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Orlando (film)

February 23, 2023

Orlando is a 1992 British period drama fantasy film[3] loosely based on Virginia Woolf's 1928 novel Orlando: A Biography, starring Tilda Swinton as Orlando, Billy Zane as Marmaduke Bonthrop Shelmerdine, and Quentin Crisp as Queen Elizabeth I. It was written and directed by Sally Potter, who also co-wrote the score with David Motion.[4]

Orlando
Promotional poster
Directed bySally Potter
Screenplay bySally Potter
Based onOrlando: A Biography
by Virginia Woolf
Produced byChristopher Sheppard
Starring
CinematographyAleksei Rodionov
Edited byHervé Schneid
Music byDavid Motion
Sally Potter
Distributed bySony Pictures Classics
Release dates
  • September 1992 (1992-09) (Venice)
  • 12 March 1993 (1993-03-12) (United Kingdom)
Running time
93 minutes
CountriesUnited Kingdom
France
Italy
Netherlands
Russia
LanguageEnglish
Budget$4 million[1]
Box office$13 million[2]

Potter chose to film much of the Constantinople portion of the book in the isolated city of Khiva in Uzbekistan and made use of the forest of carved columns in the city's 18th century Djuma Mosque. Critics praised the film and particularly applauded its visual treatment of the settings of Woolf's novel. The film premiered in competition at the 49th Venice International Film Festival,[5] and was re-released in select U.S. cinemas in August 2010.[6][7]

Plot

The story begins in the Elizabethan era, shortly before the death of Queen Elizabeth I in 1603. On her deathbed, the queen promises an androgynous young nobleman named Orlando a large tract of land and a castle built on it, along with a generous monetary gift; both Orlando and his heirs would keep the land and inheritance forever, but Elizabeth will bequeath it to him only if he assents to an unusual command: "Do not fade. Do not wither. Do not grow old." Orlando acquiesces and reposes in splendid isolation in the castle for a couple of centuries during which time he dabbles in poetry and art. His attempts to befriend a celebrated poet backfire when the poet ridicules his verse. Orlando then travels to Constantinople as English ambassador to the Ottoman Empire, and is almost killed in a diplomatic fracas. Waking seven days later, he learns something startling: he has transformed into a woman.

The now Lady Orlando comes home to her estate in Middle-Eastern attire, only to learn that she faces several impending lawsuits arguing that Orlando was a woman all along and therefore has no right to the land or any of the royal inheritance that the queen had promised. The succeeding two centuries tire Orlando; the court case, bad luck in love, and the wars of British history eventually bring the story to the present day (i.e., the early 1990s). Orlando now has a young daughter in tow and is in search of a publisher for her book. (The literary editor who judges the work as "quite good" is portrayed by Heathcote Williams—the same actor who played the poet who had, earlier in the film, denigrated Orlando's poetry.) Having lived a most bizarre existence, Orlando, relaxing with her daughter, points out to her an angel.

Differences from the novel

Director Potter described her approach to the adaptation as follows:

My task...was to find a way of remaining true to the spirit of the book and to Virginia Woolf's intentions, whilst being ruthless with changing the book in any way necessary to make it work cinematically...The most immediate changes were structural. The storyline was simplified [and] any events which did not significantly further Orlando's story were dropped.[1]: 14 

The film contains some anachronisms not present in the novel. For example, upon Orlando's arrival in Constantinople in about the year 1700, England is referred to as a "green and pleasant land", a line from William Blake's Jerusalem, which in reality was not written until 1804.[8] Also, Orlando receives a gift to celebrate the new century from Queen Anne, who had in fact not yet succeeded to the throne.

