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Kevin Durand Born To Be Wild

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1968 science fiction moving-picture show directed past Roger Vadim

This article is nigh the 1968 motion-picture show. For other uses, see Barbarella.

Barbarella
Multicolored, comic-like film poster of Barbarella and other characters

Theatrical release poster illustrated by Robert McGinnis[ane]

Directed by Roger Vadim
Screenplay by
  • Terry Southern
  • Roger Vadim
  • Claude Brulé
  • Vittorio Bonicelli
  • Clement Biddle Wood
  • Brian Degas
  • Tudor Gates
  • Jean-Claude Forest
Based on Barbarella
by Jean-Claude Forest
Produced by Dino De Laurentiis
Starring
  • Jane Fonda
  • John Phillip Law
  • Marcel Marceau
  • David Hemmings
  • Ugo Tognazzi
Cinematography Claude Renoir
Edited by Victoria Mercanton[two]
Music by
  • Bob Crewe
  • Charles Play tricks[3]
Color procedure Technicolor

Production
companies
  • Marianne Productions
  • Dino De Laurentiis Cinematografica
Distributed past Paramount Pictures

Release dates
  • eleven October 1968 (1968-ten-eleven) (New York)
  • 18 October 1968 (1968-10-18) (Italy)
  • 25 October 1968 (1968-10-25) (France)

Running time

 98 minutes
Countries
  • France
  • Italia
Language English language
Budget $4–9 1000000[iv] [v]
Box office $v.5 million (North American rentals)[six]

Barbarella [a] is a 1968 science fiction motion-picture show directed by Roger Vadim, based on the French comic series of the same name by Jean-Claude Woods. The film stars Jane Fonda as the championship grapheme, a infinite-traveller and representative of the United Earth government sent to find scientist Durand Durand, who has created a weapon that could destroy humanity. The supporting cast includes John Phillip Law, Anita Pallenberg, Milo O'Shea, Marcel Marceau, David Hemmings, Ugo Tognazzi and Claude Dauphin.

Having expressed an interest in comics and science fiction, Vadim was hired to directly Barbarella after producer Dino De Laurentiis purchased the film rights to the comic series. Vadim attempted to bandage several actresses—including Virna Lisi, Brigitte Bardot and Sophia Loren—in the title role before choosing Fonda, his then-wife. A friend of Vadim's, Terry Southern, wrote the initial screenplay, which changed considerably during filming and led to vii other writers credited in the final release, including Vadim and Forest, the latter of whom besides worked on the moving-picture show'southward production design. The moving-picture show began shooting immediately post-obit the completion of another De Laurentiis comic adaptation, Danger: Diabolik, with both films sharing several cast and coiffure members.

The moving-picture show was particularly popular in the Britain, where it was the year's 2nd-highest-grossing motion-picture show. Contemporary film critics praised Barbarella 's visuals and cinematography, but found its storyline weak subsequently the start few scenes. Although several attempts at sequels, remakes, and other adaptations have been planned, none of these take entered production.

Plot [edit]

In an unspecified futurity,[b] space charlatan Barbarella is sent by the World's president to retrieve Durand Durand from the Tau Ceti planetary system. Durand is the inventor of a laser-powered weapon, the positronic ray, which World's leaders fear will cause mass destruction. Barbarella crash-lands on Tau Ceti'due south 16th planet[12] and is knocked unconscious by two children. They bring her to the wreckage of a spaceship, where they demark and assault her using mechanical dolls with razor-sharp teeth. Barbarella is rescued by Mark Hand, the Catchman who patrols the water ice looking for errant children. Hand tells her that Durand is in the city of Sogo and offers her a ride to her transport in his ice boat. When Barbarella offers to repay him, Hand asks her to make beloved to him. Barbarella is confused, since Earthlings no longer have intimate concrete contact; instead they take pills "until full rapport is achieved." Paw suggests having sex in his bed instead. Barbarella relents and enjoys it merely admits that she understands why sex is considered archaic and distracting on Earth.

