{
"cells": [
{
"cell_type": "markdown",
"metadata": {},
"source": [
"# Cosine Similarity - Approach B\n",
"\n",
"- Loads embeddings (pre-computed from texts)\n",
"- Computes **mean of embedding**-arrays\n",
"- Computes **difference value** based on embeddings values\n",
"- Does NOT use cosine similarity in current state"
]
},
{
"cell_type": "code",
"execution_count": 1,
"metadata": {},
"outputs": [],
"source": [
"# Configuration\n",
"\n",
"# https://hobbitdata.informatik.uni-leipzig.de/EML4U/2021-02-10-Wikipedia-Texts/\n",
"source_texts_directory = \"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/\"\n",
"# https://hobbitdata.informatik.uni-leipzig.de/EML4U/2021-04-07-Wikipedia-Embeddings/\n",
"embeddings_directory = \"/home/eml4u/EML4U/data/wikipedia-embeddings/\"\n",
"\n",
"# points of time\n",
"id_a = \"20100408\"\n",
"id_b = \"20201101\"\n",
"# category ids\n",
"id_american = \"american-films\"\n",
"id_british = \"british-films\"\n",
"id_indian = \"indian-films\"\n",
"# file ids\n",
"id_american_a = id_a + \"-\" + id_american\n",
"id_american_b = id_b + \"-\" + id_american\n",
"id_british_a = id_a + \"-\" + id_british\n",
"id_british_b = id_b + \"-\" + id_british\n",
"id_indian_a = id_a + \"-\" + id_indian\n",
"id_indian_b = id_b + \"-\" + id_indian"
]
},
{
"cell_type": "code",
"execution_count": 2,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"numpy: 1.19.2\n"
]
}
],
"source": [
"# Imports\n",
"\n",
"import numpy\n",
"print(\"numpy: \" + numpy.version.version)\n",
"\n",
"# Class instance to access data (wp texts, pre-computed embeddings)\n",
"import data_access\n",
"data_accessor = data_access.DataAccess(source_texts_directory, embeddings_directory)"
]
},
{
"cell_type": "code",
"execution_count": 3,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"/home/eml4u/EML4U/data/wikipedia-embeddings/20100408-british-films.txt\n",
"(2147, 768) <class 'numpy.ndarray'>\n",
"/home/eml4u/EML4U/data/wikipedia-embeddings/20201101-british-films.txt\n",
"(2147, 768) <class 'numpy.ndarray'>\n",
"\n",
"<class 'numpy.ndarray'> (768,) BritishA\n",
"<class 'numpy.ndarray'> (768,) BritishB\n"
]
}
],
"source": [
"# Load embeddings\n",
"embeddings_british_a = data_accessor.load_embeddings(id_british_a)\n",
"embeddings_british_b = data_accessor.load_embeddings(id_british_b)\n",
"print()\n",
"\n",
"# Compute means\n",
"def get_mean(embeddings, note = \"\", printinfo = True):\n",
" mean = numpy.mean(embeddings, axis=0)\n",
" if printinfo:\n",
" print(str(type(mean)) + \" \" + str(mean.shape) + \" \" + note)\n",
" return mean\n",
"\n",
"mean_british_a = get_mean(embeddings_british_a, \"BritishA\")\n",
"mean_british_b = get_mean(embeddings_british_b, \"BritishB\")"
]
},
{
"cell_type": "code",
"execution_count": 4,
"metadata": {},
"outputs": [],
"source": [
"# Differences of arrays as one value\n",
"def differenceValue(a, b):\n",
" x = 0\n",
" for i in range(len(a)):\n",
" x += abs(a[i] - b[i])\n",
" return x;\n",
"# Test\n",
"if False:\n",
" print(differenceValue(numpy.array([1,2,3,4]), numpy.array([1.1,2.2,3.3,4.4])))\n",
"\n",
"# Print source texts\n",
"def print_source_text(directory, category_id, index):\n",
" print()\n",
" print(\"Category: \" + category_id)\n",
" print(\"Index: \" + str(index))\n",
" file = data_accessor.get_embeddings_dict_filename(category_id, index);\n",
" print(\"File: \")\n",
" print(data_accessor.read_source_text(directory, file))\n",
" print()"
]
},
{
"cell_type": "code",
"execution_count": 5,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"Largest difference values to mean of A\n",
"(721, 127.63656949018497, 63.07215986661895)\n",
"(333, 126.23330120916125, 126.63447396310393)\n",
"(680, 122.11133584967376, 129.0560627009414)\n",
"...\n",
"(391, 40.37050334666524, 45.36463767773769)\n",
"(393, 39.05389511333612, 56.23254257812948)\n",
"\n",
"Largest difference values to mean of B\n",
"(179, 114.6978323360855, 131.07256570494872)\n",
"(680, 122.11133584967376, 129.0560627009414)\n",
"(381, 88.82879530042067, 127.66585960996093)\n",
"...\n",
"(334, 51.76971304423001, 39.533962588139545)\n",
"(309, 56.43851055612732, 39.04979437720267)\n"
]
}
],
"source": [
"# Compute difference values between embeddings of single texts and mean-embeddings\n",
"# Array:\n",
"# [0] index (to look up source texts)\n",
"# [1] difference to mean t1 (== A)\n",
"# [2] difference to mean t2 (== B)\n",
"differences = []\n",
"for i in range(len(mean_british_a)):\n",
" differences.append((i, differenceValue(mean_british_a, embeddings_british_a[i]), differenceValue(mean_british_b, embeddings_british_b[i])))\n",
"\n",
"# Sort by largest difference\n",
"differences_a = sorted(differences, key=lambda tup: tup[1], reverse=True)\n",
"differences_b = sorted(differences, key=lambda tup: tup[2], reverse=True)\n",
"\n",
"print(\"Largest difference values to mean of A\")\n",
"print(differences_a[0])\n",
"print(differences_a[1])\n",
"print(differences_a[2])\n",
"print(\"...\")\n",
"print(differences_a[len(differences_a)-2])\n",
"print(differences_a[len(differences_a)-1])\n",
"print()\n",
"\n",
"print(\"Largest difference values to mean of B\")\n",
"print(differences_b[0])\n",
"print(differences_b[1])\n",
"print(differences_b[2])\n",
"print(\"...\")\n",
"print(differences_b[len(differences_b)-2])\n",
"print(differences_b[len(differences_b)-1])"
]
},
{
"cell_type": "code",
"execution_count": 6,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"\n",
"Category: british-films\n",
"Index: 721\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20100408-british-films/Bloody_Kids.txt\n",
"Bloody Kids is a 1979 film directed by Stephen Frears.\n",
"External links\n",
"- \n",
"Category:1979 films Category:British films Category:Films directed by\n",
"Stephen Frears\n",
"\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 721\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20201101-british-films/Bloody_Kids.txt\n",
"Bloody Kids is a British television film written by Stephen Poliakoff\n",
"and directed by Stephen Frears, made by Black Lion Films for ATV, and\n",
"first shown on ITV on 22 March 1980.\n",
"Cast\n",
"- Derrick O'Connor as Detective Ritchie (Richard Beckinsale originally\n",
" cast before his sudden death)\n",
"- Gary Holton as Ken\n",
"- Richard Thomas as Leo Turner\n",
"- Peter Clark as Mike Simmonds\n",
"- Gwyneth Strong as Jan, Ken's Girlfriend\n",
"- Caroline Embling as Susan, Leo's Sister\n",
"- Jack Douglas as Senior Police Officer\n",
"- Billy Colvill as Williams\n",
"- P.H. Moriarty as Police 1\n",
"- Richard Hope as Police 2\n",
"- Niall Padden as Police 3\n",
"- John Mulcahy as Police 4\n",
"- Terry Paris as Police 5\n",
"- Neil Cunningham as School Masters 1\n",
"- George Costigan as School Masters 2\n",
"- Stewart Harwood as School's Security Guard\n",