Potter argued that "whereas the novel could withstand abstraction and arbitrariness (such as Orlando's change of sex), cinema is more pragmatic."[1]: 14  She continued,

There had to be reasons—however flimsy—to propel us along a journey based itself on a kind of suspension of disbelief. Thus, Queen Elizabeth bestows Orlando's long life upon him...whereas in the book it remains unexplained. And Orlando's change of sex in the film is the result of his having reached a crisis point—a crisis of masculine identity.[1]: 14–15 

At film's end, Orlando has a daughter, whereas in the novel she had a son.[1]: 15  Potter said that she intended Orlando's breaking the fourth wall to be an equivalent to Woolf's direct addresses to her readers,[a] and that this was her attempt at converting Woolf's literary wit into a more 'cinematic' humour.[1]: 15  One obvious similarity remained, however: The film ends in its present day, 1992,[1]: 15 [b] just as Woolf's novel ends in its present day, 1928.[9]

Cast

Production

When first pitching her treatment in 1984, Potter was told by "industry professionals" that the story was "unmakable, impossible, far too expensive and anyway not interesting."[1]: 16  Nevertheless, in 1988 she began writing the script and raising money.[1]: 16 

Potter saw Swinton in the Manfred Karge play Man to Man and said that there was a "profound subtlety about the way she took on male body language and handled maleness and femaleness." In Potter's words, Quentin Crisp was the "Queen of Queens...particularly in the context of Virginia Woolf's gender-bending politics" and thus fit to play the aged Queen Elizabeth.

Poetry

Portions of the following texts are used:[10]

Music

The following songs are featured:

Reception

Critical reception

Before Orlando's release in the United States in June 1993, Vincent Canby wrote in an effusively positive review:

This ravishing and witty spectacle invades the mind through eyes that are dazzled without ever being anesthetised. Throughout Ms. Potter's Orlando, as in Woolf's, there [is] a piercing kind of common sense and a joy that, because they are so rare these days in any medium, create their own kind of cinematic suspense and delightedly surprised laughter. Orlando could well become a classic of a very special kind—not mainstream perhaps—but a model for independent film makers who follow their own irrational muses, sometimes to unmourned obscurity, occasionally to glory.[11]

Canby, however, cautioned that while the novel stands on its own, he was not sure if the film does. He wrote, "Potter's achievement is in translating to film something of the breadth of Woolf's remarkable range of interests, not only in language and literature, but also in history, nature, weather, animals, the relation of the sexes and the very nature of the sexes."[11]

By contrast, Kenneth Turan of the Los Angeles Times described Orlando as "hollow...smug...and self-satisfied" and complained that "any kind of emotional connection to match [Orlando's] carefully constructed look...is simply not to be had."[12]

By 2010, Orlando was received as part of Potter's successful oeuvre with Matthew Connelly and had one critic affirming in the first line of his review that "Rarely have source material, director, and leading actress been more in alignment than in Orlando, the 1992 adaptation of Virginia Woolf's novel, directed by Sally Potter and starring Tilda Swinton...Watching Orlando some 17 years after its U.S. theatrical run, however, proves a welcome reminder of just how skillfully they [Potter and Swinton] marshalled their respective gifts here, how openly they entered into a dialogue with Woolf's playful, slippery text."[13]

The film's score at Rotten Tomatoes is 84% based on 62 reviews, with an average rating of 6.7/10 and the consensus: "Orlando can't match its visual delights with equally hefty narrative, but it's so much fun to watch that it doesn't need to."[14]

Box office

The film grossed $5.3 million in the United States and Canada.[15] It also grossed $2 million in the United Kingdom; $1.9 million in Italy; $1.6 million in Germany and over $1 million in Australia. By October 1993 it had grossed $13 million.[2]

Awards

Orlando was nominated for Academy Awards for Production (Ben Van Os, Jan Roelfs) and Costume Design (Sandy Powell).[16] The film was also nominated for the 1994 Independent Spirit Awards' Best Foreign Film award.[17] At the 29th Guldbagge Awards, the film was nominated for the Best Foreign Film award.[18]

Orlando: The Queer Element

 
Poster advertising Orlando: The Queer Element at Hanbury Hall

In 2017, the film was screened multiple times as part of a multi-media arts project Orlando: The Queer Element. The project explored issues of science and gender through history and was organised by the theatre company Clay & Diamonds, in association with organisations such as the BFI and the National Trust, with funding from the Wellcome Trust and Arts Council England.