Barbarella leaves the planet and crashes into a labyrinth inhabited past outcasts exiled from Sogo. She is establish by Pygar, a blind affections who has lost the will to fly. Pygar introduces her to Professor Ping, who offers to repair her ship. Pygar flies Barbarella to Sogo, a den of violence and debauchery, later she restores his volition to wing past having sexual activity with him. Pygar and Barbarella are captured by Sogo's Black Queen and her concierge. The concierge describes the Mathmos:[13] living energy in liquid form, powered past evil thoughts and used as an free energy source in Sogo, which sits atop information technology. Pygar endures a mock crucifixion and Barbarella is placed in a cage, where hundreds of birds prepare to attack her. She is rescued by Dildano, leader of the local hush-hush, who joins in her pursuit of Durand. Dildano gives her an invisible key to the Black Queen'southward chamber of dreams, where she sleeps.

Subsequently returning to Sogo, Barbarella is promptly recaptured past the concierge. He places her in a machine which induces fatal sexual pleasure. She outlasts the machine and makes it get haywire. The concierge, shocked at its destruction, reveals himself as Durand Durand. Barbarella is surprised since he is simply 25 years former only has aged tremendously—a side-issue of the Mathmos. Durand wants to overthrow the Blackness Queen and get Sogo's new leader, which requires using his positronic ray and gaining access to the Queen's bedchamber of dreams. Durand takes Barbarella to the chamber and locks her inside with the invisible key. She sees the Queen, who warns that if two people are in the chamber, the Mathmos will devour them. Durand seizes control of Sogo as Dildano and his rebels begin their attack on the city. The Black Queen retaliates past releasing the Mathmos to destroy Sogo. Because of Barbarella's innocence, the Mathmos forms a protective chimera around her and the Black Queen and safely expels them. They find Pygar, who clutches them in his arms and flies off. When Barbarella asks Pygar why he saved a tyrant, he tells her that an angel has no memory of the past.

Production [edit]

Evolution and writing [edit]

Having bought the film rights to Jean-Claude Woods'southward Barbarella comics, producer Dino De Laurentiis secured a distribution deal in the U.s.a. between France'southward Marianne Productions and Paramount Pictures. He planned to moving picture Danger: Diabolik, a less-expensive characteristic, to help cover product costs.[thirteen] In 1966 Roger Vadim expressed an admiration for comics (particularly Charles Schulz's Peanuts), saying that he liked "the wild humor and impossible exaggeration of comic strips" and wanted to "practise something in that way myself in my side by side picture show, Barbarella."[14] Vadim saw the film every bit a chance to "draw a new futuristic morality ... Barbarella has [no] guilt virtually her trunk. I want to brand something beautiful out of eroticism."[15] His married woman, actress Jane Fonda, noted that Vadim was a fan of science fiction; according to the director, "In science fiction, technology is everything ... The characters are and so boring—they have no psychology. I want to exercise this movie as though I had arrived on a strange planet with my camera straight on my shoulder—as though I was a reporter doing a newsreel."[4]

After Terry Southern finished writing Peter Sellers' dialogue for Casino Royale, he flew to Paris to meet Vadim and Fonda. Southern, who had known Vadim in Paris during the early 1950s, saw writing a scientific discipline-fiction one-act based on a comic book equally a new claiming.[xvi] He enjoyed writing the script, particularly the opening striptease and the scenes with tiny robotic toys pursuing Barbarella to bite her. Southern enjoyed working with Vadim and Fonda, only he felt that De Laurentiis was intent only on making a cheap film that was not necessarily proficient.[17] Southern said later, "Vadim wasn't particularly interested in the script, but he was a lot of fun, with a discerning heart for the erotic, grotesque, and the absurd. And Jane Fonda was super in all regards."[18] Southern was surprised to see his screenplay credited to Vadim and several Italian screenwriters in add-on to himself.[17] Credited screenwriters included Claude Brulé, Vittorio Bonicelli, Clement Biddle Wood, Brian Degas, Tudor Gates, and Forest;[19] Degas and Gates were hired past De Laurentiis after he was impressed with their work on Danger: Diabolik.[20] Charles B. Griffith later on said that he had washed uncredited work on the script; the production team "hired fourteen other writers" afterward Southern "before they got to me. I didn't get credit because I was the last 1." Co-ordinate to Griffith, he "rewrote nearly a quarter of the movie that was shot, then re-shot, and I added the concept that at that place had been thousands of years since violence existed, so that Barbarella was very clumsy all through the flick. She shoots herself in the foot and everything. It was pretty ludicrous. The stuff with Claude Dauphin and the suicide room were also part of my contribution to the film."[21]

Pre-production and casting [edit]

Actor Role
Jane Fonda Barbarella
John Phillip Law Pygar
Anita Pallenberg
Joan Greenwood (voice)[22] 		The Black Queen, Bang-up Tyrant of Sogo
Marcel Marceau Professor Ping
Milo O'Shea Durand-Durand
David Hemmings Dildano
Ugo Tognazzi Mark Hand
Claude Dauphin The President of Earth
Véronique Vendell Captain Moon
Serge Marquand Captain Sun
Giancarlo Cobelli The Revolutionary

A man (Roger Vadim) standing with a dog on his shoulder with a woman (Jane Fonda) next to him.