"- Tammy Jacobs as School 1\n",
"- Daniel Peacock as School 2\n",
"- Paul Mari as School 3\n",
"- Mel Smith as Disco Doorman\n",
"- C.P. Lee as Club Manager\n",
"- Jimmy Hibbert as Disco 3\n",
"- Kim Taylforth as Disco 4\n",
"- Nula Conwell as Ken's Gang 1\n",
"- Madeline Church as Ken's Gang 2\n",
"- Peter Wilson as Ken's Gang 3\n",
"- Gary Olsen as Ken's Gang 4 (as Gary Olson)\n",
"- Jesse Birdsall as Ken's Gang 5\n",
"- Roger Lloyd-Pack as Hospital Doctor\n",
"- Brenda Fricker as Nurse\n",
"- June Watson as Nurse\n",
"- Colin Campbell as Conductor\n",
"- Julian Hough as Reporter\n",
"- Geraldine James as Ritchie's Wife\n",
"- Pauline Walker - poshbird/dancing extra\n",
"Filming locations\n",
"Filmed in south east Essex, with locations in Southend-on-Sea,\n",
"Westcliff, Leigh-on-Sea and Canvey Island, the opening five minutes are\n",
"of the bridge down to Leigh-on-Sea's cockle sheds, with a lorry hanging\n",
"over.\n",
"Furtherwick Park School Canvey Island, was used for the school\n",
"scenes, and Southend United's ground, Roots Hall, was used for the\n",
"stabbing scenes.\n",
"Disco scenes in Southend are notable for an early television appearance\n",
"of Mel Smith playing the manager. Victoria Circus, Southend sea front\n",
"and hospital are all used as locations, culminating in the final scene\n",
"outside the Casino, Canvey Island, on a London double decker.\n",
"References\n",
"External links\n",
"- \n",
"Category:1979 television films Category:1979 films Category:British\n",
"television films Category:British films Category:Films scored by George\n",
"Fenton Category:Films directed by Stephen Frears\n",
"\n",
"\n"
]
}
],
"source": [
"# Explore underlying texts (Largest difference values to mean of A)\n",
"if True:\n",
" print_source_text(id_british_a, id_british, differences_a[0][0])\n",
" print_source_text(id_british_b, id_british, differences_a[0][0])\n",
" #print_source_text(id_british_a, id_british, differences_a[1][0])\n",
" #print_source_text(id_british_b, id_british, differences_a[1][0])"
]
},
{
"cell_type": "code",
"execution_count": 7,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"\n",
"Category: british-films\n",
"Index: 179\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20100408-british-films/The_World_Is_Rich.txt\n",
"The World Is Rich is a 1947 documentary film directed by Paul Rotha. It\n",
"was nominated for an Academy Award for Best Documentary Feature.\n",
"References\n",
"External links\n",
"- \n",
"fr:The World Is Rich\n",
"Category:1947 films Category:British films Category:English-language\n",
"films Category:British documentary films Category:Black-and-white films\n",
"Category:Films directed by Paul Rotha\n",
"\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 179\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20201101-british-films/The_World_Is_Rich.txt\n",
"The World Is Rich is a 1947 British documentary film directed by Paul\n",
"Rotha. It was nominated for an Academy Award for Best Documentary\n",
"Feature..\n",
"References\n",
"External links\n",
"- \n",
"Category:1947 films Category:1947 documentary films Category:British\n",
"films Category:English-language films Category:British documentary films\n",
"Category:Black-and-white documentary films Category:Films directed by\n",
"Paul Rotha Category:British black-and-white films\n",
"\n",
"\n"
]
}
],
"source": [
"# Explore underlying texts (Largest difference values to mean of B)\n",
"if True:\n",
" print_source_text(id_british_a, id_british, differences_b[0][0])\n",
" print_source_text(id_british_b, id_british, differences_b[0][0])\n",
" #print_source_text(id_british_a, id_british, differences_b[1][0])\n",
" #print_source_text(id_british_b, id_british, differences_b[1][0])"
]
},
{
"cell_type": "code",
"execution_count": 8,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"Largest difference values\n",
"(721, 152.96771019252628)\n",
"(610, 141.938466045307)\n",
"(409, 141.68865489200107)\n",
"...\n",
"(422, 5.0086785865423735)\n",
"(435, 4.515663030353608)\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 721\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20100408-british-films/Bloody_Kids.txt\n",
"Bloody Kids is a 1979 film directed by Stephen Frears.\n",
"External links\n",
"- \n",
"Category:1979 films Category:British films Category:Films directed by\n",
"Stephen Frears\n",
"\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 721\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20201101-british-films/Bloody_Kids.txt\n",
"Bloody Kids is a British television film written by Stephen Poliakoff\n",
"and directed by Stephen Frears, made by Black Lion Films for ATV, and\n",
"first shown on ITV on 22 March 1980.\n",
"Cast\n",
"- Derrick O'Connor as Detective Ritchie (Richard Beckinsale originally\n",
" cast before his sudden death)\n",
"- Gary Holton as Ken\n",
"- Richard Thomas as Leo Turner\n",
"- Peter Clark as Mike Simmonds\n",
"- Gwyneth Strong as Jan, Ken's Girlfriend\n",
"- Caroline Embling as Susan, Leo's Sister\n",
"- Jack Douglas as Senior Police Officer\n",
"- Billy Colvill as Williams\n",
"- P.H. Moriarty as Police 1\n",
"- Richard Hope as Police 2\n",
"- Niall Padden as Police 3\n",
"- John Mulcahy as Police 4\n",
"- Terry Paris as Police 5\n",
"- Neil Cunningham as School Masters 1\n",
"- George Costigan as School Masters 2\n",
"- Stewart Harwood as School's Security Guard\n",
"- Tammy Jacobs as School 1\n",
"- Daniel Peacock as School 2\n",
"- Paul Mari as School 3\n",
"- Mel Smith as Disco Doorman\n",
"- C.P. Lee as Club Manager\n",
"- Jimmy Hibbert as Disco 3\n",
"- Kim Taylforth as Disco 4\n",
"- Nula Conwell as Ken's Gang 1\n",
"- Madeline Church as Ken's Gang 2\n",
"- Peter Wilson as Ken's Gang 3\n",
"- Gary Olsen as Ken's Gang 4 (as Gary Olson)\n",
"- Jesse Birdsall as Ken's Gang 5\n",
"- Roger Lloyd-Pack as Hospital Doctor\n",
"- Brenda Fricker as Nurse\n",
"- June Watson as Nurse\n",
"- Colin Campbell as Conductor\n",
"- Julian Hough as Reporter\n",
"- Geraldine James as Ritchie's Wife\n",
"- Pauline Walker - poshbird/dancing extra\n",
"Filming locations\n",
"Filmed in south east Essex, with locations in Southend-on-Sea,\n",
"Westcliff, Leigh-on-Sea and Canvey Island, the opening five minutes are\n",
"of the bridge down to Leigh-on-Sea's cockle sheds, with a lorry hanging\n",
"over.\n",
"Furtherwick Park School Canvey Island, was used for the school\n",
"scenes, and Southend United's ground, Roots Hall, was used for the\n",
"stabbing scenes.\n",
"Disco scenes in Southend are notable for an early television appearance\n",
"of Mel Smith playing the manager. Victoria Circus, Southend sea front\n",
"and hospital are all used as locations, culminating in the final scene\n",
"outside the Casino, Canvey Island, on a London double decker.\n",
