appears on screen. The effects of these horrific events are the central theme of the movie, which is permeated with loss and grief. Some parents may object to the playing cards with naked women on them, which are briefly seen, or to the three sexual expletives that comprise the film’s swearing. And they might be unhappy with the show’s ubiquitous smoking, especially when the boys sneak off to smoke cigarettes. But none of this content is extreme and this movie is certainly suitable for most teens. In fact, The Song of Names isn’t just suitable for teens, it’s exactly the kind of film they should see. In its unsparing look at the price of hate; in its deep dive into the dark well of anguish and grief, this movie has the ability to help teens develop empathy for those who suffer. And hopefully it can inspire all of us to say “never again” and commit to building a world where weaponized hate and its bitter fruits are inconceivable. Directed by Francois Girard. Starring Tim Roth, Clive Owen, and Catherine McCormack. Running time: 113 minutes. Theatrical release January 10, 2020. Updated January 10, 2020 About author Kirsten Hawkes Kirsten Hawkes has a BA in Political Science and English and has worked in international development and medical education and marketing. Kirsten enjoys reading, watching movies, and debating politics with her husband and sometimes unwilling children. Watch the trailer for The Song of Names The Song of Names Rating & Content Info Why is The Song of Names rated PG-13? The Song of Names is rated PG-13 by the MPAA for some strong language, brief sexual material, thematic elements, and smoking. Violence: A boy steals a milk bottle. Boys push and shove each other. Boys pretend to have a fist fight in slow motion. There is mention of war, an invasion, and fighting. Air raid sirens go off. A boy goes into a bombed out house and sees a dead woman: only her arm and a small amount of blood are visible. He steals a bracelet from off her arm. A boy mentions a firing squad. There is repeated mention of the people who died in concentration camps but there is no detail about their suffering. A man uses a knife to cut the tassels off his prayer shawl and destroy his skull cap while condemning God. A man punches another man repeatedly in the face: some blood is shown. Sexual Content: Young boys play with cards that have pictures of naked women: the cards are briefly visible. They discuss the women’s bodies using slang anatomical terms. A boy is teased about spying on a woman who is undressing. A slang term for masturbation is used. A young man tells another one to “get laid”. A man and woman kiss on a few occasions. There is mention of a prior sexual relationship between an unmarried couple; no detail. Profanity: A main character uses three sexual expletives in a moment of great anger. A handful of crude words are used. Alcohol / Drug Use: Main characters smoke frequently throughout the film. Young boys are shown clandestinely smoking cigarettes. A husband and wife drink wine together on a few occasions. Characters are shown drinking socially: they appear to have had too much to drink but are not obviously intoxicated. Page last updated January 10, 2020 The Song of Names Parents' Guide What is the cost of remembering? What is the value? United States Holocaust Memorial Museum: Video: Why We Remember the Holocaust BBC: Holocaust Memorial Day: What can we learn? FJMC: Why We Remember. Never Forget. Remembering history is critically important, but the Polish government is legislating against those who would challenge its sanitized whitewash of World War II and the holocaust. For more information about this troubling development, read these articles. BBC: Poland’s Senate passes controversial Holocaust bill Time: Poland’s Censorship Law Ignores Its History and Undermines Its Future The Guardian: Poland can’t lay its Holocaust ghosts to rest by censoring free speech The Guardian: The populist rewriting of Polish history is a warning to us all The Song of Names is the first feature film granted permission to shoot at the Treblinka memorial. To learn more about the horrors of Treblinka, click on the following links. Wikipedia: Treblinka extermination camp Holocaust Encyclopedia: Treblinka To learn more about the Holocaust, check out these links. United States Holocaust Memorial Museum Vad Yashem: The World Holocaust Remembrance Center Loved this movie? Try these books… This film is based on Norman Lebrecht’s award winning novel, The Song of Names. In The Cellist of Sarajevo, a musician vows to play Albinoni’s Adagio every day for twenty two days as a memorial for those who died in an attack. Author Steven Galloway creates a powerfully moving novel that combines music, memorable characters, and the horrors of war in an unforgettable story. As German shells rained down on Warsaw in 1939, Wladyslaw Szpilman played Chopin on air: the last broadcast by Polish Radio. Surviving the Nazi occupation, Szpilman wrote his memoirs, The Pianist: The Extraordinary True Story of One Man’s Survival in Warsaw. In 1945, one of the few survivors of the Treblinka death camp recorded his unspeakable memories. Translated from the Yiddish, Chil Rajchman’s work is available as The Last Jew of Treblinka. Elie Wiesel’s Night is the unforgettable tale of a young man’s experience of life in the horrors of Auschwitz and Buchenwald. Haunted by the unmentionable subject of the relatives who died in the Holocaust and whose absence permeated his childhood, Daniel Mendelsohn determines to find his family’s past. The writer embarks on a quest across Europe and the history and traditions of Judaism to find the story of his missing relatives. The Lost: A Search for Six of Six Million shares what he found. Home Video Related home video titles: It’s almost impossible to imagine the number of people killed by the Nazi’s Final Solution. The documentary Paper Clips tells the story of a groups of students in Tennessee who decided to collect six million paper clips so they could envision the scope of the Holocaust and remember those who died. Why is it so important to remember the most painful parts of our past? In Denial, a historian is sued by a Holocaust denier who claims she has slandered him by treating his claims derisively. This film is a powerful tale of standing up for the truth of the past, even when it is harrowing. In post-war Germany, people are determined to forget the Third Reich. But when a young prosecutor learns that Nazis are living comfortably, without facing justice, he begins an exploration into the Holocaust that horrifies him in Labyrinth of Lies. If you enjoyed the haunting music in this film, you will want to watch The Lord of the Rings, which has another moving musical score written by Howard Shore.
Sounds terrible... 🤪. I caught this film when it was was screened at DSS-IFF in Spain last week. i'm a fan of Tim Roth, my mom was a classical trained musician, and I was genuinely optimistic about Song of Names.
I was disappointing. This is quite a poorly done work. Another user reviwer here said the ending was "shocking." No it is not, it is predictable. In fact the entire film is a endless run of cliche. When you storm Area 51 and find Tom Cruise shooting Top Gun 2. This movie made me glad I never got married.
Here's a couple of the most recent entries... Bruno Mars & Cardi B's, "Finesse (2010s)" The Lyrics: Hit the Lil Jon, okay (okay), okay (okay) Who They Mention: Lil Jon Submitted by: JohnHowarth Dance Hall Crashers', "So Sue Us" You can have my 8-Track player and the Stevie Wonder record I just bought Stevie Wonder Submitted by: The Skuz New entries in this section are currently reviewed by Meat. Previous editors (if any) are listed on the editors page.
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The Song of Names Directed by François Girard Produced by Nick Hirschkorn Lyse Lafontaine Robert Lantos Screenplay by Jeffrey Caine Based on The Song of Names by Norman Lebrecht Starring Tim Roth Clive Owen Music by Howard Shore Cinematography David Franco Edited by Michel Arcand Production company Serendipity Point Films Distributed by Sony Pictures Classics Release date September 8, 2019 ( TIFF) [1] Country Canada Germany Hungary United Kingdom Language English Box office $789, 304 [2] [3] The Song of Names is a 2019 drama film directed by François Girard. [4] An adaptation of the novel of the same name by Norman Lebrecht, it stars Tim Roth and Clive Owen as childhood friends from London whose lives have been changed by World War II. [4] Cast [ edit] Tim Roth as Martin Gerran Howell as Martin aged 17-23 Clive Owen as Dovidl Jonah Hauer-King as Dovidl aged 17-21 Catherine McCormack as Helen Saul Rubinek as Feinman Eddie Izzard as Radio Presenter Release [ edit] The film premiered at the 2019 Toronto International Film Festival. [5] Reception [ edit] Rotten Tomatoes states: " The Song of Names is made from intriguing ingredients, but they never quite coalesce into a drama that satisfies the way it should. " The film scores 43% on the professional review aggregator, while the Rotten Tomatoes audience score is 83%. [6] Plot [ edit] In Europe, during World War II, Martin, a nine-year-old boy, takes a liking to his new adopted brother, Dovidl. Dovidl is a miracle violin player of his age, and has just arrived in London as a refugee. After a few years, before giving a concert at age 21, Dovidl disappears without a trace, bringing shame and ruin to his adoptive family. Years later, when Martin is 56 years old, a young violinist shows a style that only Dovidl could have taught. Critical response [ edit] On the review aggregator website Rotten Tomatoes, the film holds a 35% approval rating based on 34 reviews, with an average rating of 5. 38/10. [7] References [ edit] External links [ edit] The Song of Names on IMDb.
Anyone listening to this in 2020. Created Jan 6, 2020 | Updated Jan 6, 2020 In many cultures it is considered to be bizarre behaviour to talk about yourself in the third person. It is also frequently viewed as rude, arrogant and egotistical for someone to talk about themselves. For a singer to sing about themselves for no apparent reason seems suspicious to say the least. Is this a sign of narcissism or a belief that their intended audience will forget the name of the act they are listening to unless they do so? This trend seemed particularly popular in the late 1990s and early 2000s. Destiny's Child, for example, seemed to do it a lot, inexplicably whispering their name partway through a song. Their song 'Independent Women' (2001) is not only riddled with grammatical errors but also contains the words 'Destiny's Child, whasup? '. It's a tough call to narrow it to just one example, but a typical sentence in the song is: All the women who are independent throw your hands up at me. Why is the song dictating that independent women should lose their independence, conform and undertake the same actions? Some truly independent women would, but for their own, unique and independent reasons, while it is desirable for the others to react in various different ways. And do they want the women to chop their hands off in order to throw them, and if they've chopped their hands off, how will they throw them? The group have clearly not thought this through... Song Introductions Some songs introduce the members of the band. It can be a way for the members to influence how they are perceived by their intended audience. An example of this is the Manfred Mann song 'One in the Middle' (1965), which introduces everyone with words such as: Mike Hugg plays the drums, yeah, Tom McGuiness lays it down on the bass But the one in the middle sings 'hey, diddle, diddle', and he's just a pretty face. Using a song to introduce yourself doesn't always work, however. The Spice Girls debut single, 'Wannabe' (1996), was a Number One hit in 22 countries, making it the best-selling single by a Girl Group not only in the UK but also in the world. The song introduces who the Spice Girls are, and gives a little bit about the personalities and preferences of Em (Emma Bunton), G (Geri Halliwell), MC (Mel C), V (Victoria Beckham née Adams) and Mel B, specifically telling the audience 'You gotta listen carefully': We got Em in the place who likes it in your face, we got G like MC who likes it on an. Easy V doesn't come for free she's a real lady and as for me ah you'll see. Following the overwhelming success of the song, it might be expected that the Spice Girls' own attempt at self-identification would have worked; however, the media ignored it completely. Instead the press chose to nickname the girls Baby Spice, Ginger Spice, Sporty Spice, Posh Spice and Scary Spice and not In Your Face Spice, G Spice, On An Spice, Easy Spice and Ah You'll See Spice as their song would indicate they would have preferred 1 to be known. Dances Named After Artists Sometimes musicals acts invent a dance move and name it after themselves. This is a worrying trend and an activity that really should be left to the professionals, namely superheroes. After all, who can forget the Batusi, the dance invented by Batman? Another example is 'The Freddie', named after Freddie and the Dreamers' lead singer Freddie Garrity. The song 'Do The Freddie' (1965) tells us: Kick your feet up swing your arms up too, move your head both ways like you see me do Then jump three feet to the swinging beat, do the Freddie, do the Freddie This phenomenon was rightfully mocked by the Traveling