Roger Vadim and Jane Fonda in Rome in 1967 during the movie's filming

Several actresses were approached earlier Jane Fonda was cast as Barbarella. De Laurentiis' first choice was Virna Lisi; his second was Brigitte Bardot, who was not interested in a sexualized function. His tertiary choice was Sophia Loren, who was pregnant and felt that she would not fit the part.[thirteen] Fonda was uncertain about the flick, but Vadim convinced her by saying that science fiction was a apace-evolving genre. Before filming Barbarella, she was the subject of two sex scandals: the first when her nude body was displayed across an eight-story billboard promoting the premiere of Circle of Honey in 1965, and the second when several aboveboard nude photos from Vadim's closed fix for The Game Is Over were sold to Playboy the post-obit yr. According to biographer Thomas Kiernan, the billboard incident made her a sexual practice symbol in the United States.[23] Vadim said he did not desire the actress to play Barbarella "tongue in cheek", and he saw the graphic symbol as "but a lovely, average girl with a terrific space record and a lovely torso. I am not going to intellectualise her. Although at that place is going to be a chip of satire about our morals and our ethics, the picture is going to be more of a spectacle than a cerebral do for a few way-out intellectuals."[24] Fonda felt her priority for Barbarella was to "proceed her innocent"; the character "is not a vamp and her sexuality is non measured past the rules of our society. She is not existence promiscuous just she follows the natural reaction of another blazon of upbringing. She is non a so-chosen 'sexually liberated woman' either. That would mean rebellion against something. She is different. She was born gratuitous".[24]

Fonda personally recommended John Phillip Police as Pygar to Vadim following their work on Bustle Sundown; for the duration of his stay in Rome, the actor lived with Fonda, Vadim and Wood in their rented villa on Appian Way. Constabulary, an gorging comic book reader since childhood, read the Wood comics and studied the DC Comics grapheme Hawkman for inspiration. The delayed pre-production of Barbarella allowed Law to flick 2 roles before committing to the film: as Neb Meceita in the Spaghetti Western Decease Rides a Horse, and as the title character in Danger: Diabolik.[25] For the role of the Black Queen, Southern recommended model Anita Pallenberg, the then-girlfriend of The Rolling Stones member Brian Jones; Southern had befriended her while working with the band on an accommodation of A Clockwork Orange.[9] On the English-language prints of the film, Pallenberg'south voice was dubbed by English language actress Joan Greenwood.[22]

French mime Marcel Marceau had his first speaking role in the film as Professor Ping.[26] Comparison Ping to his phase persona Bip the Clown and Harpo Marx, he said that he did non "forget the lines, just I have trouble organising them. Information technology's a different way of making what's inside come out. Information technology goes from the brain to the vocal chords, and non directly to the body."[27]

All costumes in the moving-picture show, including Fonda'south, were designed past French costume designer Jacques Fonteray and manufactured by Sartoria Farani, with Barbarella'southward costume in the last scenes existence, as the credits put it, "inspired past ideas of" style designer Paco Rabanne.[28] Barbarella's outfits were Fonteray's interpretation of Woods's vision, combining Orientalist and medieval aesthetics with samurai armors.[28] Woods also worked on the motion-picture show's production pattern, and was credited in the film as its "creative consultant".[ix] In a 1985 interview, he said that during product he did not care about his original comic strip and was more interested in the picture industry: "The Italian artists were incredible; they could build anything in an extremely brusque fourth dimension. I saw all the daily rushes, an incredible amount of film. The choices that were made for the last cut from those images were not the ones I would accept liked, but I was non the director. Information technology wasn't my matter."[29]

Filming [edit]