"References\n",
"External links\n",
"- \n",
"Category:1979 television films Category:1979 films Category:British\n",
"television films Category:British films Category:Films scored by George\n",
"Fenton Category:Films directed by Stephen Frears\n",
"\n",
"\n"
]
}
],
"source": [
"# Explore embeddings of two points of time directly\n",
"\n",
"differences_direct = []\n",
"for i in range(len(mean_british_a)):\n",
" differences_direct.append((i, differenceValue(embeddings_british_a[i], embeddings_british_b[i])))\n",
" \n",
"differences_direct_sorted = sorted(differences_direct, key=lambda tup: tup[1], reverse=True)\n",
"\n",
"print(\"Largest difference values\")\n",
"print(differences_direct_sorted[0])\n",
"print(differences_direct_sorted[1])\n",
"print(differences_direct_sorted[2])\n",
"print(\"...\")\n",
"print(differences_direct_sorted[len(differences_direct_sorted)-2])\n",
"print(differences_direct_sorted[len(differences_direct_sorted)-1])\n",
"print()\n",
"\n",
"print_source_text(id_british_a, id_british, differences_direct_sorted[0][0])\n",
"print_source_text(id_british_b, id_british, differences_direct_sorted[0][0])"
]
},
{
"cell_type": "code",
"execution_count": 9,
"metadata": {},
"outputs": [
{
"name": "stdout",
"output_type": "stream",
"text": [
"\n",
"Category: british-films\n",
"Index: 610\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20100408-british-films/Law_and_Disorder_1958_film.txt\n",
"Law and Disorder is a 1958 British comedy film directed by Charles\n",
"Crichton and starring Michael Redgrave, Robert Morley, Joan Hickson,\n",
"Lionel Jeffries and John Le Mesurier.\n",
"External links\n",
"- \n",
"Category:1958 films Category:1950s comedy films Category:British films\n",
"Category:English-language films Category:Films directed by Charles\n",
"Crichton\n",
"\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 610\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20201101-british-films/Law_and_Disorder_1958_film.txt\n",
"Law and Disorder}} Law and Disorder is a 1958 British comedy film\n",
"directed by Charles Crichton and starring Michael Redgrave, Robert\n",
"Morley, Joan Hickson, Lionel Jeffries. It was based on the 1954 novel\n",
"Smugglers' Circuit by Denys Roberts. The film was started by director\n",
"Henry Cornelius who died whilst making the film. He was replaced by\n",
"Charles Crichton.\n",
"Plot\n",
"Percy Brand is a career criminal, a veteran of various cons and schemes,\n",
"and he is regularly sent to prison by judge Sir Edward Crichton. That\n",
"does not bother Percy too much, but what does concern him is that his\n",
"son, Colin, should not discover what his father does. Percy tells him\n",
"tales about being a missionary in China when he is released in 1938, a\n",
"military chaplain in North Africa in 1941, and a freed prisoner of war\n",
"in 1946 to cover his absences in gaol. While Percy is \"away\", Colin is\n",
"cared for by Aunt Florence who knows what Percy really does.\n",
"When Colin grows up, he chooses to become a barrister. By coincidence,\n",
"it will take him seven years to achieve his goal, the same duration as\n",
"Percy's latest sentence. When Percy is freed, he arrives just after\n",
"Colin is called to the bar. Colin informs him that he has secured a\n",
"position as an unpaid marshal, i.e. an aide, to a judge to gain\n",
"experience, and not just to any judge, but to Percy's nemesis, Edward\n",
"Crichton. Percy decides to retire from his life of crime rather than\n",
"risk coming into court and Colin seeing him there.\n",
"Retirement to a cottage on the south coast of England is not enough to\n",
"keep Percy (and Florence) out of mischief. When he hears about the\n",
"smuggling that took place before the conscientious Police Sergeant\n",
"Bolton arrived, Percy gets involved in bringing in brandy from France,\n",
"hidden inside sharks he \"catches\".\n",
"Then an old acquaintance, \"Major Proudfoot\", comes to see him. Proudfoot\n",
"has planted a story that an explorer was murdered and robbed of 100,000\n",
"quid of emeralds he found in Brazil. Now he has a buyer lined up for the\n",
"non-existent jewels, which he wants Percy to pretend to smuggle in.\n",
"Percy has a better idea, involving fake policemen and himself as a\n",
"customs officer, but the plan goes awry when Judge Crichton arrives to\n",
"meet his wife, returning from a trip abroad. Percy manages to steal a\n",
"launch, but is eventually caught. To compound his misfortune, he is to\n",
"be tried by Crichton, a last-minute substitute for a judge afflicted\n",
"with gout.\n",
"Florence comes up with the idea to add a fake case to the docket to\n",
"occupy Crichton's remaining time on that particular circuit court, with\n",
"the assistance of Percy's friends and associates. Mary Cooper brings her\n",
"publican husband into court over a slander repeatedly uttered by their\n",
"pet parrot. However, the judge becomes fed up with the case and finally\n",
"dismisses it, leaving Percy's trial for the next day. The gang then try\n",
"to frame Crichton for smuggling by planting contraband in the car they\n",
"arrange for the judge and Colin to take that night, and then making an\n",
"anonymous call to tip off the customs agents. Crichton decides to take a\n",
"walk first, and he and Colin get lost. They inadvertently trigger a\n",
"burglar alarm when they reach a house and are taken at gunpoint to the\n",
"police station.\n",
"Colin later \"confesses\" in order to try to straighten things out, but is\n",
"not in time to prevent the judge and Percy from being driven in the same\n",
"van to the assizes. Along the way, Percy confesses everything to\n",
"Crichton, who is amused. He sends Colin on an errand so that, when Percy\n",
"is brought into the courtroom, Colin is absent. The judge then recuses\n",
"himself, as he has had social contact with the defendant, leaving Colin\n",
"none the wiser. Out on bail, but expecting another long prison sentence,\n",
"Percy bids farewell to Colin, telling him that he has come out of\n",
"retirement for one more trip.\n",
"Cast\n",
"- Michael Redgrave as Percy Brand\n",
"- Robert Morley as Judge Sir Edward Crichton\n",
"- Ronald Squire as Colonel Masters\n",
"- Elizabeth Sellars as Gina Laselle\n",
"- Joan Hickson as Aunt Florence\n",
"- Lionel Jeffries as Major Proudfoot\n",
"- Jeremy Burnham as Colin Brand\n",
"- Brenda Bruce as Mary \n",
"- Harold Goodwin as Blacky\n",
"- George Coulouris as Bennie \n",
"- Meredith Edwards as Sergeant Bolton\n",
"- Reginald Beckwith as Vickery\n",
"- David Hutcheson as Freddie \n",
"- Mary Kerridge as Lady Crichton\n",
"- Michael Trubshawe as Ivan\n",
"- John Le Mesurier as Pomfret\n",
"- Irene Handl as Woman in Train\n",
"- Allan Cuthbertson as Police Inspector\n",