Wilburys in their song 'Wilbury Twist' (1990). The lyrics are a delight from start to finish. Turn your lights down low, put your blindfold on You'll never know where your friends have gone Could be years before you're missed, everybody's trying to do The Wilbury Twist Songs That Legitimately Name Drop There are exceptions to every rule and there occasions when it is acceptable to name drop in a song. Particularly when you are mocking yourself. Manfred Mann jokingly claimed that they had inadvertently led to such disasters as the Charge of the Light Brigade and caused the fall of Troy in their song '5-4-3-2-1' (1964). When John Lennon heard that people were analysing his song lyrics for mystical messages, he wrote the song 'Glass Onion' (1968) to deliberately confuse them, adding the line 'The Walrus was Paul', referring to Paul McCartney. Lennon and McCartney would later engage in a fierce lyric war as the Beatles broke up, while some listeners concluded that Paul was dead. During this period John would reference himself in the self-examining song 'God' (1970) with the words: I don't believe in Beatles, I just believe in me. In-Jokes and Cross References Another legitimate category of name-dropping is when instead of the band name being mentioned, the song refers to characters or people from previous songs. Probably the most famous Buddy Holly song is 'Peggy Sue' (1957), based on a real person; he later informed us 'Peggy Sue Got Married' (1959). Similarly, David Bowie mentions fictional Major Tom in 'A Space Oddity' (1969), and again in 'Ashes to Ashes' (1980) in which he is described as a 'junkie'. This is not a new phenomenon. Gilbert & Sullivan 's operetta The Pirates of Penzance (1879) jokingly references their earlier success HMS Pinafore (1878), with the Major-General Stanley boasting: I can hum a fugue of which I've heard the music's din afore, And whistle all the airs from that infernal nonsense 'Pinafore'. Telly Tunes Is it acceptable for songs that were written for television to name drop? The Monkees, for example, were created as a television show about a band in the same vein as Beatles films A Hard Day's Night (1964) and Help! (1965). The Monkees 2 played the role of a group of musicians so well that they enjoyed a brief, but highly successful, musical career. Their theme 3 (1966) perfectly encapsulated what the show was about: Hey hey we're the Monkees and people say we monkey around But we're too busy singing to put anybody down. Yet there are cases in which television theme tunes that introduce the main characters really, really should not have made it onto the airwaves, yet have inexplicably done so with ridiculous success. Here are some examples: Tinky-Winky! Dipsy! Laa-Laa! Po! Teletubbies. Teletubbies. Say Eh-Oh - 'Say Eh-Oh', the Teletubbies (1998) Scoop, Muck and Dizzy, and Roley too, Lofty and Wendy join the crew Bob and the gang have so much fun, working together they get the job done Bob the Builder! Can we fix it? Bob the Builder! Yes we can! - 'Can We Fix It? ' Bob the Builder (2000) Blobby, oh Mr Blobby, if only you could make us understand Blobby, oh Mr Blobby, your influence will spread throughout the land Let's hear it for Mr Blobby; Blobby, blobby, blobby - ' Mr Blobby ' (1993). This has the honour of being named the worst song of all time 4. Less 'say Eh-oh', more 'think Uh-oh! ' Is 'Fun' Part of 'Fundraising'? The 1980s was the decade of the fundraising song. If there was a cause to protest against or raise funds for, the '80s were there with a song for every occasion. For example, Band Aid 's 'Do They Know it's Christmas? ' made Number One twice in that decade, raising money in 1984 and 1989 for the Ethiopian Famine. Not to be outdone, across the ocean US singers calling themselves United Support of Artists (USA) for Africa released 'We Are the World' in 1985. 1988's Sport Aid were 'Running All Over the World'. Ferry Aid recorded 'Let It Be' in 1987 to raise funds following the Zeebrugge Disaster in which the ferry MS Herald of Free Enterprise capsized, killing 193 passengers and crew, which should not be confused with the charity version of 'Ferry 'Cross the Mersey' that was released following the Hillsborough Disaster in which 96 football fans died in 1989. Within this environment, when it was announced that Doctor Who would go on an 18-month hiatus in 1985, the natural and/or drunken reaction from Doctor Who producer John Nathan-Turner was to form a supergroup and release a charity single. The group, named Who Cares?, included Oscar-winning composer Hans Zimmer on synthesiser, along with lyrics sung by Doctor Who stars Colin Baker, Nicola Bryant, Nicholas Courtney and Anthony Ainley. The song 'Doctor in Distress' included the lyrics: Doctor in distress, let's all answer his SOS, Doctor in distress, bring him back now, we won't take less. It failed to chart. Party Poopers? Singers tend not to sing about themselves doing the ironing or trimming their toenails, but instead like to present themselves as engaged in highly pleasurable activities. Chief among these is presenting the singers as very sociable, extrovert party-goers who know how to have a good time. A typical example is S Club 7 's 'S Club Party' (1999), which contains the line: 'S Club (there ain't no party like an S Club party) gonna show you how. ' The trouble with these songs is that the listeners get too caught up in the excitement of the party atmosphere to question what sort of party it is. Just what are S Club gonna show you how, eh? Similarly, what are Take That asking their party guests to take when they attend their party in song 'Take That and Party' (1992)? Are pop songs encouraging their listeners to succumb to peer pressure? Come on, come on, come on, come on take that and party, Come on, come on, come on, take that. A Drop by Any Other Name Sometimes it is difficult to tell whether an act is name dropping or not in their song. It largely depends on the band's name. Group The The, for example, would legitimately find it very difficult not include the word 'The' in any of their songs. This was not a problem faced by band Dave Dee Dozy Beaky Mick & Tich. Similarly Queen include the word 'Queen' in their song 'Killer Queen' (1974), but the lyrics are in the third person and describe a woman: ' She 's a killer queen'. There is a brief 'Ready Freddie' in 'Crazy Little Thing Called Love' (1980), referring to lead singer Freddie Mercury, but you can't hold that against them. Are these songs name dropping or not? I said who are you? Who? Who? Who? Who? I really wanna know. Who are you? Who? Who? Who - who? - 'Who Are You? ' by The Who (1978) Madness, madness, they call it madness. Well if this is madness then I know I'm filled with gladness. - 'Madness' by Madness (1979) And the last known survivor stalks his prey in the night And he's watchin' us all with the eye of the tiger. - 'Eye of the Tiger' by Survivor 5 (1982) Conclusion Singers singing about themselves is a phenomenon that is mostly harmless. The only lasting consequence is that songs that predominantly refer to the singer are unlikely to attract numerous cover versions. This Entry's aim has been simply to encourage people to pay close attention to the lyrics of the songs that they listen to, and think about both what the lyrics actually mean and also what they could be interpreted to mean. If you have in the past derived pleasure and joy from the songs and singers affectionately teased above, then we hope that you will continue to do so for many years to come. Unless, of course, the song that you enjoy listening to is 'Mr Blobby'. There are limits. 1 We are specifically told that Em likes 'it in your face' while MC likes 'it on an'. 2 Strange but true – an infinite number of The Monkees singing notes and words at random will, eventually, perform every operetta by Gilbert and Sullivan. 3 Which they also performed in Spanish as 'Tema Dei Monkees'. 4 The man behind the 'Mr Blobby' and Teletubbies songs, Simon Cowell, would later create such television series as Britain's Got Talent and America's Got Talent. 5 Producer Sylvester Stallone had hoped to get the rights to use Queen's 'Another One Bites the Dust' in Rocky III (1982) but had been unable to. He had hoped his brother Frank Stallone could write something similar but in the end he approached Survivor to write a song similar in feel to Queen's. 'Eye of the Tiger' was the result.
Special Screening Special One-Time Screening Sunday, February 9 6:00PM 8:30PM Monday, February 10 6:00PM 8:30PM Tuesday, February 11 6:00PM 8:30PM Wednesday, February 12 6:00PM 8:30PM Thursday, February 13 6:00PM 8:30PM About the Film: Martin Simmonds (Tim Roth) has been haunted throughout his life by the mysterious disappearance of his “brother” and extraordinary best friend, a Polish Jewish virtuoso violinist, Dovidl Rapaport, who vanished shortly before the 1951 London debut concert that would have launched his brilliant career. Thirty-five years later, Martin discovers that Dovidl (Clive Owen) may still be alive, and sets out on an obsessive intercontinental search to find him and learn why he left.
| Glenn Kenny December 25, 2019 It’s 1951, and a major musical event is about to enliven London’s classical scene. The evening depicted in this movie’s opening will feature a young violin virtuoso, Dovidl Rapaport, playing a program of Bruch and Bach. Dovidl’s friend Martin, a fellow in his early twenties like the absent violinist, tries to reassure the older folks around him that the musician wouldn’t miss this date. But he does. And Martin never sees him again. More than 30 years later, this is still eating at the adult Martin, played by Tim Roth. Now a music teacher, married to his teen sweetheart, he finds himself intrigued by an auditioning would-be student who rosins his bow in a particular way. That way belonged to Dovidl, who, we learn in flashbacks, was an arrogant child prodigy left in the care of Martin’s father before the outbreak of World War II. The boy Dovidl is a disruptive Jew in a mode recalling that of Philip Roth. A self-proclaimed genius, he initially infuriates the buttoned-up young Martin. But they soon become the best of friends, and in England, young Dovidl is molded (insofar as he can be molded) by Martin’s doting father, who’s grooming him for a career. Even as his family back in Poland is being shuttled to Treblinka. Advertisement Based on a novel by Norman Lebrecht (the screenplay is by Jeffrey Caine) and directed by François Girard, “The Song of Names” is a pointed demonstration that “survivor’s guilt” is a rather more complex state than the slightly glib phrase suggests. In his late adolescence, agonizing over the still-unknown fate of his family, Dovidl renounces Judaism and acts out in other ways. But his failure to show up for the concert that Martin’s father put his life into, and subsequent absence from Martin’s life, seems an inexplicable betrayal. Tim Roth plays the Martin of the 1980s with a controlled agony; it’s one of the actor’s most purposefully understated performances, and it makes the movie worth seeing. The adult Dovidl is played by Clive Owen, and since this is in part a detective story, I am hesitant to describe him in much detail except to say it’s Owen as you’ve never seen him before. The character’s own agony derives from his definitive discovery of his family’s fate—literally a life changing moment. The titular “Song of Names, ” sacred music with a ritual function, is not merely explained but turns to a motif. Literate, sober, soulful, and considered as it is, the movie is also a little overly scrupulous in its tastefulness. “The Song of Names” doesn’t get its hands dirty; as crassly as young Dovidl behaves, as much of a chip on his shoulder the adult Martin carries, director Girard, whose filmography includes low-key meditations like “ The Red Violin ” and “33 Short Films About Glenn Gould, ” keeps things emotionally tamped down. In the case of Roth’s character, it gives the actor some new places to go. But in other respects, the approach, which is most pronounced in the sun-dappled wanderings over blitzed-out London by the two boys, feels slightly cramped and more than familiar. Reveal Comments comments powered by.
1:20 that moment when you ride the ninja H2 for every single time, you have one my friends. R u kidding me. US Navy recruiters are going to have a great time in 2020. I'm in mourning for my life is such a mood 😩. Buscemi looks like Culkin. I shall watch this film for sure. Looks like he's financially taking advantage of Dame Helen Mirren. He's not cool. ���v�8�(����٧'3ۖ, Rw�3gK���l�ꕋ")�EJ$u ��? b����i�%7� RR�����U�". ����F�����H�yC��? �߂)[��O�����U�䌣Ɋ�ض���'PH����j�, X�P��I�m��2��i���]C�=ö> �my��]�y�fU��e�t�xxpO�O�y�s��;w�S{^:� . 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I cant make my self watch this sad movie. Just the trailer is already making me tear up. Since he couldn't get into college maybe he could try his hand at selling car insurance. For anyone who's seen this: the shoes.
I havent seen the movie yet but Im already crying
So frequency meets field of dreams. Whos came from the legenf of korra amv? its got deletes😭. Very good job! I learned Chechov from school (I'm from Russia) and I have seen him at the theatre lot's of time (and mostly didn't like him) but this work gave me the fullest sence and understanding of his play! It is really good done. Elisabeth Moss is incredible. Thank you very much for this film.