Co-ordinate to Constabulary, Barbarella began shooting later production on Danger: Diabolik concluded on 18 June 1967; sets such as Valmont's nighttime society in Danger: Diabolik were used in both films.[thirty] Barbarella was shot at Cinecittà in Rome.[31] To picture show the striptease titles sequence, Fonda said that the set was turned upward to face the ceiling of the soundstage. A pane of thick glass was laid across the opening of the set up, with the camera hung from the rafters higher up it. Fonda then climbed onto the drinking glass to perform the scene.[29] Other scenes involved hanging Fonda upside downward in an enormous vat of oil and dry ice, and her breadbasket beingness skinned when being shot through a plastic tube. For the scenes involving the Excessive Pleasure Machine, Fonda and Milo O'Shea were non told of explosions that would happen on set since the prop was rigged with flares and smoke bombs. Fonda explained that "Vadim wanted us to expect natural, so he didn't tell us what a big explosion there would exist. When the machine blew upwardly, flames and smoke were everywhere, and sparks were running up and downwardly the wires. I was frightened to decease, and poor Milo was convinced something had actually gone wrong and I was being electrocuted."[32]

For the scene involving Barbarella being attacked past hummingbirds, wrens and lovebirds were used as it was illegal to transport hummingbirds overseas. The birds were not behaving as Vadim had expected, which led to him employing a large fan to accident them at Fonda, who had birdseed in her costume. Film critic Roger Ebert, after visiting the gear up, wrote that the fan led to birds "losing command over natural torso functions, so it was all a picayune messy". Ebert concluded that "After 2 weeks of this, [Fonda] got a fever and was hospitalized. I can't reveal here how they finally did the scene".[32]

The actress later described her discomfort on the picture show'due south set. In her autobiography, Fonda said that Vadim began drinking during lunch; his words slurred, and "his decisions almost how to shoot scenes often seemed ill-considered". Fonda was bulimic and, at the time, was "a immature woman who hated her body...playing a scantily clad, sometimes-naked sexual heroine".[29] Photographer David Hurn echoed Fonda, noting that she was insecure nigh her appearance during the production'due south photograph shoots.[33] The actress took sick days then the film'southward insurance policy would cover the price of a shutdown while the script was edited.[29] Vadim would later land in his memoir that Fonda "didn't bask shooting Barbarella", specifically that she "disliked the central character for her lack of principle, her shameless exploitation of her sexuality and her irrelevance to gimmicky social and political realities."[34]

Soundtrack [edit]

Michel Magne was commissioned to score Barbarella, but his endeavour was discarded.[35] The film'south soundtrack, completed past composer-producers Bob Crewe and Charles Fox,[36] has been described every bit lounge or exotica.[37] Crewe was known for composing 1960s songs such as the Four Seasons' "Large Girls Don't Cry". Some of the music is credited to the Bob Crewe Generation, a group of session musicians who contributed to the soundtrack. Crewe invited the New York-based group the Glitterhouse, whom he knew through his product work, to provide vocals for the songs. He reflected on the soundtrack in his autobiography, saying that information technology "clearly needed to accept a fun and futuristic arroyo to it, with sixties-music sensibility".[36]

Release [edit]

Barbarella opened in New York on 11 October 1968[38] and earned $2.5 million in North American theaters that year.[39] It was the 2nd-almost-popular film in general release in the United Kingdom in 1968, after The Jungle Book.[13] [forty] The flick was shown in Paris that month, and was released in Italy on 18 October.[38] [41] It was released on 25 October throughout France, where it was distributed by Paramount.[42] Barbarella received a "condemned" rating from the National Cosmic Office for Motility Pictures, which called the film a "ill, heavy-handed fantasy with nudity and graphic representations of sadism" and criticized the Production Code Assistants for approving it.[34] Following the success of Star Wars, Paramount theatrically re-released the pic in 1977;[9] for this release, which was referred to in promotional materials as Barbarella: Queen of the Galaxy, the scenes of nudity were removed.[8]

Home media [edit]

Despite oft using the Barbarella: Queen of the Galaxy championship and promotional fine art, domicile media releases of the picture show take been of the uncut 1968 version rather than the edited 1977 version.[43] [44] In 1994, the movie's LaserDisc presented information technology in widescreen for the first time on dwelling house video.[45] Reviewing this release for Video Watchdog, Tim Lucas noted that the moving-picture show was presented with an incorrect aspect ratio of 2.47:one, resulting in the cropping of visual information that was present in the earlier pan and scan VHS releases, just noted that "many of Claude Renoir'south "psychedelia" images work on video merely in this widescreen setting".[43]