"- Sam Kydd as Shorty\n",
"- John Hewer as Foxy\n",
"- John Warwick as Police Superintendent\n",
"- Nora Nicholson as Mrs. Cartwright\n",
"- Anthony Sagar as Customs Officer\n",
"- John Paul as Customs Officer\n",
"- Alfred Burke as Poacher\n",
"- Michael Brennan as Warden Ext. Prison\n",
"- Toke Townley as Rumpthorne\n",
"- Arthur Howard as Burrows\n",
"- John Rudling as Man in Train\n",
"- Gerald Cross as Hodgkin\n",
"Critical reception\n",
"A. H. Weiler wrote in The New York Times: \"Robert Morley contributes an\n",
"outstanding performance as the stern judge who finds himself as much\n",
"outside the law as within it. Although he never cracks a smile, chances\n",
"are he will force a few on the customers. As a matter of fact, they\n",
"should find most of the cheerful disorders in Law and Disorder\n",
"irreverently funny and diverting\". The TV Guide review stated it had\n",
"\"a tight screenplay, with not a word wasted, and sharp acting by some of\n",
"England's best characters. This is a good example of the 1950s Brit-Coms\n",
"and there is so much joy in watching Morley acting with Redgrave that it\n",
"seems a shame a series of films weren't made with these two characters\n",
"pitted against each other.\"\n",
"References\n",
"External links\n",
"- \n",
"Category:1958 films Category:1950s crime comedy films\n",
"Category:English-language films Category:British films Category:British\n",
"black-and-white films Category:British crime comedy films\n",
"Category:British Lion Films films Category:Films shot at Elstree Studios\n",
"Category:Films based on British novels Category:Films directed by\n",
"Charles Crichton Category:Films scored by Humphrey Searle Category:Films\n",
"set in 1938 Category:Films set in 1941 Category:Films set in 1946\n",
"Category:Films set in England Category:1958 comedy films\n",
"\n",
"\n"
]
}
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"\n",
"Category: british-films\n",
"Index: 435\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20100408-british-films/Great_Moments_in_Aviation.txt\n",
"Great Moments in Aviation is a 1994 romantic drama film, set on a 1950s\n",
"passenger liner. The film follows Gabriel Angel (Rakie Ayola), a young\n",
"Caribbean aviator who falls in love with the forger Duncan Stewart\n",
"(Jonathan Pryce) on her journey to England. Stewart is pursued by his\n",
"nemesis Rex Goodyear (John Hurt), and the group are supported by Dr\n",
"Angela Bead (Vanessa Redgrave) and Miss Gwendolyn Quim (Dorothy Tutin),\n",
"retired missionaries who become lovers during the voyage.\n",
"The film was written by Jeanette Winterson, directed by Beeban Kidron\n",
"and produced by Phillippa Gregory, the same creative team that\n",
"collaborated on Winterson's Oranges Are Not the Only Fruit in 1990.\n",
"Winterson intended the screenplay to be reminiscent of a fairytale, and\n",
"was unhappy at being asked to write a new ending for its American\n",
"release.\n",
"The film was shown at the 1994 Cannes Film Festival and broadcast on\n",
"British television in 1995. Although originally intended for theatrical\n",
"release, it failed to find a theatrical distributor, and was released\n",
"straight to video in the United States in 1997 under the title Shades of\n",
"Fear. The film received mixed to negative reviews from critics, and\n",
"while the lesbian sub-plot in particular was generally well received,\n",
"Winterson's scripting was a focal point of criticism.\n",
"Plot\n",
"Set in 1957, Great Moments in Aviation follows Gabriel Angel (Rakie\n",
"Ayola), a young Caribbean woman from Grenada who embarks on a cruise to\n",
"England with the intention of becoming an aviator. Upon boarding the\n",
"ship, Gabriel finds herself assigned shared sleeping quarters with\n",
"fellow passenger Duncan Stewart (Jonathan Pryce). The rest of the ship's\n",
"passengers, including missionaries Angela Bead (Vanessa Redgrave) and\n",
"Gwendolyne Quim (Dorothy Tutin) assume the two are married, and when\n",
"Professor Rex Goodyear (John Hurt) appears to recognise Duncan as his\n",
"old acquaintance Alasdair Birch, Duncan fosters the assumption to\n",
"maintain his cover. It transpires that Duncan is a forger, who many\n",
"years ago stole a Titian painting from Goodyear and had an affair with\n",
"his wife. Goodyear believes that his painting is on board the ship, and\n",
"leads Gabriel to believe that Duncan was responsible for his wife's\n",
"death. She is furious with Duncan for lying to her, but the two go on to\n",
"reconcile and later make love. Their romance is complicated by the fact\n",
"Gabriel professes to have a husband waiting for her in England. She\n",
"explains that he has been there for two years working, and she is\n",
"joining him so that she can fulfil her lifelong dream of becoming a\n",
"pilot — inspired by her grandfather Thomas (Oliver Samuels) who flew off\n",
"into a storm and never came home. They begin a relationship nonetheless,\n",
"supported by Angela and Gwendolyne, who also come to realise that they\n",
"have feelings for one another. They each confess to having secretly been\n",
"in love with the other for years, and become lovers, vowing to live\n",
"together in their retirement. It comes to light that the death of\n",
"Goodyear's wife was an accident, caused as he and Duncan fought over\n",
"her. Duncan returns his painting, and goes on to burn all his forged\n",
"documents and papers in front of Gabriel. She confesses that her\n",
"marriage to Michael is over, and she and Duncan resolve to begin a life\n",
"together. The film ends with Gabriel's grandmother Vesuvia (Carmen\n",
"Munroe) reading her family a letter from England, informing them that\n",
"Gabriel and Duncan are happy together, and are expecting a child. As the\n",
"family express their delight, Gabriel flies overhead, having finally\n",
"attained her pilot licence and become an aviator.\n",
"Cast\n",
"[John Hurt plays Rex Goodyear, a non-typical villain who \"may not be a\n",
"villain at all\".]\n",
"- Rakie Ayola as Gabriel Angel\n",
"- Jonathan Pryce as Duncan Stewart\n",
"- John Hurt as Professor Rex Goodyear\n",
"- Vanessa Redgrave as Doctor Angela Bead\n",
"- Dorothy Tutin as Miss Gwendolyne Quim\n",
"- Carmen Munroe as Vesuvia\n",
"- Oliver Samuels as Thomas\n",
"- David Harewood as Steward\n",
"Production\n",
"[Jonathan Pryce stars as Duncan Stewart: \"a forger, a fantasist, a most\n",
"compelling man.\"] Great Moments in Aviation was written by Jeanette\n",
"Winterson, directed by Beeban Kidron and produced by Phillippa Giles,\n",
"the same creative team who, in 1990, adapted Winterson's novel Oranges\n",
"Are Not the Only Fruit for television. Giles, for whom Great Moments\n",
"was her first feature film, believes that it was the success of Oranges\n",