It happens all the time. You are sitting in a restaurant with friends or driving to work and there’s some beautiful music playing on the FM radio station. You would love to buy a copy of that music album for yourself but the problem is that you didn’t get the lyrics so how do you find out the name of that song. “What’s the name of that song? I don’t remember the lyrics” Search engines like Google or Bing won’t be of much help unless you know a couple of words from the song lyrics or have some clue about the name of the artist or the band. How do you then identify the name of that lovely song? Also see: Find Song Name in YouTube Videos Well, here are some of the best music recognition services that can help you discover song names without having to know the lyrics. You may use them to identify music playing from the radio, TV, Internet or that CD playing in the bar. 1. Find Music with your Mobile Phone 1a. Shazam - Shazam is a mobile application that you may use to find song names from your iPhone, BlackBerry, Windows Mobile, Android or your Nokia S60 phone. You may also use Shazam on an iPod Touch provided you have an external microphone. Simply install the Shazam application, hold your phone towards the audio source and hit the Tag button to let Shazam identify the playing music. Shazam works only with pre-recorded music and not with live performances. The free version of Shazam will help you identify up to 5 different track per month while Shazam Encore, the paid version, offers unlimited tracking for $4. 99. If the tune cannot be recognized, there’s no charge. If you are in the UK, you can use just about any mobile phone to recognize music with Shazam - just dial 2580 and hold your phone to the music. 1b. MusicID - Hold your iPhone up to some music and MusicID will tell you what song is playing. It’s a $3 iPhone App available worldwide but if you are on AT&T, you may also use your Blackberry, Windows Mobile or any Java phone to identify music with MusicID. Like Shazam, MusicID works only with pre-recorded music and they also have an SMS based service for people in the US that doesn’t require any downloads - just dial a short code, hold your phone up to some music and you’ll get a text message with the result. 2. Find song names using your own voice 2a. Midomi - If you have a tune that’s stuck in your head, just grab a microphone, hum that tune yourself and Midomi will be able tell you what that song is. Alternatively, you may play a short recording of that “unknown” track for Midomi to identify its name. Unlike Shazam which is a mobile app, Midomi offers a web interface where you can can hum or sing for about 10 seconds and the service will then show you a list of matching songs. For best results, keep the volume bar in the green and avoid background noise. Midomi is free to use online, but it also offers mobile apps for iPhone, Android, Nokia Ovi and Windows Mobile phones. You can identify songs by holding your phone up to a speaker or by singing / humming the melody into the phone itself. 3. Record a short clip to identify the music 3a. AudioTag - If you have a short recording of a song on your computer or your mobile phone, you may use the online music recognition service at AudioTag to figure out the exact name of that song. You can upload a short audio snippet (or even a whole song) and Audio will try to identify the track title by comparing the audio to its own music database. For best results, you should either take a slice from the middle of the song or upload the whole song and the recognition engine will choose slices randomly by itself. This can be especially useful if you can record a portion of the song on your mobile device, and then check out the song’s information whenever you go online. 4. Identify Music with help of humans 4a. WatZatSong - When computers fail to identify the song that you are looking for, you can take the help of human being who may have an idea about that song. WatZatSong (“What’s that song? ”) is a social site where you can upload a short MP3 audio recording of the song (or record yourself by humming) and other members of the site can then help you guess the exact song name. The suggestions won’t come instantly but you can make their task a bit easier by proving more details about the song like the language in which it is sung or the music style. You can cross-post the same WatZatSong request to other social sites like Twitter, Facebook, etc. so your entire network can help you in the search. 4b. Name My Tune - Sing or hum a short clip of the song you are trying to find the name of. Once you are done recording and enter the Genre and Era that you think the song most likely fits in. They’ll send you an email when other people on that site are able to recognize your tune. 5. Use a virtual keyboard to find the song name 5a. Musipedia - With Musipedia, you can search for a song by either playing it on a virtual piano keyboard or by whistling it to the computer using any microphone. Musipedia is styled after Wikipedia and works best at finding classical music. Unlike Shazam which can will only find songs that exactly match the recording, Musipedia can identify all music that contain a particular melody that you just recorded by humming or through the computer keyboard. 5b. MelodyCatcher - If you can play the tune on a virtual keyboard, MelodyCatcher can help you find the name of the song tune you’re looking for. With a simple Java-based onscreen keyboard, simply use your mouse to enter the melody, click search, and MelodyCatcher will show you a list of matching songs from across the web. You do not need to enter the full melody: the first 5-7 notes will usually be sufficient to identify a melody. Related Guide: Find new music based on music you already like.
How many yikes is too many yikes.
1 Time Out Swimming in a double-breasted suit against the Monday morning incoming tide, I feel a double misfit. The whole working world is flooding into town while I am heading out, and for no good reason. What is more, I am just about the only man on the forecourt in a respectable suit. Times have changed, and chinos are worn to work. Or whatever they call work. Sitting at a flickering screen, hunting and gathering data, strikes me as a poor substitute for the thrill of the chase, the joy of the kill, the kiss of conquest. There is no romance, no mortal struggle, in digitised so-called work. It is a virtual pursuit, without real vice or virtue. Mine, on the other hand, is a people profession, hence almost obsolescent. It would not do to enquire too closely into the purpose of my trip. 'Is your journey really necessary? ' nagged the railway hoardings during the war. No, not enough to convince the auditors, who will slash my expenses claim on seeing the negligible returns. Nor to satisfy Myrtle, who will raise a quizzical eyebrow and register a connubial debt. There is no pot of gold at the end of my trail nor, truth be told, enough profit to interest a Sunday boot-saler--which is not, of course, what I tell the accountants ('must keep in touch with consumer trends'), or Myrtle ('meeting a familiar face can make all the difference when money's tight'). What matters is that I know why I am going, and I don't have to make excuses to myself. Escape, or the illusion of it, is what keeps me alive and my business more or less solvent. Survival instinct propels me through the Euston crowds towards a reserved first-class seat on the nine-oh-three Intercity Express, my chest pounding with unaccustomed effort and an absurd anticipation of adventure. Absurd, because previous expeditions have attested beyond reasonable doubt that any prospect of adventure will get scotched at source by my innate reserve and speckless propriety--attributes that are bound to be mentioned in my none-too-distant obsequies, alongside the Dear Departed's musical expertise, mordant wit and discreet philanthropy. Adventure is, in any case, antithetical to my nature and inadvisable in my state of health. Furred arteries and a fear of bypass surgery have imposed severe restraints. I am limited to six lengths of the health-club pool and half a mile on the electronic treadmill; excitement is strenuously avoided; conjugality is conducted rarely and with the circumspection of porcupines. 'Take care of yourself, ' are Myrtle's parting words and, for her sake, I do try. In the absence of marital ardour, it's the least I can do. Yet, even a rackety, unbypassed old heart can be stirred by departure fantasy. As I board the train, my pulse picks up ten points in fake anticipation. I look ahead breathlessly, with a reassuring sense of déjà vu. It's like watching televised football highlights on a Saturday night when you've already heard the classified results on the radio. The programme may reveal some fine points of form and skill, but any tension has been ruled out by an incontrovertible foreknowledge of the outcome. Watching stale soccer from the snug of a prized deco armchair is the limit of my permitted thrills--a sad comedown for one who was groomed to make things happen. Sad to have slipped from motivator to spectator, from the wings of great stages to a piece of high-winged furniture. Still, there are compensations. By staying out of the thick of things, I have acquired an aura of what, in small-business circles, passes for timeless wisdom. Lifelong prudence has reaped its rewards. My town house has a heated indoor pool, I holiday winter and summer in wickedly overpriced Swiss resorts and my pension arrangements are structured to keep me in comfort for three lifetimes. 'Comfort ye, comfort ye, my people, ' said the prophet Isaiah--so we made it the tribal aspiration. What greater calm can a man find on earth than the quiet rustling of gilt-edged assets? At Rotary and Bnai Brith you cannot tell me apart from the rest of the Lodge, and that is how I like it; none of the other brothers has, to my certain knowledge, been invaded by genius and ruined by its defection. Forget I mentioned that: not many people are meant to know about it. 'Mustn't grumble, ' my father used to say, when asked how he was; and so do I. Normality is my nirvana. Only within, deep within, at the clotted edge of irreparable loss, do I feel the need for an unnecessary journey that will allow me to avoid devastating self-contemplation and the acceleration of inherited arteriosclerosis. I wouldn't be surprised if the railways were mostly run for people like me, half-wrecked psyches in perpetual flight from the missing part. I can just see a Development Director springing his brainwave initiative at a board meeting. 'Why don't we run extra Monday-morning services to the boondocks? ' he proposes brightly. 'There must be thousands of useless deadweights, dog-ends and waiting-for-godders who are just dying to get away. ' Settling in my window seat I pop two pills, a brand-name sedative and a homoeopathic palliative, shutting my eyes for ten minutes of yogic meditation. My Harley Street consultant (the cardiologist, not the naturopath) advises daily exercise and the avoidance of agitation. Being of a responsible disposition, I eat warily and carry a kidney-donor card. If I see a pretty girl or a police chase, I look away. In Michelin-starred restaurants, I order steamed fish. I have many friends but no recent lovers, vague interests but no driving passions. Myrtle, my partner in life, has a life largely of her own. A large-boned lady of healthy appetites, she lunches sparingly in good causes and plays bridge for her metropolitan borough. She took it up in her thirties, after having children, discerning in the pastime an outlet for her formidable memory and jugular instincts. Myrtle can remember the seating plan at every chicken-schnitzel wedding we have attended, the Order of Service at Her Majesty's Coronation, the universal symbols of the periodic table and the entire line-up of the Hungarian football team that inflicted England's first home defeat, 3-6, in the aforementioned Coronation Year, which was also the year of our marriage. Many's the time I have urged her to apply her remarkable mental powers to a worthier object than a pack of cards. But Myrtle's tolerance for ladies who lunch on behalf of the starving and homeless is limited. Our two sons have grown up and apart from us, triumphs of private schooling and canny marriages. One is a Kensington obstetrician with a trophy wife, the other a libel lawyer with a traditional spouse. Over dinner, I prefer the barrister's scurrilous gossip to the manicured sanctimony of a society abortionist. But I feel no satisfying patrimony when, on Friday nights, we play a charade of happy families around a table groaning with murderously poly-saturated fats. Monastically picking at my wife's heedlessly prepared dietary dynamite, I retire dyspeptically to bed with a glass of camomile tea and the Spectator, a lifelong habit, while coffee is taken in the lounge. My apologies are accepted with a wince of scepticism. Some in the family, I suspect, ascribe my medical condition to chronic hypochondria. A decent Omm-trance is pretty much unattainable on a train that starts and lurches through a thicket of signals, then spurts past outer suburbs like a runaway horse. Once the speed settles to a steady rocking, incomprehensible announcements splutter forth about the whereabouts of the refreshment car and would the chief steward please make his way to first class, thank you. Giving up the quest for inner peace and undistracted by the silvered February landscape, my attention turns to business, which barely needs it. The company I keep going is a spectre of the firm that my father founded in 1919 'to advance the appreciation of music among men and women of modest means'. In its heyday, Simmonds was a household name, to be found in the nation's living rooms among the Wedgwood teacups, Hornby toys and grafted aspidistras in Robertson's jampots. Simmonds (Symphonic Scores and Concerts) Ltd manufactured piano reductions of orchestral masterpieces, issued in noble purple covers for the uniform price of sixpence. We also produced popular lives of the great composers, albumised folk-songs and approachable novelties by uncelebrated living composers. But the heart of Simmonds was the concert division, which organised orchestral nights for all the family, grannies to toddlers, at group discounts that worked out at less than the price of a cinema seat. Simmonds' suite of offices, nuzzling the old Queen's Hall at the top of Regent Street, buzzed seven days a week with unprofitable ideas, artistic aspirations and fatally entrapped wasps. No window was ever opened, for fear of diluting the fug of inspiration. Elbow-patched pianists in pursuit of unpaid fees jostled students and factory workers waiting for last-minute penny tickets. Trilby-hatted newspapermen interviewed stateless conductors in secluded corners--on one occasion, apparently, in the left hand stall of the ladies' washroom where the cistern drip-dripped so relentlessly that an idle wit attributed the metronomic tempi of that night's Tchaikovsky Fifth to the inadequacies of Simmonds' plumbing. My father, hunched behind a pyramid of unread contracts and uncorrected page-proofs, presided at all hours over his musical emporium, seldom locking up before midnight. 'I can't leave the place empty, ' he would say. 'Who knows when the next Kreisler might walk in? ' Half a century before open-plan offices, he took his door off its hinges, the better to observe all comings and goings. No artist ever entered unnoticed. As mail piled up and secretaries resigned in tears, my father juggled three telephone receivers simultaneously, virtuosically and without ever raising his voice. Mortimer (Mordecai) Simmonds had the manners of a gentleman and the abstraction of a scholar--though he was neither, having been sent to work 'in the print' at thirteen years old to support a widowed mother and four sisters in Bethnal Green. In the inky-stink din of a newspaper press, he befriended the lower echelons of journalism and ascended the proof-readers' ladder to join the sub-editors' desk of a literary supplement, itself a passport to Hampstead salons. There he met in mid-war and was persuaded to marry my mother, the dowried and somewhat dowdy eldest daughter of an Anglo-Sephardic dynasty, the Medolas, who offered to set him up in the business of his choice. Bookishness beckoned, the more so after two years on the Somme, but he failed to find the kind of books that would give him aesthetic satisfaction and would also make money. His business career was going nowhere when a friend gave him a spare ticket to the Queen's Hall on 4 May 1921, a date he would commemorate every year of his life. The soloist was Fritz Kreisler, back for the first time in eight years. Hearing him play an innocuous concerto by Viotti moved my father more than all the words he had ever read. Kreisler, with his bushy moustache and flashing eyes, ran off dazzling cadenzas as if they were child's play while holding listeners, one by one, in the grip of a limpid glare. 'I was seduced, ' my father would recall. 'It was as if he played only for me. From the moment his eye caught mine, I knew that my life was destined for music. ' Unable to read a score or play a scale, my father hired a tutor to instruct him in the difference between crotchets and quavers and the significance of pitch relations in concert programming. He frequented student recitals at the Trinity College of Music, behind Selfridge's department store, sniffing talent by instinct. One violinist he picked off the pavement, busking in Oxford Street. With a handful of hopefuls, he put on chamber recitals at the Aeolian Hall, a churchy room on Regent Street; and with the newly formed Birmingham Orchestra, bussed in for the night, he staged the first of his family entertainments at the marbled Royal Albert Hall, on the southern edge of Hyde Park. No critic was ever invited to his concerts, but the halls were full and admission was universally affordable. An outraged music industry condemned Simmonds for 'lowering the tone'. My father laughed, and halved his top-price tickets. He refused to join collegial committees to discuss unit costs, credit lines and entry controls on foreign performers. He could not countenance anything that imposed restraint on an interpreter of music, a bringer of light and joy. He revered artists, almost without reservation. No Balkan pianist with three Zs in his name would ever come under pressure from Mortimer Simmonds to adopt a new identity for English convenience. No fat singer was ever required to slim. He gave second chances to panic-frozen beginners and blamed his own shortcomings when a concert flopped. He had no time for snob-appeal or seasonal brochures, for copyright niceties and entertainment tax--least of all, let it be noted, for his wife and son, whom he only ever saw in daylight over Sunday lunch, and not with undivided attention or unfailing punctuality. So when the phone rang one winter Sunday with the roast beef charred in the oven and my mother muttering over her petit-point, I failed to react in any way, hysterical or practical, to news of his death at the desk. My father belonged to Simmonds (Symphonic Scores and Concerts) Ltd, not to me; he died at his post, as it were, amid a mound of unopened mail. He was sixty-one, my present age. At the funeral, the rabbi spoke of his love of art, his humility and self-deprecating wit. He left me wishing I had seen more of him. Hauled out of Cambridge, where I was sitting my history finals, I took charge of the firm and swiftly secured its future. On to my father's hyperactive disorder, I imposed financial rigour. The rabble of loss-making unheard-of composers, most of them Hitler or Stalin refugees, was parcelled off to a modern-music publisher in Vienna, who kept three and unsentimentally sacked the rest. The family concerts were wound up and the soloists redirected to rival agencies. Two became famous; the rest vanished into marriage, music-teaching or orchestral drudgery. I was sorry to lose the artists, for their eagerness was infectious and their egotism endlessly amusing. Some I had grown up with, others were so daunted by the challenge of tying their shoelaces that I did not like to think what would become of them without our unstinted protection--but what else, in the circumstances, could I have done? There was a pressing personal reason for me to terminate our involvement with talent, a reason I try very hard, on medical and legal advice, not to dwell upon or commit to print. I got a good price for the offices from a Dutch merchant bank, retaining a corner space for myself, a spinster secretary called Erna Winter and an occasional junior. The revenue from these rapid disposals provided for Mother, who fell silent after Father's death and required periodic care in a private psychiatric hospital. During a remission she helped arrange my introduction to Myrtle, the bony daughter of Hispanic cousins, and morosely graced our solemn nuptials before overdosing on anti-depressants--whether deliberately or accidentally I neither knew nor deeply cared.