Barbarella was released on DVD on 22 June 1999,[46] [47] and on Blu-ray in July 2012, with the 1968 theatrical trailer the disc's simply bonus feature.[48] According to Charles Taylor of The New York Times, home media releases of the film earlier the Blu-ray version were "murky".[49] Chris Nashawaty (Amusement Weekly), Sean Axmaker (Video Librarian) and Glenn Erickson (DVD Talk) called Barbarella 'southward Blu-ray transfer "scenic", "superb-looking" and "really good", respectively.[44] [48] [50]

Reception [edit]

Contemporary [edit]

Some contemporary publications reported that the film's first scenes were enjoyable, but its quality declined thereafter.[51] [52] Co-ordinate to Wendy Michener'southward review in The Earth and Mail, after the striptease scene "we are plunged back into the mundane, not to say inane earth, of the spy thriller with a dreary overlay of futuristic science-fiction" and it "but lies there, with all its psychedelic plastic settings".[53] Barbarella 's script and humor were criticized; a reviewer in Variety described the writing as "flat" with merely "a few giddy-funny lines of dialog" for a "cast that is not especially adept at one-act".[54] Dan Bates wrote in Pic Quarterly that "sharp satiric moments ... are welcome and refreshing but are rather infrequent",[55] and Renata Adler of The New York Times noted that "there is the assumption that only mentioning a thing (sex, politics, religion) makes it funny".[52]

Critics praised the film's design and cinematography. Variety 's mainly negative review noted "a sure amount of production dash and smooth" and, according to Derek Malcolm of The Guardian, "Claude Renoir's limpid colour photography and August Lohman's eye-communicable special effects are what save the movie time and once again".[56] A Monthly Film Bulletin reviewer wrote that Barbarella 'due south decor is "remarkably faithful to Jean-Claude Forest's originals", noting a "major contribution of Claude Renoir as director of photography" and "Jacques Fonterary'due south and Paco Rabanne's fantastic costumes".[19] James Price (Sight & Sound) agreed, citing "the inventiveness of the decors and the richness of Claude Renoir'south photography".[57]

Malcolm and Lohman criticized Barbarella 'due south nature, themes and tone, with Malcolm calling it a "nasty kind of movie", "modish to the core" and "substantially only a shrewd piece of exploitation".[56] Lohman suggested the film'due south sense of humor was "non jokes, but hard-breathing, sadistic thrashings."[52] Bates called it "pure sub-adolescent junk" and "bereft of redeeming social or artistic importance".[55]

Michener praised Barbarella as part of "the kickoff female sci-fi". Its shaggy gold rugs, impressionist paintings and spaceship were "unquestionably female in blueprint compared with any of today'southward projectiles"; Barbarella is "no man-challenging superwoman, but a sweetness soft creature who'due south always willing to please a man who'due south king to her".[53] Co-ordinate to Price, "There is a real fascination in its basic idea, which is a happy conventionalities in the survival of sexuality... The idea fascinates, only the execution somehow disappoints (how often i has to say that about Vadim)."[57] Bates' review concluded, "In the twelvemonth that Stanley Kubrick and Franklin Schaffner finally elevated the scientific discipline-fiction film beyond the abyss of the kiddie show, Roger Vadim has knocked it correct dorsum downward."[55]

Retrospective [edit]

Numerous retrospective reviews accept discussed Barbarella 's plot and design.[49] [fifty] [58] While noting that Barbarella "hardly ranks with Blood and Roses or Charlotte equally one of Vadim's all-time", Lucas noted that "Whatsoever charm the flick still holds is entirely due to its visual imagination and highly over-done, Felliniesque artifice".[43] Co-ordinate to The A.V. Club 'south Keith Phipps, "Mario Garbuglia keeps throwing inventive visuals and remarkable sets at the heroine" but "the journey itself is an unrelenting trudge".[58] Sean Axmaker of Video Librarian chosen the motion-picture show's "fix design and wild color triumphing over story and character".[50] Taylor noted a lack of "plot impetus", suggesting that Vadim may have been "preoccupied with the special effects, though they are [and were] rather cheesy".[49] Kim Newman (Empire) gave Barbarella iii stars out of v, calling the film "literally episodic" and writing that the episodes spend "more time on the art management, the costuming and the psychedelic music rail than the plot".[59]