"which lead the British Broadcasting Corporation (BBC) to approve the\n",
"film so easily. The screenplay is inspired by the emigration story of\n",
"the mother of actress Vicky Licorish, a close friend of Winterson. It\n",
"is adapted from a short story Winterson wrote entitled \"Atlantic\n",
"Crossing\", published in 1999 in her anthology The World and Other\n",
"Places. The central themes of the story are \"race, Hemingway,\n",
"colonialism, love, lust, the '50s\", adapted into the\n",
"screenplay in a manner Winterson intended to be reminiscent of a\n",
"fairytale. She ascribes the roles of hero and heroine to Duncan and\n",
"Gabriel, fairy godmothers to Miss Quim and Dr Bead, and non-archetypal\n",
"villain to Rex Goodyear. Setting the film on a passenger liner, with\n",
"brief scenes in Gabriel's native Grenada were intended to contribute\n",
"towards this fairytale atmosphere, with Winterson explaining that the\n",
"opening sequence in the Caribbean is \"designed to draw the audience out\n",
"of the world of their own concerns and into a world whose customs are\n",
"strange. In the new world, objects are unfamiliar and events do not\n",
"follow the usual rules. The coincidence of colour and language, each\n",
"more vivid than normal, pull the viewer forward with fairytale\n",
"immediacy.\" Of the passenger liner aspect, she explains that it\n",
"provides the film with: \"a sealed and contained world with its own\n",
"identity and rituals, at once both recognisable and odd. Fairytale never\n",
"leaves the reader in a familiar spot, we are whisked away to a wood or a\n",
"lake or a castle or an island, each a law unto itself made all the more\n",
"uncomfortable because it isn't as weird as, say, planet Mars. We think\n",
"we will be able to cope just by using out usual tool kit, how\n",
"disconcerting it is when we can't.\"\n",
"The film originally had a different ending to the one later released in\n",
"America under the title Shades of Fear. Miramax co-founder Harvey\n",
"Weinstein requested that the ending be reworked prior to distribution,\n",
"and Winterson was highly unhappy at being asked to write an additional\n",
"conclusionary scene. Winterson's preferred ending sees Rex Goodyear\n",
"burn the painting he believes to be fraudulent, only to discover he\n",
"actually had the genuine item in his possession all along, and has now\n",
"destroyed it. This ties in with the major theme of the film in\n",
"Winterson's eyes, whereby \"Duncan, Gabriel, Miss Bead and Miss Quim all\n",
"find something valuable where they least expected it, Rex Goodyear finds\n",
"that the things we value are very often worthless.\" Winterson has\n",
"called Weinstein \"a bully who knows the gentle touch\", referring to\n",
"the new ending as \"the most expensive words I will ever write\".\n",
"While she believes that the new ending is satisfying, she feels the film\n",
"has lost some dimensions which were important to her and concludes: \"It\n",
"is a good movie but it is not the movie I thought we could make. I\n",
"do like Great Moments but there is another film in there somewhere that\n",
"has got lost.\"\n",
"Of the starring cast, Pryce, Hurt, Redgrave and Tutin were already\n",
"established screen actors, while Ayola had previously only acted\n",
"theatrically. She appraised of her screen debut: \"it was a wonderful\n",
"experience for me to be appearing alongside so many established names.\n",
"It was very exciting although I must admit at first I was a bit daunted\n",
"by the prospect.\" The film featured several minor black characters,\n",
"either as members of Gabriel's family, or as workers aboard the ship.\n",
"When these roles were cast, complaints were made by black members of the\n",
"British actors' union to the BBC and the Department of Employment at\n",
"having been \"passed over\" in favour of overseas artists. The film\n",
"was shot from 23 September to 6 November 1992. It was funded in the\n",
"most part by the BBC, though a quarter of the budget came from the\n",
"American Miramax. While Kidron had previously come to dislike\n",
"directing for major studios when filming My Cousin Vinny for Fox, she\n",
"found the low budget of Great Moments in Aviation \"just as horrendous a\n",
"compromise\". Though originally intended for theatrical release,\n",
"the film failed to find theatrical distribution. It was first\n",
"screened at the Cannes Film Festival in 1994, then broadcast in\n",
"Britain on BBC Two on 11 November 1995. It was released on video in\n",
"the United States under the alternate title Shades of Fear two years\n",
"later, on 11 November 1997.\n",
"Reception\n",
"[Jeanette Winterson's screenplay attracted negative reviews from\n",
"critics.] The film received mixed to negative reviews from critics.\n",
"Thomas Sutcliffe for The Independent writes that: \"while flight is the\n",
"sustaining theme, the film never soars. The characterisation is Cluedo\n",
"with pretensions, and the dialogue suspends the actors in that ungainly,\n",
"undignified dangle which you associate with stage flying, the wires\n",
"robbing them of all powers of independent movement.\" While he\n",
"describes the scene which culminates the lesbian storyline as\n",
"\"radiant\" and \"beautifully acted by Vanessa Redgrave and Dorothy\n",
"Tutin\", he opines of the acting in general that \"for the most part,\n",
"these people are simply Winterson's puppets, jerked around by the\n",
"symbolic demands of the plot.\" He deems Kidron's directing \"a kind\n",
"of surrender, dutifully supplying visual equivalents for Winterson's\n",
"sterile symmetries but despairing of any greater vivacity\", and is\n",
"particularly critical of Winterson's screenplay, noting that:\n",
"\"everything unrolls at the same stately pace, a religious procession\n",
"bearing the reliquaries of Winterson's prose. It's as though the author\n",
"thinks every word is infinitely precious. She's right, though perhaps\n",
"not in the way she imagines.\" Variety's David Rooney agrees the\n",
"film's coming-out scene is a \"potential jewel\" and \"captivatingly\n",
"played\", however, in line with Sutcliffe's criticisms, opines that\n",
"the film's pacing means that \"the scene is lobbed in and robbed of its\n",
"impact\". He summarises the film as \"a willfully theatrical,\n",
"sporadically magical romantic comedy embracing three barely compatible\n",
"narrative strands, not one of which ever gets full flight\n",
"clearance\". Rooney deems the film \"Damaged beyond repair by a\n",
"mannered scripting style and evident recutting\", and opines that\n",
"\"Jeanette Winterson's preposterous dialogue and comic mistiming serves\n",
"up more misses than hits\". Of the film's major themes, he writes\n",