“You egos swiping the debit card that your body demagnetized”. Augustus Hill Wheel Chair HBO's OZ. A Sony Pictures Classics Release Synopsis Tim Roth and Clive Owen star in François Girard's (The Red Violin) sweeping historical drama, about a man searching for his childhood best friend – a violin prodigy orphaned in the Holocaust – who vanished decades before on the night of his first public performance. About Testimonial About The Production TESTIMONIAL "Can a film be both heartbreaking and heart-healing at the same time? The Song of Names is a triumphant combination of history, artistry, and deep pathos. Some few stories help us comprehend the enormity of the losses, the astonishing resilience and the creative passion that marked a people’s darkest time. Song of Names is such a story, tracing a haunting melody that carries us far beyond words to a soul stirring climax. In an age of forgetfulness and coarse cruelty, when the slogans of hate reappear throughout the globe, The Song of Names is a gripping and vital contribution: a reminder of all that was lost, all that remained, and all that remains to be done. A film of broken friendship that devastates then uplifts, and finally, gives us back our faith. " – Rabbi David Wolpe is the Max Webb Senior Rabbi of Sinai Temple in Los Angeles. Named one of the 500 Most Influential People in Los Angeles in 2016 and again in 2017, Most Influential Rabbi in America by Newsweek and one of the 50 Most Influential Jews in the World by The Jerusalem Post, David Wolpe is the Max Webb Senior Rabbi of Sinai Temple. Rabbi Wolpe previously taught at the Jewish Theological Seminary of America in New York, the American Jewish University in Los Angeles, Hunter College, and UCLA. A columnist for, he has been published and profiled in The New York Times, Los Angeles Times, Washington Post’s On Faith website, The Huffington Post, and the New York Jewish Week. He has been featured on The Today Show, Face the Nation, ABC This Morning, and CBS This Morning. In addition, Rabbi Wolpe has appeared prominently in series on PBS, A&E, History Channel, and Discovery Channel. Rabbi Wolpe is the author of eight books, including the national bestseller Making Loss Matter: Creating Meaning in Difficult Times. His new book is titled David, the Divided Heart. It was a finalist for the National Jewish Book Awards, and has been optioned for a movie by Warner Bros. ABOUT THE PRODUCTION As the first Gulf War was ending in 1991, Norman Lebrecht, a British commentator on classical music, was about to fly from Liverpool to Los Angeles. “There was a war on another continent, and it gave me an overwhelming sense of fragility, ” he says. “I had an idea about lives being unsettled by larger historic events. And the particular idea I had was: What if a man is so close to another person that they have an almost symbiotic connection—and that person suddenly disappears? How do you continue your life with only half a functioning self? You can lose a part of yourself and spend your whole life looking for it. ” As he continued to think about this idea over the coming years, it developed into his first novel, The Song of Names. The two halves of one soul that Lebrecht created in the novel were Martin, son of a modest music publisher, Gilbert Simmonds, and a Polish Jewish violin prodigy, Dovidl Rapoport, that Martin’s father invites to live in their home. “The day before Dovidl came along, if you asked Martin what he was, he would have said ‘ordinary, ’” says Lebrecht. “When Dovidl arrives, Martin’s ordinariness ceases. When Dovidl disappears, Martin suffers two losses: the loss of his father, which he blames on Dovidl, and the loss of whatever lit Martin up from the inside and made him feel not ordinary. All this lives within Martin as slow-burning anger, the hope against hope that something will be resolved and that when it’s resolved, there will be rage. ” For Lebrecht, The Song of Names is about coping with loss. “It’s something that happens to all of us in our lives, ” he says. “Do we then allow loss to paralyze us? Do we allow loss to leave us living half lives or half-hearted lives? Or are we able to, in some way or another, adjust to loss, and find a way to overcome that thing, however terrible it is? ” As THE SONG OF NAMES is set within the world of music and musicians, producer Robert Lantos saw François Girard (THE RED VIOLIN, THIRTY TWO SHORT FILMS ABOUT GLENN GOULD) as an ideal director. “This film lives or dies on the emotional impact of its music, ” says Lantos. “I thought it wouldn’t be enough to have a terrific film director who just left the music to the composer. It had to be someone who is as familiar with the language of classical music as he is with the language of cinema, so he could work with a composer from a place of knowledge and conviction. And that led me to François. He directs opera, theatre, and Cirque du Soleil shows. I doubt there are many other filmmakers in the world who are as comfortable and familiar with classical music as he is. ” Despite his passion for music, Girard didn’t want the film’s emphasis to be on music and the artistic temperament, as he felt it had been in Lebrecht’s novel: “Music is a very important vehicle in tackling this story, but to me this is not a film about music, ” he says. “This is an intimate story of two brothers, in which the undercurrents of the Holocaust and the memory of those that disappeared, gradually emerges. I made sure at all times that the music was always serving that, and never the reverse. ” Six actors play the principal roles of Martin and Dovidl, in different stages of their lives: as boys, adolescents, and middle-aged adults (Tim Roth and Clive Owen). “We’re following characters from 9 to 55, which turns out to be my age and pretty much Clive and Tim’s age, ” says Girard. “The first period in the script goes from age 9 to about 21. You can't have the same actor play 9 and 21. You need a child and then a young man. And then, when you connect with the characters 35 years later, you need yet another pair of actors. ” Finding the right mix was a big challenge for Girard and casting directors Kirsty Kinnear, Susie Figgis, and Pam Dixon. “If you have Tim Roth and Clive Owen, you have to find the middle Tim and Clive and then the young ones, ” says Girard. “Whenever we moved a piece, the whole puzzle would shift. It took us more than a year to make sure we were making the right casting choices. ” The casting of these roles was pivotal, because the impact of Martin’s quest to find Dovidl rests on the depth of the relationship forged between the boys in their early years as evoked in the film. “I did everything possible to invest in that relationship with love, ” says Girard. “Love would be the key word. That way, the disappearance of Dovidl would be that much more charged. ” Luke Doyle, who plays Dovidl from age 9 to 13, is a violin prodigy himself, but unlike the other members of the cast, he was cast for his experience as a virtuoso violinist, and had no prior experience as an actor. “If a young person is already in touch with his emotions performing music, you can expect that he will be able to express his emotions with acting, ” says Girard. The director eventually found a musical process for communicating with Doyle, which sometimes meant literally conducting him: “I’d give him a tempo, give him a flow, much like a conductor does with musicians, using my body and my arms to keep the rhythms of the text flowing through a scene. And Luke, being the brilliant young artist he is, reacted to that really well. ” Luke Doyle found young Dovidl to be a fascinating character to play. “There are not too many people out there who are like Dovidl, ” he says. “He never does anything boring, and that always makes him the center of attention. His arrogance and confidence is quite gravitational. At the same time he can sometimes be quite selfish, and doesn’t really care about others. ” Doyle also perceives hidden vulnerability in Dovidl: “In the first few scenes, it feels as if Martin is the one who can’t control his emotions, but as the story progresses and the two get to know each other, the tables turn and you begin to realize that it’s actually Dovidl who can’t control his emotions, and for good reason. ” Misha Handley plays young Martin, who at first sees Dovidl as an unwanted invader in his house. “When Dovidl comes into his room and they are alone for the first time, Martin tries to establish dominance, but Dovidl just naturally takes up the space, ” says Handley. “He is clearly better than Martin at most things. The two despise each other after that first contact, especially on Martin’s side, but after certain events, the bond forms, and they become incredibly close, like blood brothers. ” Handley recognized that underneath Martin’s exterior, there are more complicated feelings brewing. “You take another look and you realize there is this darkness in the background. Martin loves Dovidl, but at the same time there’s this hatred, there’s this jealousy. ” When we meet Dovidl at 17, as Jonah Hauer-King begins to play him, he has lived in the UK for quite a few years and he’s assimilating with his surroundings and his new family. “He has begun the journey, consciously or subconsciously, away from his Polish-Jewish identity, ” says Hauer-King. “ It’s a time of great change because a lot of his identity was connected to his parents and to his family and the mystery surrounding what happened to them. ” By this point in the story a very specific dynamic has been formed in Dovidl and Martin’s relationship. “Dovidl is talented, flamboyant, precocious, self-centered, and ambitious, and Martin is the one who tries to keep him grounded and act as a rock. They are both playing roles within that brotherhood. Dovidl doesn’t articulate it much, but I think he has a huge love and respect for Martin for putting up with him, as he can be quite difficult to be around. ” Gerran Howell, who takes over the role of Martin at 17, believes Martin is content to play his deferential role. Dovidl is the genius and Martin is the admirer, ” says Howell. “Martin sees himself as quite a boring person with not much of an outlook or freedom in his life. When Dovidl came along, he turned everything on its head. He was everything Martin wanted to be. They kind of fill each other’s things that they’re missing. But when Dovidl disappears, Martin is left to pick up the pieces and wonder what he’s meant to do next. ” At the point we first encounter the adult Martin (Tim Roth), he is coasting through an essentially dull and passionless life. “Martin is living in a crumbling house with his wife, with not much money in the bank, ” says Roth. “His foster brother Dovidl, who was his best friend, vanished on him 35 years before. All of that comes tumbling back when he catches wind that Dovidl might still be around. That charges up his life again, and he goes looking for him. ” From that moment on, Martin’s quest to find Dovidl becomes the force driving the film’s narrative. “When Martin sees the first clue, his passion is awakened, ” says Girard. “It transforms him from a state of drifting around to being driven by a mission. ” In the novel, both Dovidl and Martin’s families are Jewish, but Roth suggested that Martin not be Jewish. “For people on the outside, it’s a hidden world, ” says Roth. “If Martin is Jewish, he would already know where to look, in a sense. So I think it gives me more to explore. ” Screenwriter Jeffrey Caine liked Roth’s idea. “It adds another strand to the film, ” says Caine. “It gives Martin another cause for resentment. Not only is this kid now his father's golden boy, they also have to live a kosher life. ” During the decades since the two men had last seen each other, Dovidl has changed drastically from the young man Martin once knew. “There is a huge gap in the story, ” says Clive Owen, who plays the adult version of Dovidl. “There is a world, a life that’s happened that we don’t see, that we never see because his life has changed so dramatically. Their coming together is hugely important because Martin has spent his entire life wondering why this guy just disappeared without a word when they were very close and had done so much together. Dovidl made a decision 35 years ago to create a new life and now he has to face up to the past. ” Catherine McCormack portrays Martin’s wife Helen. “Helen is very much in love with Martin, as he is with her, ” says McCormack. “But Martin’s obsession with understanding and finding out where his friend went has taken over his life. He really needs to find the answers and for Helen