About its sexual elements, Brian J. Dillard wrote that the film's gender roles were non "particularly progressive, peculiarly given the running gag about Barbarella getting her first few tastes of physical copulation after a lifetime of 'advanced' virtual sex" in his review on AllMovie.[60] Phipps found the picture "a missed opportunity", noting that the source fabric was role of "an emerging wave of European comics for adults" which "Vadim film[ed] indifferently."[58] David Kehr of the Chicago Reader found the pic "ugly" on several levels, particularly its "homo values".[61] Newman summarized the film every bit "cheerful, kitsch and campsite", with "a succession of truly amazing fashion creations with all the confidence of a generation that thought sex activity was, higher up all, fun". Newman compared the movie to 2001: A Space Odyssey and Star Wars, writing that Barbarella makes them seem "stuffy" by comparison.[59] Charles Webb'south review for MTV noted that Barbarella suffers when described as a "camp archetype", since there was "so much to like nigh Fonda's work hither and the movie every bit a whole"; "Fonda brings naivete and sweet to a office that requires a certain level of comfort going blank onscreen, while the hostile planet Lythion is a parade of inventive and odd means to imperil our heroine."[46] Similarly, Lucas declared that "Fonda's performance, which the lightheaded persist in finding controversial or compromising, has dated better than 90% of her 'serious' work; without her centrifugal, wide-eyed presence and suspenseful costume changes, i gets the impression that the whole production might spin madly out of command and off the screen".[43]

Legacy and influence [edit]

A woman cosplaying as Barbarella. Writer Jerry Lembcke noted that Barbarella's popularity went beyond the picture buff customs.[62]

Barbarella and Danger: Diabolik were both part of a pocket-sized trend of Italian film adaptations of European comics (known in Italy as fumetti) that emphasized mild sadomasochism and late 1960s fetish gear; aside from these two films, 1968 saw the release of Piero Vivarelli's similarly-themed Satanik.[63] [64] These were followed by Bruno Corbucci'south Ms. Stiletto in 1969, and Corrado Farina's Baba Yaga in 1973.[63] The product and costume design of both films besides reflected a larger movement of retrofuturism seen in European genre films of the 1960s and 1970s. These include Pasquale Festa Campanile's The Libertine and Bank check to the Queen, Umberto Lenzi's So Sweet... Then Perverse, Tinto Brass' Col cuore in gola, Lucio Fulci's One on Tiptop of the Other and A Lizard in a Woman's Skin, Elio Petri's The tenth Victim, Piero Schivazappa's The Laughing Woman and Radley Metzger's Camille 2000 and The Lickerish Quartet.[65]

According to the Los Angeles Times, Barbarella may seem "quaint" to modern audiences but its "imagery has echoed for years in popular civilization."[66] Lisa Eisner of The New York Times called Barbarella "the most iconic sexual activity goddess of the '60s."[67] The film'south costumes influenced Jean-Paul Gaultier'southward designs in The 5th Chemical element,[68] and Gaultier noted Paco Rabanne's metallic dress that was worn by Fonda.[69]

Barbarella was later on called a cult motion-picture show.[70] [71] Author Jerry Lembcke noted the film'southward popularity; information technology was available in minor video stores, and was familiar beyond the moving-picture show buff community. According to Lembcke, any "doubt about its cult status was dispelled when Entertainment Weekly ranked information technology number 40 on its listing of peak 50 cult movies" in 2003. He cited the moving picture'due south popularity on the internet, with fansites ranging from a Barbarella festival in Sweden to memorabilia sales and reviews. Lembcke writes that the websites focus on the character of Barbarella.[62]

Barbarella has influenced popular music, with English new wave band Duran Duran taking its name from the moving picture's antagonist.[72] The group later on released a concert film, Arena (An Absurd Notion), with Milo O'Shea reprising his role from Barbarella.[73] [74]

Music videos influenced by Barbarella include Kylie Minogue'due south "Put Yourself In My Identify,"[75] Katy Perry's "E.T.,",[76] "Break Free" past Ariana Grande.[77] [78] and "In Walks Barbarella" by Clutch.[79] [80] Camille Paglia opined Lady Gaga drew influence from Fonda's performance in the picture.[81]

Proposed sequel, remake and TV series [edit]

A sequel to Barbarella was planned in November 1968. Producer Robert Evans said that its working title would be Barbarella Goes Down, with the character having undersea adventures.[82] Terry Southern said that he was contacted by de Laurentiis in 1990 to write a sequel "on the cheap ... but with plenty of action and plenty of sex", and perhaps starring Fonda's daughter.[eighteen]