"that: \"Questions about the line between truth and falsehood, genuine and\n",
"fake, are too flimsily voiced to mean much. Likewise, the intro of race\n",
"issues in the closing voiceover only makes the haphazard mix even more\n",
"lumpy\". [Vanessa Redgrave's performance as Angela Bead in the\n",
"lesbian sub-plot was well received.] More positively, Rooney praise Remi\n",
"Adefarasin's cinematography and Rachel Portman's soundtrack, as well as\n",
"Ayola's acting, writing: \"In the film's most naturalistic turn, Ayola is\n",
"a constant pleasure to watch. Unforced and appealing, she often succeeds\n",
"in pulling the fanciful fireworks momentarily back down to Earth.\"\n",
"The Boston Herald's Paul Sherman agrees that Ayola gives \"a winning\n",
"performance\", and deems the film \"generally charming\", though is\n",
"critical of Miramax's decision to hold the film's release back until\n",
"1997, change its title, and market it as a mystery rather than a\n",
"romantic comedy-drama. Lorien Haynes, writing for the Radio Times,\n",
"also praises the acting in the film, however is critical of the\n",
"cross-genre approach, opining: \"Unfortunately, the mixture of romance\n",
"and mystery doesn't work and even the combined acting talents of Vanessa\n",
"Redgrave, Jonathan Pryce, John Hurt and Dorothy Tutin can't save\n",
"it.\" She deems the film \"disappointing\", and writes that it\n",
"fails to match the success of Oranges Are Not the Only Fruit.\n",
"Gilbert Gerard for The Independent selected the film as recommended\n",
"viewing upon its BBC Two television debut, giving the mixed review: \"So\n",
"much acting talent, so little substance to play with - but the 1950s are\n",
"authentically enough evoked.\"\n",
"David Bleiler is more positive about the film, writing in his TLA Video\n",
"& DVD Guide that it \"isn't some third-rate, quick-paycheck hack job\n",
"mystery which the advertising suggests.\" He calls it \"an unusual,\n",
"rewarding drama Well-written by Jeanette Winterson and directed\n",
"with just the right amount of sensitivity and humor by Kidron\". Bleiler\n",
"states that the cast are \"stellar\", Ayola is \"radiant\", and the\n",
"revelatory scene between Angela and Gwendolyne is \"wonderful\",\n",
"asserting: \"Although slight, this is a perfect film for a nice, quiet\n",
"evening at home\". Alison Darren in her Lesbian film guide is also\n",
"positive, asserting that: \"Great Moments in Aviation is a little gem of\n",
"a British film\". She describes the resolution of the lesbian\n",
"storyline as \"a golden scene, beautifully photographed and exceptionally\n",
"well paced\", and asserts that \"For women of a certain age, this may\n",
"be the most heart-rending (not to say, inspirational) depiction of a\n",
"coming-out moment ever seen on screen. Whimsical, comic, dramatic and\n",
"gentle.\"\n",
"Soundtrack\n",
"While the soundtrack to Great Moments in Aviation was not released\n",
"independently, nine tracks from the film appear on the album \"A\n",
"Pyromaniac's Love Story\", which also features music from the film of the\n",
"same name and Ethan Frome. Variety magazine's David Rooney praised\n",
"Rachel Portman's composition as \"stirring\".\n",
"Notes\n",
"References\n",
"- \n",
"- \n",
"External links\n",
"- \n",
"- \n",
"- \n",
"- \n",
"- \n",
"Category:1993 films Category:British films Category:1990s drama films\n",
"Category:Romantic drama films Category:English-language films\n",
"Category:Films set in the 1950s Category:Miramax films Category:British\n",
"LGBT-related films Category:Aviation films\n",
" Winterson, Jeanette. Great Moments in Aviation. p. xii.\n",
" Winterson, Jeanette. Great Moments in Aviation. pp. x-xi.\n",
" Winterson, Jeanette. Great Moments in Aviation. pp. x-xi.\n",
" Winterson, Jeanette. Great Moments in Aviation. p. xi.\n",
" Winterson, Jeanette. Great Moments in Aviation. p. xiv.\n",
" Winterson, Jeanette. Great Moments in Aviation. p. 67.\n",
" Winterson, Jeanette. Great Moments in Aviation. p. xiii.\n",
" Winterson, Jeanette. Great Moments in Aviation. p. xiii.\n",
" Winterson, Jeanette. Great Moments in Aviation. pp. xiv-xv.\n",
"\n",
"\n",
"\n",
"Category: british-films\n",
"Index: 435\n",
"File: \n",
"/home/eml4u/EML4U/data/corpus/2021-02-10-wikipedia-texts/20201101-british-films/Great_Moments_in_Aviation.txt\n",
"Great Moments in Aviation is a 1994 British romantic drama film set on a\n",
"1950s passenger liner. The film follows Gabriel Angel (Rakie Ayola), a\n",
"young Caribbean aviator who falls in love with the forger Duncan Stewart\n",
"(Jonathan Pryce) on her journey to England. Stewart is pursued by his\n",
"nemesis Rex Goodyear (John Hurt), and the group are supported by Dr\n",
"Angela Bead (Vanessa Redgrave) and Miss Gwendolyn Quim (Dorothy Tutin),\n",
"retired missionaries who become lovers during the voyage.\n",
"The film was written by Jeanette Winterson, directed by Beeban Kidron\n",
"and produced by Phillippa Gregory, the same creative team that\n",
"collaborated on Winterson's Oranges Are Not the Only Fruit in 1990.\n",
"Winterson intended the screenplay to be reminiscent of a fairy tale, and\n",
"was unhappy at being asked to write a new ending for its American\n",
"release.\n",
"The film was shown at the 1994 Cannes Film Festival and broadcast on\n",
"British television in 1995. Although originally intended for theatrical\n",
"release, it failed to find a theatrical distributor, and was released\n",
"straight to video in the United States in 1997 under the title Shades of\n",
"Fear. The film received mixed to negative reviews from critics, and\n",
"while the lesbian sub-plot in particular was generally well received,\n",
"Winterson's scripting was a focal point of criticism.\n",
"Plot\n",
"Set in 1957, Great Moments in Aviation follows Gabriel Angel (Rakie\n",
"Ayola), a young Caribbean woman from Grenada who embarks on a cruise to\n",
"England with the intention of becoming an aviator. Upon boarding the\n",
"ship, Gabriel finds herself assigned shared sleeping quarters with\n",
"fellow passenger Duncan Stewart (Jonathan Pryce). The rest of the ship's\n",
"passengers, including missionaries Angela Bead (Vanessa Redgrave) and\n",
"Gwendolyne Quim (Dorothy Tutin) assume the two are married, and when\n",
"Professor Rex Goodyear (John Hurt) appears to recognise Duncan as his\n",
"old acquaintance Alasdair Birch, Duncan fosters the assumption to\n",
"maintain his cover. It transpires that Duncan is a forger, who many\n",
"years ago stole a Titian painting from Goodyear and had an affair with\n",
"his wife. Goodyear believes that his painting is on board the ship, and\n",
"leads Gabriel to believe that Duncan was responsible for his wife's\n",
"death. She is furious with Duncan for lying to her, but the two go on to\n",