that’s very difficult because she has a secret herself in relation to Dovidl. But, beyond that, it’s causing problems in their marriage because she feels like there’s a third person, a presence that is not physically there, but is always a part of their everyday language. And she’s tired of it. She feels she’s in a marriage with three people. ” Martin’s quest for Dovidl begins when, while judging a competition, he recognizes a unique stylistic flourish used by a young violinist, Peter Stemp (Max Macmillan), that could only have been taught to the boy by Dovidl. While the novel could reveal in words what Martin was thinking, screenwriter Jeffrey Caine did not feel there was a way to convey this vital piece of information to a film audience. Instead, Caine invented a physical action: Stemp slowly applies rosin to his bow (something no concert violinist would do on stage) and delicately kisses the block of rosin. As we eventually learn, the cake of rosin had a profound meaning for Dovidl, as it was a parting gift from his father, the last time he saw him. While it’s unstated in the film, this reverent gesture is something Dovidl would have constantly witnessed growing up in an Orthodox home, where holy objects like the siddur (prayer book), mezuzah on doorpost, tallis (prayer shawl), are traditionally kissed as a symbol of loyalty to Judaism and God. This simple gesture with the rosin ties Dovidl simultaneously to his father, family, and Jewish identity. Years after Dovidl’s disappearance, young Peter Stemp takes Martin to meet Billy (Richard Bremmer), the street violinist from whom he picked up Dovidl’s gesture. Billy tells Martin that Dovidl told him in 1951 that he was going home to “play for the ashes. ” These words mean nothing to Billy, but are enough to convince Martin that Dovidl left London for Poland. Martin flies to Warsaw and seeks out Weschler, a once-dashing virtuoso violinist whom Martin and Dovidl had known when they were young. Martin finds the now decrepit Weschler, listless and unresponsive, in a lunatic asylum. While Martin is unable to get Weschler to remember him, a nurse informs Martin that Weschler is visited once a year by a woman. Martin tracks down the woman, Anna Wozniak (Magdalena Cielecka), who was Dovidl’s lover during his brief stay in Poland. Anna tells Martin that Dovidl twice played a special song on his violin, which he never allowed her to hear: once for Weschler in the asylum, and another time on the field where the Treblinka Death Camp once stood. Dovidl referred to his Treblinka performance as “playing for the ashes. ” Anna takes Martin to Treblinka, where there is now a memorial garden, filled with hundreds of stone slabs. Afterwards, Anna tells Martin where Dovidl went after he left Poland. THE SONG OF NAMES was the first feature film to receive permission to shoot on the Treblinka memorial. Eight hundred thousand or more people were killed on that site in a period of nine months. “I’ve spent my adult life avoiding going to extermination camps, ” says Lantos, the son of Holocaust survivors. “I don’t think most people would want to go to hell on earth. I didn’t want to and I never would have if I weren’t making this film, but the alternative would have been to build it somewhere in a field, and I really didn’t want to do that. I thought it was essential that we film there. ” At the center of Treblinka is a large irregular shaped rock, engraved with two words, in several languages: “Never Again. ” Says Lantos: “For me, those two words encapsulate the most important reason a film like this needs to be made. ” Everyone involved in the film shared this conviction. “One problem in society now is the general amnesia, ” says Girard. “Fifty percent of people under thirty don’t even know what the word Holocaust means, and those who do know what the word means, you can be certain wouldn’t be able to explain much. So it’s definitely a mission for this film to keep that memory alive, to keep those events meaningful and resonant. ” Screenwriter Caine, whose parents died in the Holocaust, says: “I deplore genocide wherever it occurs and to whomever it occurs. I’m with the Armenians, the Tutsis, the people Pol Pot murdered in Cambodia, and whoever might be genetically or racially cleansed tomorrow. Whatever words people use to describe it, this is a process that’s ongoing in the human mind, and this film isn’t going to eradicate it. But the more aware we all are of that thing in human beings that makes them act like this, the better. We have to know about it in order to recognize what the dangers are for the human race. ” Before shooting, François Girard visited the Treblinka Memorial, along with actress Magdalena Cielecka and production designer François Seguin. “It was a very emotional experience, ” says Girard. “We entered and for two hours we didn’t say a single word. There was nothing to say. ” The experience affected Girard deeply and caused him to make an important change in the scene. “In the script the characters were talking as they walked there, and this no longer seemed right. I went back and worked with Jeffrey Caine so that Martin and Anna would remain silent. ” The core of the film’s story is the titular “Song of Names, ” a recitation of the names of all who perished at Treblinka, set to music. It is through this song, chanted in a London synagogue by an Orthodox Rebbe (Daniel Mutlu), that Dovidl finally hears what befell his family at Treblinka. It’s significant that the names are not simply recited, but are sung like a prayer. “Music is a language, and it is probably the most powerful of all languages because it goes across borders with no need for translations, ” says Girard. “It talks to the heart with no intermediaries, and it says things that words can’t say, because it’s a place where we meet and that no other medium can provide. ” Soon after learning the fate of his family through “The Song of Names, ” Dovidl, who had once renounced his religion, goes to the opposite extreme and dedicates his life to Orthodox Judaism. He also pledges to write a violin version of “The Song of Names. ” The practice of remembrance through sung prayers is deeply rooted in Jewish tradition back to ancient times. The specific idea of “The Song of Names” on which the film is based was conceived by author Norman Lebrecht. “The Song of Names” and the violin theme heard in the movie is an original work by composer Howard Shore (The Lord of the Rings trilogy) based on traditional modes. Drawing on his own experience from growing up in the synagogue, Shore spent two years studying the cantorial tradition using early recorded audio but particularly recordings from the 1950s, when the song is first heard in the film. Shore received particular guidance in recapturing the Jewish liturgical tradition by famed conductor/educator Judith Clurman and Bruce Ruben, who is Cantor of the Brooklyn Heights Synagogue. Girard maintains that Shore’s contribution went beyond music. “Howard was a contributor to the script, because there are a lot of ideas that I developed and discussed with him, which were ultimately implemented into the script, ” says Girard. “For instance, the final concert, where you have a converging of Dovidl’s three performances of ‘The Song of Names’—with Weschler, at Treblinka, and on stage—as well as first hearing the Rebbe sing it, that was something I brought to the script and Howard embraced. ” By the time that Dovidl plays “The Song of Names” at the end, he has long shed the idea of performing for fame and fortune. “By that moment, it’s not so much about Dovidl demonstrating virtuosity, it’s more of a spiritual evocation, ” says Girard. “His music has become a vehicle of something bigger. There’s no fame, no money, no individuality, no ego involved. It’s all about honoring the memory of those who had disappeared. ” All the same, Dovidl’s great gifts have not left him. “‘The Song of Names’ is a virtuoso piece, ” says Shore, “to be played by a master musician. ” All the violin parts in the performance of “The Song of Names, ” as well as young Dovidl’s virtuoso performances of such pieces as Henryk Wieniawski’s “Variations on an Original Theme, Opus 15” (audition) and Niccolò Paganini’s Caprice #9 and #24 (with Jozef in the bomb shelter) are performed by internationally acclaimed violinist Ray Chen. “Ray worked very closely with me, ” says Shore. “He delved into ‘The Song of Names’ with his heart and soul and created something that was really timeless. ” Daniel Mutlu, Senior Cantor at Manhattan’s Central Synagogue, sang the part of the Rebbe live on camera. “That scene could only be recorded live on set says Shore. Daniel had to perform it and feel the pain. ” Shore’s soundtrack for the film weaves melodic elements of “The Song of Names” from the film’s opening minutes until the song’s reprise in the end credits. “I try to create a complete work when I write for a film, ” he says. Unlike Luke Doyle, Clive Owen and Jonah Hauer-King had no prior training with the violin, and had to go through extensive training with British violinist Oliver Nelson to make them appear convincingly like violin masters. “We put hours and hours and hours of work in, ” says Owen. “It was tough work because I was trying to do something that somebody would spend thirty years honing and getting as good as it should be. And I just had a couple of months. But François promised me that whatever happened he would make me look brilliant on the violin. So I trusted him and I put as much work in as I possibly could and then with great help from Ollie, he seemed to be happy. ” Hauer-King says that the particular training he received was project specific. “I’m very good at playing one song, and nothing else, ” he says. “But it was a really great challenge and I enjoyed it. ” Principal photography for THE SONG OF NAMES took place over nine weeks in late 2018, starting with five days in London, followed by seven weeks of location and studio work in Budapest, Hungary, and a final week of location work in Montreal. Budapest can pass for many cities, but it has very distinctive Austro-Hungarian architecture that needed to be adapted by the Production Designer François Seguin (BROOKLYN) and his team to stand in for English locations. There were several occasions where quite substantial set builds were also required, notably the sand-bagged entrance to a World War II air raid shelter. The concert hall used for both the 1951 and 1986 scenes was the Franz Liszt Academy of Music, an Art Nouveau concert hall in Budapest located within Hungary’s most prestigious music school. Although THE SONG OF NAMES is profoundly connected to the memory of those who perished during the Holocaust, there is actually very little direct portrayal of those events. “One reason I agreed to direct this film is that it deals with the Holocaust without looking at it straight in the eye, ” says Girard. “I don’t think I could have done that. Watching THE SONG OF NAMES is like taking a walk on a volcano that is apparently quiet with its gardens and paths, but deep under there’s red lava that’s burning. We’re looking at the Holocaust from the small end of the telescope, at characters who suffered the consequences of it, and through their eyes and through their lives, we evoke the tragedy. ” The story of THE SONG OF NAMES illustrates how the brutal forces of war and genocide can leave indelible marks on those who manage to survive those scourges. Still, while the story passes through unimaginable darkness, it doesn’t end on a note of utter hopelessness. “There is a message in this story, that the things we lose, we don’t always lose, ” says Lebrecht. “Things that we think are lost forever are deeply embedded inside us, and if we have the tenacity to go and look for them, we can start to understand loss as not total. We are able to build on what is left behind and move on. ” Cast Tim Roth Clive Owen Catherine McCormack Jonah Hauer-King Gerran Howell Luke Doyle Misha Handley Magdalena Cielecka Marina Hambro Tim Roth Martin TIM ROTH (Martin) made his studio feature debut in ROB ROY, opposite Liam Neeson and Jessica Lange, a performance that earned him a Golden Globe® nomination and an Academy Award® nomination for Best Supporting Actor in a Drama. Roth currently stars in the series “Tin Star, ” as Jim Worth, an ex-undercover UK cop turned police chief of a small town in the Canadian Rockies. Season three will premiere in 2020. He previously starred in the series “Lie To Me, ” as Dr. Cal Lightman, a researcher who pioneered the field of deception detection, skilled at reading the human face, body and