Ted and Lulu Hackett are vaudeville's The Hacketts, a fairly successful song-and-dance team. They bring their son Ted Jr. up in the business and he soon eclipses them. When the son is offered a starring role on Broadway, he arranges for his parents to join him in the show, but Ted Sr. is embarrassed to learn that he and Lulu are there purely in order to keep their son happy. They return to vaudeville, only to find that their duet act has gone stale with time. Meanwhile, Ted Jr. has married and had a son, but he has also fallen victim to drink. Tragedy strikes the Hackett family, and only the march of time will tell whether Ted III will repeat the failings of his father and grandfather.
The soprano Diana Damrau stars in the operas of Mozart, Verdi, Rossini, Donizetti and Strauss, but Forever is the ‘soundtrack of her life’ in the form of much-loved numbers from operetta, musicals and the movies – including Die Fledermaus, My Fair Lady, West Side Story, The Phantom of the Opera and The Little Mermaid. “This music shows a side of me that many people don’t know yet,” she says. “These tunes are great art, because they are associated with unforgettable moments in everyone’s lives.”
Tells the extraordinary story of Saddam Hussein's farcical venture into the movie business, revealing for the first time on UK screens a film that has been lost in a garage in Surrey for the last 35 years. The tale involves notorious hell-raiser Oliver Reed, a lavish film set, debauchery, black humour and a terrified cast and crew trying desperately to get a film in the can as the Iran-Iraq War raged around them. The epic film, which had a multi-million-pound budget on a par with Return of the Jedi, was bankrolled by Saddam as he was determined to tell the birth story of modern Iraq.
Eight hundred German filmmakers (cast and crew) fled the Nazis in the 1930s. The film uses voice-overs, archival footage, and film clips to examine Berlin's vital filmmaking in the 1920s; then it follows a producer, directors, composers, editors, writers, and actors to Hollywood: some succeeded and many found no work. Among those profiled are Erich Pommer, Joseph May, Ernst Lubitsch, Fritz Lang, Billy Wilder, and Peter Lorre. Once in Hollywood, these exiles helped each other, housed new arrivals, and raised money so others could escape. Some worked on anti-Nazi films, like Casablanca. The themes and lighting of German Expressionism gave rise in Hollywood to film noir.