"reconcile and later make love. Their romance is complicated by the fact\n",
"Gabriel professes to have a husband waiting for her in England. She\n",
"explains that he has been there for two years working, and she is\n",
"joining him so that she can fulfil her lifelong dream of becoming a\n",
"pilot — inspired by her grandfather Thomas (Oliver Samuels) who flew off\n",
"into a storm and never came home. They begin a relationship nonetheless,\n",
"supported by Angela and Gwendolyne, who also come to realise that they\n",
"have feelings for one another. They each confess to having secretly been\n",
"in love with the other for years, and become lovers, vowing to live\n",
"together in their retirement. It comes to light that the death of\n",
"Goodyear's wife was an accident, caused as he and Duncan fought over\n",
"her. Duncan returns his painting, and goes on to burn all his forged\n",
"documents and papers in front of Gabriel. She confesses that her\n",
"marriage to Michael is over, and she and Duncan resolve to begin a life\n",
"together. The film ends with Gabriel's grandmother Vesuvia (Carmen\n",
"Munroe) reading her family a letter from England, informing them that\n",
"Gabriel and Duncan are happy together, and are expecting a child. As the\n",
"family express their delight, Gabriel flies overhead, having finally\n",
"attained her pilot licence and become an aviator.\n",
"Cast\n",
"[John Hurt plays Rex Goodyear, a non-typical villain who \"may not be a\n",
"villain at all\".]\n",
"- Rakie Ayola as Gabriel Angel\n",
"- Jonathan Pryce as Duncan Stewart\n",
"- John Hurt as Professor Rex Goodyear\n",
"- Vanessa Redgrave as Doctor Angela Bead\n",
"- Dorothy Tutin as Miss Gwendolyne Quim\n",
"- Carmen Munroe as Vesuvia\n",
"- Oliver Samuels as Thomas\n",
"- David Harewood as Steward\n",
"Production\n",
"[Jonathan Pryce stars as Duncan Stewart: \"a forger, a fantasist, a most\n",
"compelling man.\"] Great Moments in Aviation was written by Jeanette\n",
"Winterson, directed by Beeban Kidron and produced by Phillippa Giles,\n",
"the same creative team who, in 1990, adapted Winterson's novel Oranges\n",
"Are Not the Only Fruit for television. Giles, for whom Great Moments\n",
"was her first feature film, believes that it was the success of Oranges\n",
"which lead the British Broadcasting Corporation (BBC) to approve the\n",
"film so easily. The screenplay is inspired by the emigration story of\n",
"the mother of actress Vicky Licorish, a close friend of Winterson. It\n",
"is adapted from a short story Winterson wrote entitled \"Atlantic\n",
"Crossing\", published in 1999 in her anthology The World and Other\n",
"Places. The central themes of the story are \"race, Hemingway,\n",
"colonialism, love, lust, the '50s\", adapted into the\n",
"screenplay in a manner Winterson intended to be reminiscent of a\n",
"fairytale. She ascribes the roles of hero and heroine to Duncan and\n",
"Gabriel, fairy godmothers to Miss Quim and Dr Bead, and non-archetypal\n",
"villain to Rex Goodyear. Setting the film on a passenger liner, with\n",
"brief scenes in Gabriel's native Grenada were intended to contribute\n",
"towards this fairytale atmosphere, with Winterson explaining that the\n",
"opening sequence in the Caribbean is \"designed to draw the audience out\n",
"of the world of their own concerns and into a world whose customs are\n",
"strange. In the new world, objects are unfamiliar and events do not\n",
"follow the usual rules. The coincidence of colour and language, each\n",
"more vivid than normal, pull the viewer forward with fairytale\n",
"immediacy.\" Of the passenger liner aspect, she explains that it\n",
"provides the film with: \"a sealed and contained world with its own\n",
"identity and rituals, at once both recognisable and odd. Fairytale never\n",
"leaves the reader in a familiar spot, we are whisked away to a wood or a\n",
"lake or a castle or an island, each a law unto itself made all the more\n",
"uncomfortable because it isn't as weird as, say, planet Mars. We think\n",
"we will be able to cope just by using out usual tool kit, how\n",
"disconcerting it is when we can't.\"\n",
"The film originally had a different ending to the one later released in\n",
"America under the title Shades of Fear. Miramax co-founder Harvey\n",
"Weinstein requested that the ending be reworked prior to distribution,\n",
"and Winterson was highly unhappy at being asked to write an additional\n",
"conclusionary scene. Winterson's preferred ending sees Rex Goodyear\n",
"burn the painting he believes to be fraudulent, only to discover he\n",
"actually had the genuine item in his possession all along, and has now\n",
"destroyed it. This ties in with the major theme of the film in\n",
"Winterson's eyes, whereby \"Duncan, Gabriel, Miss Bead and Miss Quim all\n",
"find something valuable where they least expected it, Rex Goodyear finds\n",
"that the things we value are very often worthless.\" Winterson has\n",
"called Weinstein \"a bully who knows the gentle touch\", referring to\n",
"the new ending as \"the most expensive words I will ever write\".\n",
"While she believes that the new ending is satisfying, she feels the film\n",
"has lost some dimensions which were important to her and concludes: \"It\n",
"is a good movie but it is not the movie I thought we could make. I\n",
"do like Great Moments but there is another film in there somewhere that\n",
"has got lost.\"\n",
"Of the starring cast, Pryce, Hurt, Redgrave and Tutin were already\n",
"established screen actors, while Ayola had previously only acted\n",
"theatrically. She appraised of her screen debut: \"it was a wonderful\n",
"experience for me to be appearing alongside so many established names.\n",
"It was very exciting although I must admit at first I was a bit daunted\n",
"by the prospect.\" The film featured several minor black characters,\n",
"either as members of Gabriel's family, or as workers aboard the ship.\n",
"When these roles were cast, complaints were made by black members of the\n",
"British actors' union to the BBC and the Department of Employment at\n",
"having been \"passed over\" in favour of overseas artists. The film\n",
"was shot from 23 September to 6 November 1992. It was funded in the\n",
"most part by the BBC, though a quarter of the budget came from the\n",
"American Miramax. While Kidron had previously come to dislike\n",
"directing for major studios when filming My Cousin Vinny for Fox, she\n",
"found the low budget of Great Moments in Aviation \"just as horrendous a\n",
"compromise\". Though originally intended for theatrical release,\n",
"the film failed to find theatrical distribution. It was first\n",
"screened at the Cannes Film Festival in 1994, then broadcast in\n",