voice to uncover the truth in criminal and private investigations. He gained worldwide attention for his roles in the Quentin Tarantino films RESERVOIR DOGS and PULP FICTION. He teamed with Tarantino a third time in THE HATEFUL EIGHT. Roth spent his youth aspiring to become a fine artist, and studied sculpture at Camberall Art College before he went on to study drama in London. Working steadily in theatre, he received great notices portraying Gregor Samsa in a production of an adaptation of Kafka’s “The Metamorphosis. ” He made his TV debut with the lead role in the award-winning telefilm “Made in Britain, ” followed by Mike Leigh’s MEANTIME. Roth starred in over fifteen film and television projects including Stephen Frears’ THE HIT (Evening Standard Award for “Best Newcomer”); Peter Greenaway’s THE COOK, THE THIEF, HIS WIFE & HER LOVER; Tom Stoppard’s ROSENCRANTZ & GUILDENSTERN ARE DEAD; and Robert Altman’s VINCENT & THEO, in which he portrayed Vincent Van Gogh. His other film credits include: Tim Burton’s PLANET OF THE APES; THE BEAUTIFUL COUNTRY; Nora Ephron’s LUCKY NUMBERS; Giuseppe Tornatore’s LEGEND OF 1900; Werner Herzog’s INVINCIBLE; JUMPIN’ AT THE BONEYARD; BODIES, REST & MOTION; MURDER IN HEARTLAND; Nicolas Roeg’s HEART OF DARKNESS; FOUR ROOMS; James Gray’s LITTLE ODESSA; Angela Pope’s CAPTIVES; GRIDLOCK’D; Woody Allen’s EVERYONE SAYS I LOVE YOU; HOODLUM; DECEIVER; John Sayles’s SILVER CITY; EVEN MONEY; Wim Wenders’s DON’T COME KNOCKING; Walter Salles’s DARK WATER; Michael Haneke’s FUNNY GAMES; Francis Ford Coppola’s YOUTH WITHOUT YOUTH; THE INCREDIBLE HULK; ARBITRAGE; BROKEN (British Independent Film Award for Best Actor); THE LIABILITY; GRACE OF MONACO; SELMA (as George Wallace); CHRONIC (Independent Spirit nomination for Best Male Lead); and 600 MILES. He can currently be seen in LUCE, opposite Naomi Watts and Octavia Spencer. Roth made his directorial debut in 1999 with the award-winning THE WAR ZONE, starring Ray Winstone, Colin Farrell, and Tilda Swinton, based on the novel by Alexander Stuart. The film premiered at the 1999 Sundance Film Festival to rave reviews and was also presented at Cannes, Berlin (C. I. C. A. E. Award), Toronto Film Festivals, prior to its theatrical release that year. The film received numerous nominations and prizes, including: Best New British Feature at the Edinburgh Film Festival; Best British film at the British Independent Film Awards; and the European Film Award for Best Discovery. Roth’s other TV credits include: the three-part miniseries “Klondike, ” from Executive Producer Ridley Scott; the three-part drama “10 Rillington Place, ” where he played notorious serial killer John Christie; and the International Emmy nominated TV movie “Reg. ” He made his return to the stage in 2004, for the first time since early in his career in London, in the Actors Studio Drama School Theater’s production of Sam Shepard’s “The God of Hell. ” Roth was born in London, and currently resides in Los Angeles. Clive Owen Dovidl CLIVE OWEN (Dovidl) won a Golden Globe® and an Academy Award® nomination for his portrayal of “Larry” in Mike Nichols’ CLOSER (2005), opposite Julia Roberts, Jude Law and Natalie Portman. Born in Keresley, Coventry, in the UK, Owen first came onto the scene in several British and American telefilms. In 1991, he starred in the hit UK television series “Chancer, ” followed by “Second Sight, ” which aired on PBS’s “Mystery! ” Owen made his film debut in Beeban Kidron’s VROOM in 1988, followed by Stephen Poliakoff’s CLOSE MY EYES; BENT; GREENFINGERS; Mike Hodges’ CROUPIER; and Robert Altman’s GOSFORD PARK. Owen’s other films include: BEYOND BORDERS; Mike Hodges’s I’LL SLEEP WHEN I’M DEAD; KING ARTHUR; Frank Miller and Robert Rodriguez’s SIN CITY (“The Big Fat Kill”); DERAILED; Spike Lee’s INSIDE MAN; Alfonso Cuaron’s CHILDREN OF MEN; SHOOT ‘EM UP; ELIZABETH: THE GOLDEN AGE (as Sir Walter Raleigh); DUPLICITY; THE INTERNATIONAL; THE INTRUDERS, THE BOYS ARE BACK; TRUST; THE KILLER ELITE; James Marsh’s SHADOW DANCER; BLOOD TIES; Fred Schepisi’s WORDS AND PICTURES; ANON; OPHELIA; and upcoming, THE INFORMER and GEMINI MAN, opposite Will Smith. He recently starred in Steven Soderbergh’s “The Knick, ” for Cinemax, which he also executive produced. His portrayal of Dr. Thatchery earned him a 2015 Golden Globe® Best Actor nomination. In 2011, he made his American TV debut in HBO’s Emmy nominated “Hemingway and Gellhorn, ” starring opposite Nicole Kidman and directed by Phil Kaufman. His performance earned him Emmy, SAG and Golden Globe® nominations. Owen is also an acclaimed stage actor with roles includding his portrayal of “Romeo” at the Young Vic, starring in Sean Mathias’ staging of Noel Coward’s “Design For Living, ” and playing the lead role in Patrick Marber’s original production of “Closer” at the Royal National Theater in 1997. In the fall of 2001, he starred in London in Peter Nichols’s “A Day in the Death of Joe Egg. ” In 2015, he made his Broadway debut in the revival of Harold Pinter’s “Old Times. ” He later returned to Broadway in the 2017 production of David Henry Hwang’s “M. Butterfly. ” He is currently appearing at the Noel Coward Theatre in London in the starring role in Tennessee Williams’s “The Night of the Iguana, ” his first time appearing in the West End in almost twenty years. Owen starred as The Driver in the series of BMW internet short features entitled “The Hire, ” each directed by John Frankenheimer, Ang Lee, Wong Kar-wai, Guy Ritchie, and Alejandro Gonzalez Inarritu. Catherine McCormack Helen CATHERINE McCORMACK (Helen) trained at the Oxford School of Drama before going on to a highly successful stage and screen career. McCormack gained international attention for her second film role, as Murran MacClannough, wife of Mel Gibson’s William Wallace in the multi-Academy Award® winning BRAVEHEART (1995). Her subsequent films include: NORTH STAR; THE LAND GIRLS; DANGEROUS BEAUTY; DANCING AT LUGHNASA; THIS YEAR’S LOVE; SHADOW OF THE VAMPIRE; Kathryn Bigelow’s THE WEIGHT OF WATER; John Boorman’s THE TAILOR OF PANAMA; SPY GAME, opposite Robert Redford and Brad Pitt; 28 WEEKS LATER; THE FOLD; Woody Allen’s MAGIC IN THE MOONLIGHT; THE JOURNEY; and PROMISE AT DAWN. She will soon be seen in Adrian Shergold’s horror thriller, CORDELIA, with Michael Gambon. Her television roles include: Lady Carmichael in “Sherlock”; Veronica, Countess of Lucan in “Lucan”; Theresa Leary in the US boxing drama, “Lights Out”; and “Temple, ” opposite Mark Strong. McCormack’s stage roles include: Mary Carney in Jez Butterworth’s Tony-winning “The Ferryman, ” which was directed by Sam Mendes and transferred from the West End to Broadway; Mrs. Robinson in “The Graduate” (West Yorkshire Playhouse); “Dancing at Lughnasa” (Lyric Theatre); Goneril in “King Lear, ” opposite Frank Langella’s Lear (BAM); Juana Inés de la Cruz in “The Heresy of Love” (Royal Shakespeare Company); “Top Girls” (Trafalgar Theatre); “A Lie of the Mind” (Donmar Warehouse); Nora in “A Doll’s House” (Peter Hall’s production at Theatre Royal, Bath), and the National Theatre productions of “All My Sons, ” “Free, ” “Dinner, ” and “Honour. ” Jonah Hauer-King Dovidl, 17-23 JONAH HAUER-KING (Dovidl, 17-23) began his career at the Lyric Belfast, in Simon Stephen’s “Punk Rock. ” He then went to Cambridge University, but juggled acting roles on stage and screen while there. He made his West End debut playing Kenneth Branagh’s son in “The Entertainer, ” a performance which was filmed in 2016. His first feature was a lead role in Danny Huston’s THE LAST PHOTOGRAPH (2017, World Premiere, Edinburgh International Film Festival), followed by roles in ASHES IN THE SNOW, opposite Bel Powley; OLD BOYS; POSTCARDS FROM LONDON (also performed and wrote songs on the soundtrack); and A DOG’S WAY HOME, with Ashley Judd and Edward James Olmos. Hauer-King starred in two BBC miniseries: “Howard’s End” with Hayley Atwell and Mathew Macfadyen, and “Little Women, ” with Emily Watson, Angela Lansbury, and Michael Gambon. This year, he will be seen in Blumhouse’s ONCE UPON A TIME IN STATEN ISLAND opposite Naomi Watts and Bobby Cannavale, and the BBC’s major new World War II series, “World On Fire. ” Hauer-King was born and raised in London. He is a dual citizen of the UK and the United States. Gerran Howell Martin, 17-21 GERRAN HOWELL (Martin, 17-21) recently played Kid Sampson in the Hulu mini-series adaptation of Joseph Heller’s “Catch-22, ” opposite George Clooney, Kyle Chandler and Hugh Laurie. He made his U. S. television debut in 2017 when he was cast in the lead role of Jack (a. k. a. The Tin Man) on the NBC fantasy series “Emerald City, ” based on the Oz book series by L. Frank Baum. He then played painter Karl-Heinz Wiegels, opposite Antonio Banderas (Pablo Picasso), in the series “Genius. ” His other film roles include John Boorman’s QUEEN & COUNTRY, opposite David Thewlis; and CRUSADE IN JEANS, starring Emily Watson. Upcoming for Howell is a role in Sam Mendes’s 1917, opposite Benedict Cumberbatch, Colin Firth, and Richard Madden. Howell is a Welsh actor who began his career at 15, playing the lead role of Vladimir Dracula on the BBC scripted series “Young Dracula. ” In 2007, “Young Dracula” won a Royal Television Society Award and the Welsh BAFTA for Best Children’s Program. The series was also nominated for several other awards during its five-season run, including the BAFTA for Best Children’s Drama in 2008 and a BAFTA Children’s Award in 2012. After the series ended, Howell studied at The Royal Academy of Dramatic Arts. Following graduation, he appeared in the British series “Some Girls, ” “Casualty, ” “Drifters, ” and in all three seasons of “The Sparticle Mystery. ” Howell’s stage roles include: “Bedwas Boy Mandela, ” “Shoot/Get/Treasure/Repeat, ” and “War and Peace. ” He resides in London, England. Luke Doyle Dovidl, 9-13 LUKE DOYLE (Dovidl, 9-13) is a 12-year-old violinist who makes his film acting debut in THE SONG OF NAMES. He is currently the youngest member of the National Youth Orchestra of Wales. Born in South Wales, Doyle began playing the violin at age 8, and two years later gained a government scholarship to attend the renowned Wells Cathedral School. He studies violin with Catherine Lord. Doyle has always enjoyed acting, and has taken lead roles in school productions since studying at Wells. When the casting department for THE SONG OF NAMES undertook a national search for a prodigious young violinist, Doyle was recommended by a parent at Wells Cathedral School, who was aware of his multiple talents as a performer. Outside music, Luke’s has a keen interest in history (particularly World War II) and theology. Misha Handley MISHA HANDLEY’s (Martin, 9-13) first film experience was in the 2012 movie WOMAN IN BLACK as the 4-year-old son of Daniel Radcliffe. In the same year he was cast as another 4-year-old in “Parade’s End, ” a BBC series set in Edwardian England and starring Benedict Cumberbatch and Rebecca Hall as his parents. Tom Stoppard adapted the novel by Ford Maddox Ford and the large cast contained many of the UK’s best known actors. In 2019, Handley played Alexander in a stage adaptation of Ingmar Bergman’s classic film “Fanny and Alexander” at London’s Old Vic Theatre. Magdalena Cielecka Anna Polish actress MAGDALENA CIELECKA (Anna) received many prestigious Polish and international awards for her film debut, TEMPTATION, in 1995. Cielecka’s subsequent films include: S@MOTNOSĆ W SIECI (“Loneliness on the Net”); ZAKOCHANI (“In Love”); EGOIŚCI (“Egoists”); THE LURE; UNITED STATES OF LOVE; A HEART OF LOVE; STARS; BREAKING THE LIMITS; DARK, ALMOST NIGHT; and THE DAY OF CHOCOLATE. In 2008, she attended the Berlin Film Festival and Academy Award ceremony for her role in Andrzej Wajda’s KATYŃ. Cielecka was born in Myszków, Poland, and graduated from the Ludwik Solski Academy for the Dramatic Arts in Cracow in 1995. As a student, she made her debut in Cracow’s Stary Teatr, where she continued to work during her years in Cracow. In 1999, she received the Zelwerowicz Award for Best Actress of the Season for three of her roles: the title role in “Ivona, Princess of Burgundia, ” Candy in “Unidentified Human Remains, ” and Judith in “Father Mark. ” She has performed in Warsaw theatres since 1998, most notably in Teatr Rozmaitości in plays directed by Grzegorz Jarzyna and Krzysztof Warlikowski. She received the Feliks Warszawski Award for her portrayal of Ariel in “Burza, ” an adaptation of Shakespeare’s “The Tempest. ” She has been part of the Nowy Teatr team since 2008 and also appears in the National Theatre in Warsaw, Imka, and Polonia Theatres. Cielecka has also