Nippon TV has licensed the scripted format rights to its hit drama series “I’m Mita, Your Housekeeper” for remake by Turkey’s Medyapim and Mf Yapim. The deal was announced on Monday, just days before the start of Tiffcom, the rights market adjunct to the Tokyo International Film Festival.
The show follows the exploits of a super housekeeper who perfectly completes everything she is asked to do. She works without emotion and never deviates from the task, but often comes up with unusual solutions. A ratings winner, the show has won numerous prizes including the Tokyo Drama Awards Grand Prix.
Tiffcom is this year moving entirely online as a move that reflects the difficulties of in-person meetings at the time when the coronavirus is still rampant in many parts of the world. But like the market, and housekeeper Mita, Nippon TV is showing its ability to cope with the industry’s systemic change.
The show follows the exploits of a super housekeeper who perfectly completes everything she is asked to do. She works without emotion and never deviates from the task, but often comes up with unusual solutions. A ratings winner, the show has won numerous prizes including the Tokyo Drama Awards Grand Prix.
Tiffcom is this year moving entirely online as a move that reflects the difficulties of in-person meetings at the time when the coronavirus is still rampant in many parts of the world. But like the market, and housekeeper Mita, Nippon TV is showing its ability to cope with the industry’s systemic change.
- 11/2/2020
- by Patrick Frater
- Variety Film + TV
Above: Us three-sheet poster for The Private Life of Henry VIII (Alexander Korda, UK, 1933).
The great Charles Laughton may not have been the prettiest of movie stars, but he had a presence that many matinee idols would have killed for (as the current retrospective running at Film Forum will attest). In an era in which glamor was everything, studio marketers may have struggled with how to present Laughton’s unconventional looks and his larger-than-life portrayals of larger-than-life characters (so many monsters, murderers, tyrants, or simply overbearing fathers) to the public. In most of the posters for his most famous film, The Hunchback of Notre Dame (1939), he is all but a silhouette, a spoiler alert to his monstrous transformation as Quasimodo. And in some posters for The Private Life of Henry VIII (1933), the film for which he won his first Oscar, Henry is made to look more like the Hans Holbein...
The great Charles Laughton may not have been the prettiest of movie stars, but he had a presence that many matinee idols would have killed for (as the current retrospective running at Film Forum will attest). In an era in which glamor was everything, studio marketers may have struggled with how to present Laughton’s unconventional looks and his larger-than-life portrayals of larger-than-life characters (so many monsters, murderers, tyrants, or simply overbearing fathers) to the public. In most of the posters for his most famous film, The Hunchback of Notre Dame (1939), he is all but a silhouette, a spoiler alert to his monstrous transformation as Quasimodo. And in some posters for The Private Life of Henry VIII (1933), the film for which he won his first Oscar, Henry is made to look more like the Hans Holbein...
- 2/21/2015
- by Adrian Curry
- MUBI
TCM devotes Thursday nights in October to Vincent Price, the versatile actor whose career lasted more than five decades and extended far beyond the horror films for which he was best known.
The chronological lineup includes such classics as The Private Lives of Elizabeth and Essex (1939), The Three Musketeers (1948) and While the City Sleeps (1956).
And on Oct. 23 and Oct. 31, Price’s talents in the horror genre are on full display in 17 films, just in time for Halloween.
Thursday, Oct. 3
8 p.m. – The Private Lives of Elizabeth and Essex (1939)
10 p.m. – Leave Her to Heaven (1945)
Midnight – The Keys of the Kingdom (1945)
2:30 a.m. – The Three Musketeers (1948)
5:15 a.m. – The Bribe (1949)
7 a.m. – The Long Night (1947)
Thursday, Oct. 10
8 p.m. – The Baron of Arizona (1950)
9:45 p.m. – His Kind of Woman (1951)
Midnight – The Las Vegas Story (1952)
1:30 a.m. – Dangerous Mission (1954)
3 a.m. – Son of Sinbad (1955)
4:45 a.m. – Serenade (1956)
Thursday,...
The chronological lineup includes such classics as The Private Lives of Elizabeth and Essex (1939), The Three Musketeers (1948) and While the City Sleeps (1956).
And on Oct. 23 and Oct. 31, Price’s talents in the horror genre are on full display in 17 films, just in time for Halloween.
Thursday, Oct. 3
8 p.m. – The Private Lives of Elizabeth and Essex (1939)
10 p.m. – Leave Her to Heaven (1945)
Midnight – The Keys of the Kingdom (1945)
2:30 a.m. – The Three Musketeers (1948)
5:15 a.m. – The Bribe (1949)
7 a.m. – The Long Night (1947)
Thursday, Oct. 10
8 p.m. – The Baron of Arizona (1950)
9:45 p.m. – His Kind of Woman (1951)
Midnight – The Las Vegas Story (1952)
1:30 a.m. – Dangerous Mission (1954)
3 a.m. – Son of Sinbad (1955)
4:45 a.m. – Serenade (1956)
Thursday,...
- 10/3/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Scorsese triumphs with a powerful noir pastiche that sends Leonardo DiCaprio into a world of madness and paranoia
Susan Sontag greeted the centenary of the cinema with an essay proclaiming its "ignominious, irreversible decline". She added that "the commercial cinema has settled for a policy of bloated, derivative film-making… every film that hopes to reach the highest possible audience is designed as some kind of remake". How does that sound 15 years later? Well, the two most striking films this week, Shutter Island and The Girl With the Dragon Tattoo, and the one we're most looking forward to next month, Polanski's The Ghost, all centre on troubled protagonists lured to remote islands to investigate disappearances and past mysteries that threaten their lives. Is this chance, the mythic underpinning of narrative, or cultural exhaustion?
Having made this pious observation, let me declare that Shutter Island, adapted by Laeta Kalogridis from Dennis Lehane...
Susan Sontag greeted the centenary of the cinema with an essay proclaiming its "ignominious, irreversible decline". She added that "the commercial cinema has settled for a policy of bloated, derivative film-making… every film that hopes to reach the highest possible audience is designed as some kind of remake". How does that sound 15 years later? Well, the two most striking films this week, Shutter Island and The Girl With the Dragon Tattoo, and the one we're most looking forward to next month, Polanski's The Ghost, all centre on troubled protagonists lured to remote islands to investigate disappearances and past mysteries that threaten their lives. Is this chance, the mythic underpinning of narrative, or cultural exhaustion?
Having made this pious observation, let me declare that Shutter Island, adapted by Laeta Kalogridis from Dennis Lehane...
- 3/14/2010
- by Philip French
- The Guardian - Film News
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