"Britain on BBC Two on 11 November 1995. It was released on video in\n",
"the United States under the alternative title Shades of Fear two years\n",
"later, on 11 November 1997.\n",
"Reception\n",
"[Jeanette Winterson's screenplay attracted negative reviews from\n",
"critics.] The film received mixed to negative reviews from critics.\n",
"Thomas Sutcliffe for The Independent writes that: \"while flight is the\n",
"sustaining theme, the film never soars. The characterisation is Cluedo\n",
"with pretensions, and the dialogue suspends the actors in that ungainly,\n",
"undignified dangle which you associate with stage flying, the wires\n",
"robbing them of all powers of independent movement.\" While he\n",
"describes the scene which culminates the lesbian storyline as\n",
"\"radiant\" and \"beautifully acted by Vanessa Redgrave and Dorothy\n",
"Tutin\", he opines of the acting in general that \"for the most part,\n",
"these people are simply Winterson's puppets, jerked around by the\n",
"symbolic demands of the plot.\" He deems Kidron's directing \"a kind\n",
"of surrender, dutifully supplying visual equivalents for Winterson's\n",
"sterile symmetries but despairing of any greater vivacity\", and is\n",
"particularly critical of Winterson's screenplay, noting that:\n",
"\"everything unrolls at the same stately pace, a religious procession\n",
"bearing the reliquaries of Winterson's prose. It's as though the author\n",
"thinks every word is infinitely precious. She's right, though perhaps\n",
"not in the way she imagines.\" Variety′s David Rooney agrees the\n",
"film's coming-out scene is a \"potential jewel\" and \"captivatingly\n",
"played\", however, in line with Sutcliffe's criticisms, opines that\n",
"the film's pacing means that \"the scene is lobbed in and robbed of its\n",
"impact\". He summarises the film as \"a willfully theatrical,\n",
"sporadically magical romantic comedy embracing three barely compatible\n",
"narrative strands, not one of which ever gets full flight\n",
"clearance\". Rooney deems the film \"Damaged beyond repair by a\n",
"mannered scripting style and evident recutting\", and opines that\n",
"\"Jeanette Winterson's preposterous dialogue and comic mistiming serves\n",
"up more misses than hits\". Of the film's major themes, he writes\n",
"that: \"Questions about the line between truth and falsehood, genuine and\n",
"fake, are too flimsily voiced to mean much. Likewise, the intro of race\n",
"issues in the closing voiceover only makes the haphazard mix even more\n",
"lumpy\". [Vanessa Redgrave's performance as Angela Bead in the\n",
"lesbian sub-plot was well received.] More positively, Rooney praise Remi\n",
"Adefarasin's cinematography and Rachel Portman's soundtrack, as well as\n",
"Ayola's acting, writing: \"In the film's most naturalistic turn, Ayola is\n",
"a constant pleasure to watch. Unforced and appealing, she often succeeds\n",
"in pulling the fanciful fireworks momentarily back down to Earth.\"\n",
"The Boston Herald's Paul Sherman agrees that Ayola gives \"a winning\n",
"performance\", and deems the film \"generally charming\", though is\n",
"critical of Miramax's decision to hold the film's release back until\n",
"1997, change its title, and market it as a mystery rather than a\n",
"romantic comedy-drama. Lorien Haynes, writing for the Radio Times,\n",
"also praises the acting in the film, however is critical of the\n",
"cross-genre approach, opining: \"Unfortunately, the mixture of romance\n",
"and mystery doesn't work and even the combined acting talents of Vanessa\n",
"Redgrave, Jonathan Pryce, John Hurt and Dorothy Tutin can't save\n",
"it.\" She deems the film \"disappointing\", and writes that it\n",
"fails to match the success of Oranges Are Not the Only Fruit.\n",
"Gilbert Gerard for The Independent selected the film as recommended\n",
"viewing upon its BBC Two television debut, giving the mixed review: \"So\n",
"much acting talent, so little substance to play with - but the 1950s are\n",
"authentically enough evoked.\"\n",
"David Bleiler is more positive about the film, writing in his TLA Video\n",
"& DVD Guide that it \"isn't some third-rate, quick-paycheck hack job\n",
"mystery which the advertising suggests.\" He calls it \"an unusual,\n",
"rewarding drama Well-written by Jeanette Winterson and directed\n",
"with just the right amount of sensitivity and humor by Kidron\". Bleiler\n",
"states that the cast are \"stellar\", Ayola is \"radiant\", and the\n",
"revelatory scene between Angela and Gwendolyne is \"wonderful\",\n",
"asserting: \"Although slight, this is a perfect film for a nice, quiet\n",
"evening at home\". Alison Darren in her Lesbian Film Guide is also\n",
"positive, asserting that: \"Great Moments in Aviation is a little gem of\n",
"a British film\". She describes the resolution of the lesbian\n",
"storyline as \"a golden scene, beautifully photographed and exceptionally\n",
"well paced\", and asserts that \"For women of a certain age, this may\n",
"be the most heart-rending (not to say, inspirational) depiction of a\n",
"coming-out moment ever seen on screen. Whimsical, comic, dramatic and\n",
"gentle.\"\n",
"Soundtrack\n",
"While the soundtrack to Great Moments in Aviation was not released\n",
"independently, nine tracks from the film appear on the album \"A\n",
"Pyromaniac's Love Story\", which also features music from the film of the\n",
"same name and Ethan Frome. Variety magazine's David Rooney praised\n",
"Rachel Portman's composition as \"stirring\".\n",
"References\n",
"Bibliography\n",
"- \n",
"- \n",
"External links\n",
"- \n",
"- \n",
"- \n",
"- \n",
"Category:1993 films Category:1993 romantic drama films\n",
"Category:English-language films Category:British films Category:British\n",
"romantic drama films Category:British aviation films Category:British\n",
"LGBT-related films Category:Films shot at Pinewood Studios Category:BBC\n",
"Films films Category:Films set in 1957 Category:Films set in Grenada\n",
"Category:Films directed by Beeban Kidron Category:Films scored by Rachel\n",
"Portman Category:Films set on ships Category:1993 drama films\n",
" Winterson, Jeanette, Great Moments in Aviation, p. xii.\n",
" Winterson, Great Moments in Aviation, pp. x-xi.\n",
" Winterson, Great Moments in Aviation, p. xi.\n",
" Winterson, Great Moments in Aviation, p. xiv.\n",
" Winterson, Great Moments in Aviation, p. 67.\n",
" Winterson, Great Moments in Aviation, p. xiii.\n",
" Winterson, Great Moments in Aviation, pp. xiv-xv.\n",
"\n",
"\n"
]
}
],
"source": [
"print_source_text(id_british_a, id_british, differences_direct_sorted[len(differences_direct_sorted)-1][0])\n",
"print_source_text(id_british_b, id_british, differences_direct_sorted[len(differences_direct_sorted)-1][0])"
]
},
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