acted in many television series, including “Without Secrets, ” “Hotel 52, ” “Time of Honor, ” “Prokurator, ” “The Pact, ” “Belfer, ” “Belle Epoque, ” “Chylka. Zaginiecie, ” and “Pisarze, Serial na krótko. ” Marina Hambro Young Helen MARINA HAMBRO (Young Helen) makes her feature film debut in THE SONG OF NAMES. Hambro studied photography, media studies and theatre studies at Hurtwood House, in Surry, England, a school famed for its performing arts and media curriculum. She was active in the Hurtwood Acting Company, and was awarded the school’s highest scholarship, which made it possible for Hambro to pursue her acting training in New York City. In New York, Hambro appeared in a variety of off-Broadway plays including “Gruesome Playground Injuries” and “The Other Side. ” She also acted in dozens of short films, including “Round Two” and “Terminal. ” Since returning to London, Hambro played the lead role opposite Jane Cussons in the horror short, “When the Howls Find Us, ” which was accepted into the official selection of the Aesthetica Film Festival. Filmmakers François Girard Robert Lantos Lyse Lafontaine Nick Hirschkorn Jeffrey Caine Norman Lebrecht Howard Shore Francois Séguin David Franco Michel Arcand Anne Dixon François Girard Director FRANÇOIS GIRARD (Director) gained notoriety as much for his filmmaking as for his staging of operas and theater plays. In 1993, his feature film THIRTY TWO SHORT FILMS ABOUT GLENN GOULD would go on to garner international success including four top Genie Awards. Five years later he directed THE RED VIOLIN, featuring Samuel L. Jackson, which received an Academy Award for best original score and enshrined Girard as an important player on the international movie scene. The film also won eight Genie Awards and nine Jutra Awards. SILK, which he later directed, was adapted from Alessandro Baricco’s best-selling book, and was released worldwide in 2007. The cast includes Michael Pitt, Keira Knightley, Alfred Molina, Miki Nakatani and Koji Yakusho. SILK received four Jutra Awards. His film BOYCHOIR, released in 2015, features Dustin Hoffman, Kathy Bates and Eddie Izzard among others. Most recently, HOCHELAGA, LAND OF SOULS, was presented at the Toronto Film Festival, and represented Canada in the race for Best Foreign Language Film Oscar at the 90th Academy Awards®. It was released in September 2017 and was greatly acclaimed by the Academy of Canadian Cinema & Television. Girard’s 1994 concert film “Peter Gabriel’s Secret World, ” became a best-selling film and earned him a Grammy Award. A few years later he directed one of the six episodes of the internationally acclaimed series “Yo-Yo Ma Inspired By Bach. ” In 1997, François Girard made his opera directorial debut with “Oedipus Rex/Symphony of Psalms” by Stravinsky and Cocteau, which received numerous awards and was named by The Guardian as “the best theatrical show of the year. ” His other opera works include “Lost Objects, ” for the Brooklyn Academy of Music; Wagner’s “Siegfried”; “The Flight of Lindbergh/Seven Deadly Sins” by Kurt Weill and Bertolt Brecht; as well as Kaija Saariaho's “Émilie. ” Girard’s most recent opera work was “Parsifal, ” which earned him and the Metropolitan Opera Company a remarkable critical success. For the stage, Girard also directed Alessandro Barrico’s “Novecento”, Kafka’s “Trial” and Yasushi Inoue’s “Hunting Gun, ” and most recently, a new production of Samuel Beckett’s “Waiting for Godot. ” Girard is a three-time winner of the much-coveted Herald Angel Award for Best Production at the Edinburgh Festival. In recent years, Cirque du Soleil’s commissioned Girard to write and direct “Zed, ” their first permanent show in Tokyo; and “Zarkana, ” which opened at Radio City Music Hall, played at the Kremlin Theatre and has become a resident show in Las Vegas. To date, François Girard’s accomplishments have earned him over one hundred international awards and public acclaim the world over. Robert Lantos Producer THE SONG OF NAMES is ROBERT LANTOS’s (Producer) first collaboration with director François Girard. Lantos was Chairman and CEO of Canada’s leading film and television company, Alliance Communications Corporation, from its inception until 1998, when he sold his controlling interest. He then formed his production company Serendipity Point Films, where he produces films he is personally passionate about. His first film, IN PRAISE OF OLDER WOMEN, opened the Toronto Film Festival in 1978 and his 1985 film JOSHUA THEN AND NOW, screened In Competition at Cannes and opened Toronto. Since then Lantos has produced over forty feature films, including BARNEY’S VERSION, for which Paul Giamatti received a Golden Globe for Best Actor. Lantos has established longstanding creative relationships with some of the world’s preeminent directors, notably David Cronenberg, István Szabó, and Atom Egoyan. Cronenberg’s EASTERN PROMISES earned Oscar®, Golden Globe® and BAFTA Nominations, opened the London International Film Festival and San Sebastian Film Festival and screened as a Gala at the Toronto Film Festival; CRASH, winner of a Special Jury Prize in Cannes and eXistenZ, winner of The Silver Bear at the Berlin Film Festival. Lantos’s collaborations with István Szabó include: BEING JULIA, which earned Annette Bening an Oscar® nomination, the Golden Globe® Award and the National Board of Review Award for Best Actress; and SUNSHINE, which received three Golden Globe® nominations, including Best Picture, three European Film Awards and the Canadian Screen Award for Best Picture. His notable collaborations with Atom Egoyan include THE SWEET HEREAFTER, which won the Cannes Grand Prix, was nominated for two Oscars® and won the Canadian Screen Award for Best Picture; WHERE THE TRUTH LIES, which was screened in competition in Cannes; ARARAT, Official Selection in Cannes, Opening Night at Toronto, and won the Canadian Screen Award for Best Picture; Cannes Prize Winner EXOTICA; and REMEMBER, in competition, Venice Film Festival and Gala at the Toronto Film Festival. Lantos’s other producing credits include Alonso Ruiz Palacios’s MUSEO, winner of the Silver Bear at the Berlin Film Festival; JOHNNY MNEMONIC, an international box office hit starring Keanu Reeves; Bruce Beresford’s BLACK ROBE. Opening Night Gala at the Toronto Film Festival, Canadian Screen Award for Best Picture; Denys Arcand’s STARDOM, Closing Night Cannes; Opening Night Gala at Toronto; Norman Jewison’s THE STATEMENT, National Board of Review Winner; Jeremy Podeswa’s FUGITIVE PIECES, Rome Festival Best Actor Award, Opening Night Gala at Toronto; and Don McKellar’s THROUGH BLACK SPRUCE. Lantos is a member of the Order of Canada, and a recipient of the Governor General’s Performing Arts Award. He holds honorary Doctorates from McGill University and the University of Haifa. Lyse Lafontaine LYSE LAFONTAINE (Producer) is one of Canada’s most highly regarded producers. A veteran of both film and television production, she has worked with some of the most respected names in the Canadian entertainment industry, including Jean-Claude Lauzon on the award winning film LÉOLO that she produced in 1992. The film played in competition at the Cannes Film Festival and won the Golden Spike (Best Picture) at Valladolid. In addition to Canada, Lafontaine has coproduced movies along with other producers from France, Italy, Luxembourg, Mexico, Switzerland and the United States, among other countries. A SUNDAY IN KIGALI (2006), a love story occurring during the Rwanda genocide, was directed by Robert Favreau and based on the novel by Gil Courtemanche. It was presented at more than 35 international festivals and won many prizes, including the Genie for Best Adaptation, the Jutra for Best Cinematography, Best Art Direction, Best Sound, Best Original Score, Best Costumes, Best Make-Up, the Best Actress award at the Marrakech International Film Festival, the Best North-American Film award at the Kuala Lumpur International Film Festival, among many others. MOMMY IS AT THE HAIRDRESSER’S (2008), about a young girl’s coming of age in the 60s, was written by Isabelle Hébert and directed by Léa Pool. It was presented in many countries and won the Jutra Award for the film getting the most recognition outside Quebec. The film won Audience Awards at both the Soleure Film Festival in Switzerland and the Goeteborg International Film Festival in Sweden. In 2009, Lafontaine was co-producer with producer Robert Lantos and co-producer Domenico Procacci, of BARNEY’S VERSION, an adaptation of the acclaimed Mordecai Richler novel, directed by Richard J. Lewis and starring Paul Giamatti, Dustin Hoffman, Rosamund Pike, Minnie Driver, and Scott Speedman. Lafontaine produced Xavier Dolan’s film LAURENCE ANYWAYS (2012) starring Melvil Poupaud, Suzanne Clément, Nathalie Baye and Monia Chokri. The film was chosen for “Un Certain Regard” at Cannes, and won the Best Actress Award. In 2012, it won Best Canadian Film at the Toronto Film Festival. In 2013, Lafontaine was Associate Producer of TOM AT THE FARM, a psychological thriller directed by Xavier Dolan, based on the play by Michel Marc Bouchard. It was screened in the main competition section at the 70th Venice International Film Festival and also at the 2013 Toronto International Film Festival in the Special Presentation section. It won the FIPRESCI Prize at Venice and was shortlisted for Best Picture at the second Canadian Screen Awards. In 2014, she produced Léa Pool’s THE PASSION OF AUGUSTINE, as well as the director’s more recent WORST CASE, WE GET MARRIED (2017), based on the novel by Sophie Bienvenu. She then produced Xavier Dolan’s THE DEATH AND LIFE OF JOHN F. DONOVAN (2018) and Louis Bélanger’s VIVRE À 100 MILLES À L’HEURE. Nick Hirschkorn NICK HIRSCHKORN (Producer) is the sole owner of Feel Films and co-owner of Oscar winning effects house Milk VFX. Milk’s credits include “Doctor Who, ” SNOW WHITE AND THE HUNTSMAN and DREDD. In 2016, Milk won the VFX Oscar® for EX MACHINA. After producing numerous award-winning commercials and music videos, Hirschkorn moved into feature films in 2004 with the children’s film 5 CHILDREN & IT, starring Kenneth Branagh, Eddie Izzard and Freddie Highmore. The film was selected as a Gala Film at the Toronto Film Festival, Tribeca Film Festival, and Dubai Film Festival. The film won the BAFTA for Best New British Composer. Nick went on to produce and finance the TV movie “Skellig, ” starring Tim Roth, Kelly Macdonald and John Simm, which opened the Rome Film Festival and pioneered the fusion of TV and independent film financing with Sky TV. More recently, Feel Films produced “Jonathan Strange & Mr Norrell, ” a 7- part drama for the BBC, adapted from the bestselling book by Susanna Clarke. “Jonathan Strange” won multiple awards including two Bafta Craft awards for VFX and Production Design and Bafta nominations for Costume and Make Up & Hair. The show won an RTS Craft Award for Production Design and was nominated in the VFX category. Deadline Hollywood and the Radio Times placed “Jonathan Strange” in their Top 10 TV Shows of 2015. Jeffrey Caine Screenwriter Born in London in 1944, JEFFREY CAINE (Screenwriter) was educated at the Universities of Sussex and Leeds, where he obtained degrees in Philosophy and English. He taught English in schools and colleges for three years before becoming a professional writer. Married in 1969 and widowed in 1995, he has two daughters and three grandchildren. After writing mainly for British television between 1986 and 1992, he has since concentrated on screenplays, working with directors Richard Attenborough and Ridley Scott, among others. His produced screenplays include GOLDENEYE (1995); INSIDE I’M DANCING (a. RORY O’SHEA WAS HERE) (2004); THE CONSTANT GARDENER (2005); and EXODUS: GODS AND KINGS (2014). INSIDE I’M DANCING won an IFTA Script Award in 2004; THE CONSTANT GARDENER was nominated for Academy® and BAFTA Awards. Caine’s most recent work is BELOVED FRIENDS, a period romantic comedy based on the courtship and early married life of John Quincy Adams and Louisa Johnson. Norman Lebrecht Original Novel NORMAN LEBRECHT’s (Original Novel) is a British commentator on music and cultural affairs. He was a columnist for the Daily Telegraph from 1994 to 2002 and assistant editor of London's Evening Standard from 2002 to 2009. He also had two shows on BBC Radio 3: “lebrecht live” and “The Lebrecht Interview. ” His first novel, The Song of Names, won a Whitbread Award in 2002, an annual prize honoring authors based in Britain and Ireland. Whitbread Awards are given for high literary merit but are also dedicated to works whose aim is to convey