A one-off immersive performance using five actors—some from the LGBT community—took place on Friday 24 March at the BFI Flare: London LGBT Film Festival, alongside a 25th Anniversary screening of the film.[19][20]

A separate series of performances was mounted in June by Clay & Diamonds with over 30 actors from the performance training company Fourth Monkey. Together they created a site-specific piece that was performed at the National Trust venues Hanbury Hall[21][22] and Knole house (the home of Vita Sackville-West, Woolf's lover, and the inspiration for Orlando). These performances were made for both the public and school audiences, with many of the performances featuring a screening of the film. The event also served part of the National Trust's "Prejudice and Pride" programme, which marked 50 years since the partial decriminalisation of homosexuality in the United Kingdom with the passage of the Sexual Offences Act 1967.[23]

The project also featured the screening of a number of short art films created by Masters in Design students at the Royal College of Art as well as a series of scientific workshops and lectures.[24]

2020 Met Gala inspiration

Orlando, both the film and the novel, was the primary inspiration for both the 2020 spring exhibition of the Costume Institute at the Metropolitan Museum of Art and the 2020 Met Gala. The exhibition, entitled "About Time: Fashion and Duration", was specifically inspired by the "labyrinth" scene in Orlando, where Tilda Swinton runs through the labyrinth dressed in an 18th-century gown before she reappears dressed in mid-19th century garb.[25] Using that scene as the initial inspiration, curator Andrew Bolton took "Orlando’s concept of time and the manner in which she/he moves seamlessly through the centuries" to "trace more than a century and a half of fashion, illustrating how garments of the past influence the present."[25] Although the COVID-19 pandemic forced the cancellation of the Met Gala, the opening of the exhibition itself was postponed until October 2020.[26]

Notes

  1. ^ See List of narrative techniques.
  2. ^ From the press kit: "[T]he ending of the film needed to be brought into the present in order to remain true to Virginia Woolf's use of real-time at the end of the novel (where the story finishes just as she puts down her pen to finish the book). Coming up to the present day meant acknowledging some key events of the 20th century—the two world wars, the electronic revolution—the contraction of space through time reinvented by speed."