A new version of Barbarella was proposed in the 2000s, and director Robert Rodriguez was interested in developing a version after the release of Sin City. Universal Pictures planned to produce the film, with Rose McGowan playing Barbarella.[83] Dino and Martha De Laurentiis signed on with writers Neal Purvis and Robert Wade, who had worked on Casino Royale.[84] When the picture's budget exceeded $80 million, Universal withdrew.[83] According to Rodriguez, he did not want his movie to look similar Vadim's.[85] He searched for alternate financing when Universal did not meet his upkeep, and found a studio in Germany which would provide a $70 million budget.[83] Rodriguez eventually left the project, since using that studio would require a long separation from his family.[83] Joe Gazzam was then approached to write a screenplay, with Robert Luketic directing and Dino and Martha De Laurentiis still credited equally producers.[86]

Gaumont International Boob tube announced a pilot for a Idiot box series based on the moving picture by Amazon Studios in 2012.[87] The pilot would exist written past Purvis and Wade and directed past Nicolas Winding Refn,[88] [89] and the series would be ready in Asia.[89] Refn spoke well-nigh the evidence in 2016 where he discussed about having a greater interest on developing The Neon Demon than Barbarella, final that "sure things are better left untouched. You don't need to remake everything."[90]

See also [edit]

  • List of films based on French-language comics
  • List of French films of 1968
  • List of Italian films of 1968
  • Listing of science fiction films of the 1960s

References [edit]

Advisory notes

  1. ^ Afterward marketed equally Barbarella: Queen of the Galaxy .[7] [8] [ix]
  2. ^ Although non identified in the moving-picture show itself, reviews and press materials accept variously stated that the film takes identify in either the 41st century[x] or the year xl,000 AD.[eleven]

Citations

  1. ^ Callahan, Michael (April 2017). "The Human being Behind History'south Almost Iconic Picture Posters, From Breakfast at Tiffany's to James Bail". Vanity Off-white. Archived from the original on 4 July 2017. Retrieved 13 October 2018.
  2. ^ "Cinée-ressources" (in French). Cineressources.net. Archived from the original on 9 August 2017. Retrieved viii August 2017.
  3. ^ "Barbarella (1968)". BFI. Archived from the original on 22 March 2017. Retrieved ii December 2016.
  4. ^ a b Hendrick, Kimmis (14 October 1967). "Vadim'southward 'Barbarella,' a challenging film: A free paw Employs improvisation". The Christian Scientific discipline Monitor. p. half dozen.
  5. ^ "Barbarella". The Numbers. Archived from the original on 30 July 2017. Retrieved 17 April 2014.
  6. ^ "All-time Film Rental Champs". Variety. vii January 1976. p. vi.
  7. ^ Barbarella: Queen Of The Milky way (50th Ceremony Edition) (Blu-ray). Los Angeles, California: Paramount Home Entertainment. 2018. The setting is the planet Lythion in the year xl,000, when Barbarella (Jane Fonda) makes a forced landing while traveling through space.
  8. ^ a b Curti 2016, p. 90.
  9. ^ a b c d "In the Know - Barbarella (TRIVIA)". TCM. Archived from the original on 27 October 2020. Retrieved 6 November 2020.
  10. ^ Conrad 2018, p. 108.
  11. ^ Parks 1999, p. 260.
  12. ^ In some promotional materials, the planet is named Lythion.
  13. ^ a b c d Curti 2016, p. 85.
  14. ^ Curtiss, Thomas Quinn (16 Jan 1966). "And Vadim 'Created' Jane Fonda". The New York Times. p. X15.
  15. ^ Jonas, Gerald (22 Jan 1967). "Here's What Happened to Baby Jane". The New York Times. p. 91. Archived from the original on 30 June 2020. Retrieved 27 June 2020.
  16. ^ Gerber & Lisanti 2014, p. 53.
  17. ^ a b Gerber & Lisanti 2014, p. 70.
  18. ^ a b McGilligan 1997, p. 385.
  19. ^ a b "Barbarella". Monthly Film Bulletin. Vol. 38, no. 408. British Film Institute. 1968. pp. 167–168.
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  21. ^ McGilligan 1997, p. 168.
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External links [edit]

  • Barbarella at IMDb
  • Barbarella at the TCM Film Database
  • Barbarella at AllMovie
  • Barbarella at Rotten Tomatoes

Source: https://en.wikipedia.org/wiki/Barbarella_(film)

Posted by: huckstepeareeter.blogspot.com

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