the enjoyment of reading to the widest possible audience. He is the author of twelve works of non-fiction and three novels. His bestsellers The Maestro Myth, Why Mahler, and The Life and Death of Classical Music have been translated into seventeen languages. His latest, Genius and Anxiety: How Jews Changed the World 1847-1947, will be published in October 2019. Lebrecht’s has a very popular website —. Lebrecht lives in central London and is currently writing another novel. Howard Shore Composer HOWARD SHORE’s (Composer) music is performed in concert halls around the world by the most prestigious orchestras and is heard in cinemas across the globe. Shore’s musical interpretation of J. R. Tolkien’s imaginative world of THE LORD OF THE RINGS and THE HOBBIT, as portrayed in the films directed by Peter Jackson, have enthralled people of all generations for years. This work stands as his most acclaimed composition to date awarding him with three Academy Awards®, four Grammy Awards, two Golden Globes®, as well as numerous critics and festival awards. He is an officer of the Order of Canada, an Officier de l’ordre des Arts et des Lettres de la France and the recipient of Canada’s Governor General’s Performing Arts Award. The National Board of Review of Motion Pictures honored Shore with an award for Career Achievement for Music Composition and the City of Vienna bestowed him with the Max Steiner Award. Shore has received numerous other awards for his career achievements. Shore was one of the original creators of “Saturday Night Live” and served as music director from 1975-1980. At the same time, he began collaborating with David Cronenberg and has since scored fifteen of the director’s films, including THE FLY, CRASH, and NAKED LUNCH. He was awarded Canadian Screen Awards for MAPS TO THE STARS for score and COSMOPOLIS for both score and song. His original scores to A DANGEROUS METHOD, EASTERN PROMISES and DEAD RINGERS were each honored with a Genie Award. Shore continues to distinguish himself with a wide range of projects, including five films with Martin Scorsese: HUGO, THE DEPARTED, THE AVIATOR (for which he won his third Golden Globe® Award), GANGS OF NEW YORK, and AFTER HOURS. His other credits include ED WOOD, SE7EN, THE SILENCE OF THE LAMBS, PHILADELPHIA, MRS. DOUBTFIRE, and the score for Tom McCarthy’s Academy Award®-winning film SPOTLIGHT. His opera, “The Fly” (2008), which premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera, recently completed a successful run in Germany at Theatre Trier. His other works include: “Fanfare, ” for the Wanamaker Organ in Philadelphia (2008); the piano concerto “Ruin and Memory” (2010), for Lang Lang; the cello concerto “Mythic Gardens” (2012), featuring Sophie Shao; the song cycle “A Palace Upon the Ruins” (2014), featuring mezzo-soprano Jennifer Johnson Cano; “Sea to Sea” (2017), featuring Measha Brueggergosman, a song for orchestra, soloist, and choir, in celebration of Canada’s 150th anniversary of confederation; the song cycle “L’Aube” (2017), performed by Susan Platts and commissioned by the Toronto Symphony Orchestra; “Latin Mass” (2018), for the Hof Church in Lucerne, Switzerland; and “The Forest” (2019), a guitar concerto composed for Miloš Karadaglić and conducted by Alexander Shelley, for the National Arts Centre Orchestra. Francois Séguin Production Designer French-Canadian FRANCOIS SÉGUIN (Production Designer) previously collaborated with director François Giraud on RED VIOLIN, SILK, and HOCHELAGA, LAND OF SOULS. Based in Montreal, Séguin has designed feature films, television series and live theatrical stage productions all around the world. He has won five Genie Awards for Achievement in Art Direction from the Canadian Academy of Film and Television, and has been nominated twice more. Séguin has also worked on the Cirque du Soleil show, “Zed, ” in Japan. He designed Cirque du Soleil’s Las Vegas show “Michael Jackson: One, ” and travelled to China to design Dragon’s production of “The Han Show. ” Séguin’s feature film credits include: John Crowley’s Best Picture-nominated film BROOKLYN, starring Domhnall Gleeson, Saoirse Ronan and Jim Broadbent; Paul McGuigan’s LUCKY NUMBER, SLEVIN and PUSH; Billy Ray’s SHATTERED GLASS; Harald Zwart’s THE KARATE KID and THE MORTAL INSTRUMENTS: CITY OF BONES; and Denys Arcand’s JESUS OF MONTREAL and THE BARBARIAN INVASIONS. Séguin also designed the acclaimed Showtime television series “The Borgias, ” for director Neil Jordan, which earned him an Emmy Award nomination for Outstanding Art Direction. David Franco Director of Photography DAVID FRANCO (Director of Photography) has worked as the cinematographer on more than 45 productions. He previously teamed with François Girard on BOYCHOIR, starring Dustin Hoffman. His feature film credits include: Demian Lichtenstein’s 3000 MILES TO GRACELAND, starring Kevin Costner; Jonathan Lynn’s THE WHOLE NINE YARDS, with Bruce Willis and Matthew Perry; Mannon Briand’s LA TURBULENCE DES FLUIDES; Christian Duguay’s THE ASSIGNMENT, starring Ben Kingsley and Donald Sutherland; and David Wellingtons’ LONG DAY’S JOURNEY INTO NIGHT and A MAN IN UNIFORM, which was showcased at the Cannes Film Festival in the Director’s Fortnight and won Best Cinematography Award at the 38th Festival of Valladolid. Recently, Franco shot Franco’s TV credits include the pilots for “Get Shorty, ” “Minority Report, ” “The Bridge, ” and “Desperate Housewives. ” His work in high-end television episodic includes HBO’s “Game of Thrones, ” “Westworld, ” “Boardwalk Empire, ” and “Vinyl, ” as well as “Stranger Things, ” “Ray Donovan, ” “Power, ” “Z: The Beginning of Everything, ” and “Little America. ” He won the Emmy Award for his work on HBO’s original movie “Bury My Heart at Wounded Knee. ” He has received ASC Award nominations for “Bury My Heart at Wounded Knee, ” “Intensity, ” “Falling for You, ” “Million Dollar Babies, ” and twice for “Boardwalk Empire. ” Born in France, Franco was raised in Zaire where his father worked as a theatre director. After completing his schooling, Franco moved to Montreal to study communications at the University of Quebec, specializing in photography, planning to work as a war photographer. Instead he started his own production company to produce and shoot music videos, and segued into the feature film and television industry. Franco currently lives in Brooklyn, New York. Michel Arcand Editor Over a thirty plus year career, MICHEL ARCAND (Editor) has emerged as one of the world’s leading film editors. Arcand’s work has taken him to France, Hollywood, throughout Europe, all over Canada and the UK. Arcand has both worked on major studio films, such as THE SIXTH DAY and TOMORROW NEVER DIES, and significant French Quebec movies that display the rich voice of such talented filmmakers as Jean Claude Lauzon (UN ZOO LA NUIT, LÉOLO), Léa Pool, and Charles Binamé, among others. Michel has been nominated ten times and was awarded three Genies by the Academy of Canadian Film and Television for Best Achievement in Editing, the latest for his work on THE ROCKET (A. K. MAURICE RICHARD), as well as DGC & Jutra nominations for Outstanding Achievement in Picture Editing. Anne Dixon Costume Designer ANNE DIXON’s (Costume Designer) design career spans over thirty years both on stage and on screen including a myriad of genres and periods, seen internationally in theatre, opera, film and television. Dixon has collaborated with such acclaimed directors as Viggo Mortensen, François Girard, Niki Caro, Jeremy Podeswa, Sudz Sutherland, Mick Jackson, Angelica Huston, Paul Mazursky, Kathy Bates, Jeremiah Chechik, and Veronica Tennant. Her film credits include FALLING, BORN TO BE BLUE, LAVENDER TO FUGITIVE PIECES, SAINT RALPH and INTERSTATE 60, among others. Her credits range from television (“Anne with an E”, “Lost Girl”, “XIII”, “Guns”) to dance (“Karen Kain--Dancing in the Moment, ” “The Firebird”) skating (“Battle of the Blades”) to opera (“Don Giovanni Unmasked”). Dixon is a graduate in Art & Design from The University of the Arts London, England. Her many accolades include: the Virginia and Myrtle Cooper Award; the Tom Patterson Award, a CSA Award nomination for Best Costume Design for “Anne with an E, ” and a Genie Award for SAINT RALPH. She is a member of the Costume Designer’s Guild in LA, and is published in Canadian Who’s Who and Great Women of the 21st Century. Gallery.
It's so weird to see Ben Solo and Black Widow together in the afterlife. 2 nominations. See more awards » Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X As she prepares to execute another inmate, Bernadine must confront the psychological and emotional demons her job creates, ultimately connecting her to the man she is sanctioned to kill. Director: Chinonye Chukwu Stars: Alfre Woodard, Aldis Hodge, LaMonica Garrett 7. 5 / 10 World-renowned civil rights defense attorney Bryan Stevenson works to free a wrongly condemned death row prisoner. Destin Daniel Cretton Brie Larson, Michael B. Jordan, O'Shea Jackson Jr. Biography | Romance 7. 6 / 10 The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II. Terrence Malick August Diehl, Valerie Pachner, Maria Simon Sport 7. 7 / 10 Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Trey Edward Shults Taylor Russell, Kelvin Harrison Jr., Alexa Demie Crime Thriller A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm. Ladj Ly Damien Bonnard, Alexis Manenti, Djebril Zonga American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist. Clint Eastwood Paul Walter Hauser, Sam Rockwell, Brandon Stanley 7. 9 / 10 A modern adaptation of the classic Greek tragedy which falls within a social realism. To the law of men, the young Antigone apposes her own sets of values. Directors: Sophie Deraspe, Sophie Deraspe Nahéma Ricci, Rawad El-Zein, Antoine DesRochers 7 / 10 A couple's first date takes an unexpected turn when a police officer pulls them over. Melina Matsoukas Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine History A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Todd Haynes Mark Ruffalo, Anne Hathaway, Tim Robbins Action 6. 3 / 10 The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. Kasi Lemmons Cynthia Erivo, Leslie Odom Jr., Joe Alwyn 6. 8 / 10 A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network. Jay Roach Charlize Theron, Nicole Kidman, Margot Robbie War 6. 4 / 10 Thirty-four years after his death, Airman William H. Pitsenbarger, Jr. ("Pits") is awarded the nation's highest military honor, for his actions on the battlefield. Todd Robinson Samuel L. Jackson, Sebastian Stan, Jeremy Irvine Edit Storyline Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe to find him. Plot Summary Add Synopsis Taglines: They Began as Rivals, Then Became Brothers. One of Them Disappears. An Obsessive Search Over Two Continents and a Half Century Begins. See more » Motion Picture Rating ( MPAA) Rated PG-13 for some strong language, brief sexual material, thematic elements, and smoking See all certifications » Details Release Date: 25 December 2019 (USA) Also Known As: The Song of Names Box Office Opening Weekend USA: $39, 452, 29 December 2019 Cumulative Worldwide Gross: $864, 600 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».
Looks gay, I'm in. Critics Consensus The Song of Names is made from intriguing ingredients, but they never quite coalesce into a drama that satisfies the way it should. 42% TOMATOMETER Total Count: 45 87% Audience Score Verified Ratings: 45 The Song of Names Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. The Song of Names Videos Photos Movie Info As Europe erupts into World War II, 9 year old Martin comes to love his new brother Dovidl, a highly gifted violin prodigy of the same age and recent Polish-Jewish refugee to London. But hours before Dovidl's debut concert performance at the age of 21 he vanishes without a trace, causing shame and ruin for their family. A lifetime later, a young violinist shows a 56 year old Martin a stylistic flourish that could only have been taught by Dovidl. This triggers Martin's odyssey overseas in search of his lost brother, one that will lead to surprising revelations for both men and for Helen, the woman who stood between them. Rating: PG-13 (for some strong language, brief sexual material, thematic elements, and smoking) Genre: Directed By: Written By: In Theaters: Dec 25, 2019 limited Runtime: 113 minutes Studio: Sony Pictures Classics Cast News & Interviews for The Song of Names Critic Reviews for The Song of Names Audience Reviews for The Song of Names The Song of Names Quotes News & Features.
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