References

  1. ^ a b c d e f g h i Soto, Samantha (26 May 2010). "Orlando: Press Kit" (PDF) (Press release). New York, NY: Sony Pictures Classics. Retrieved 3 April 2018.
  2. ^ a b "Box-office performance". Screen International. 26 November 1993. p. 13.
  3. ^ Young, R. G., ed. (2000). The Encyclopedia of Fantastic Film: Ali Baba to Zombies. New York: Applause. p. 468. ISBN 1-55783-269-2.
  4. ^ Glaessner, Verina (1998). "Potter, Sally". In Unterburger, Amy L. (ed.). Women Filmmakers & Their Films. Detroit, MI: St. James Press. pp. 336–337. ISBN 1-55862-357-4.
  5. ^ "Venezia, Libertà Per Gli Autori". La Repubblica. 31 July 1992. Retrieved 29 April 2014.
  6. ^ "Orlando". www.sonyclassics.com.
  7. ^ "Potter's Orlando set for US re-launch". Screen. 1 June 2010. Retrieved 2 April 2018.
  8. ^ Dibble, Jeremy (3 March 2016). "Jerusalem: a history of England's hymn". The Conversation. Retrieved 2 April 2018.
  9. ^ Marik, Mikkonen Niina (December 2015). Modernism and Time in Virginia Woolf's Orlando: A Biography (PDF) (Master's thesis). Finland: University of Eastern Finland (School of Humanities, Philosophical Faculty). p. 46. The only complete date given in the book is at the end, telling exactly when the narrative ends: "And the twelfth stroke of midnight sounded; the twelfth stroke of midnight, Thursday, the eleventh of October, Nineteen hundred and Twenty Eight".
  10. ^ . reocities.com. Archived from the original on 5 April 2012. Retrieved 2 April 2018.
  11. ^ a b Canby, Vincent (19 March 1993). "Review/Film Festival; Witty, Pretty, Bold, A Real She-Man". The New York Times. Retrieved 2 April 2018.
  12. ^ Turan, Kenneth (25 June 1993). "Lush 'Orlando' Makes Its Point Once Too Often". Los Angeles Times. p. F8. Retrieved 3 November 2022.
  13. ^ "Orlando - Film Review". Slant Magazine. 19 July 2010.
  14. ^ "Orlando". Rotten Tomatoes.
  15. ^ "Orlando (1993) - Release Summary - Box Office Mojo". www.boxofficemojo.com. Retrieved 7 October 2022.
  16. ^ "The 66th Academy Awards (1994) Nominees and Winners". oscars.org. Retrieved 4 August 2011.
  17. ^ Connors, Martin; Craddock, Jim, eds. (1999). "Orlando". VideoHound's Golden Movie Retriever 1999. Detroit: Visible Ink Press. p. 669. ISBN 1-57859-041-8. ISSN 1095-371X.
  18. ^ "Orlando (1992)". Swedish Film Institute. 23 March 2014.
  19. ^ "Interactive cinema event explores the queer element of Virginia Woolf's Orlando". www.bfi.org.uk. British Film Institute. 16 March 2017. Retrieved 31 December 2017.
  20. ^ "Orlando: The Queer Element at BFI Flare".
  21. ^ Bills-Geddes, Gary (31 May 2017). "The mysteries of gender at Hanbury Hall". Worcester News. Newsquest ltd. Retrieved 31 December 2017.
  22. ^ Archive page of Orlando: The Queer Element at Hanbury Hall on The National Trust's website
  23. ^ "Prejudice & Pride at Hanbury". National Trust.
  24. ^ "Orlando: The Queer Element". Home.
  25. ^ a b Catherine St Germans (4 May 2020). "Inside the Costume Drama That Inspired This Year's Met Gala Exhibit". avenuemagazine.com. Retrieved 4 April 2020.
  26. ^ Caroline Leaper (4 May 2020). "Everything you need to know about the Met Gala 2020 theme, "About Time: Fashion and Duration"". Daily Telegraph. Retrieved 4 May 2020.

Further reading

  • Barrett, Eileen; Cramer, Patricia, eds. (1995). "Two Orlandos: Controversies in Film & Fiction: Redirections: Challenging the Class Axe and Lesbian Erasure in Potter's Orlando, by Leslie K. Hankins". Re: Reading, Re: Writing, Re: Teaching Virginia Woolf. New York: Pace University Press. ISBN 978-0944473221. OCLC 32273822.
  • Craft-Fairchild, Catherine (2001). ""Same Person...Just a Different Sex": Sally Potter's Construction of Gender in "Orlando"". Woolf Studies Annual. Pace University Press. 7: 23–48. ISSN 1080-9317. JSTOR 24906451.
  • Hollinger, Karen; Winterhalter, Teresa (2001). "Orlando's Sister, Or Sally Potter Does Virginia Woolf in a Voice of Her Own". Style. Penn State University Press. 35 (2): 237–256. JSTOR 10.5325/style.35.2.237.
  • Winterson, Jeanette (3 September 2018). "'Different sex. Same person': how Woolf's Orlando became a trans triumph". The Guardian.

External links

February 23, 2023
orlando, film, orlando, 1992, british, period, drama, fantasy, film, loosely, based, virginia, woolf, 1928, novel, orlando, biography, starring, tilda, swinton, orlando, billy, zane, marmaduke, bonthrop, shelmerdine, quentin, crisp, queen, elizabeth, written, . Orlando is a 1992 British period drama fantasy film 3 loosely based on Virginia Woolf s 1928 novel Orlando A Biography starring Tilda Swinton as Orlando Billy Zane as Marmaduke Bonthrop Shelmerdine and Quentin Crisp as Queen Elizabeth I It was written and directed by Sally Potter who also co wrote the score with David Motion 4 OrlandoPromotional posterDirected bySally PotterScreenplay bySally PotterBased onOrlando A Biographyby Virginia WoolfProduced byChristopher SheppardStarringTilda Swinton Billy Zane Lothaire Bluteau John Wood Charlotte Valandrey Heathcote Williams Quentin CrispCinematographyAleksei RodionovEdited byHerve SchneidMusic byDavid MotionSally PotterDistributed bySony Pictures ClassicsRelease datesSeptember 1992 1992 09 Venice 12 March 1993 1993 03 12 United Kingdom Running time93 minutesCountriesUnited KingdomFranceItalyNetherlandsRussiaLanguageEnglishBudget 4 million 1 Box office 13 million 2 Potter chose to film much of the Constantinople portion of the book in the isolated city of Khiva in Uzbekistan and made use of the forest of carved columns in the city s 18th century Djuma Mosque Critics praised the film and particularly applauded its visual treatment of the settings of Woolf s novel The film premiered in competition at the 49th Venice International Film Festival 5 and was re released in select U S cinemas in August 2010 6 7 Contents 1 Plot 1 1 Differences from the novel 2 Cast 3 Production 3 1 Poetry 3 2 Music 4 Reception 4 1 Critical reception 4 2 Box office 5 Awards 6 Orlando The Queer Element 7 2020 Met Gala inspiration 8 Notes 9 References 10 Further reading 11 External linksPlot EditThe story begins in the Elizabethan era shortly before the death of Queen Elizabeth I in 1603 On her deathbed the queen promises an androgynous young nobleman named Orlando a large tract of land and a castle built on it along with a generous monetary gift both Orlando and his heirs would keep the land and inheritance forever but Elizabeth will bequeath it to him only if he assents to an unusual command Do not fade Do not wither Do not grow old Orlando acquiesces and reposes in splendid isolation in the castle for a couple of centuries during which time he dabbles in poetry and art His attempts to befriend a celebrated poet backfire when the poet ridicules his verse Orlando then travels to Constantinople as English ambassador to the Ottoman Empire and is almost killed in a diplomatic fracas Waking seven days later he learns something startling he has transformed into a woman The now Lady Orlando comes home to her estate in Middle Eastern attire only to learn that she faces several impending lawsuits arguing that Orlando was a woman all along and therefore has no right to the land or any of the royal inheritance that the queen had promised The succeeding two centuries tire Orlando the court case bad luck in love and the wars of British history eventually bring the story to the present day i e the early 1990s Orlando now has a young daughter in tow and is in search of a publisher for her book The literary editor who judges the work as quite good is portrayed by Heathcote Williams the same actor who played the poet who had earlier in the film denigrated Orlando s poetry Having lived a most bizarre existence Orlando relaxing with her daughter points out to her an angel Differences from the novel Edit Director Potter described her approach to the adaptation as follows My task was to find a way of remaining true to the spirit of the book and to Virginia Woolf s intentions whilst being ruthless with changing the book in any way necessary to make it work cinematically The most immediate changes were structural The storyline was simplified and any events which did not significantly further Orlando s story were dropped 1 14 The film contains some anachronisms not present in the novel For example upon Orlando s arrival in Constantinople in about the year 1700 England is referred to as a green and pleasant land a line from William Blake s Jerusalem which in reality was not written until 1804 8 Also Orlando receives a gift to celebrate the new century from Queen Anne who had in fact not yet succeeded to the throne Potter argued that whereas the novel could withstand abstraction and arbitrariness such as Orlando s change of sex cinema is more pragmatic 1 14 She continued There had to be reasons however flimsy to propel us along a journey based itself on a kind of suspension of disbelief Thus Queen Elizabeth bestows Orlando s long life upon him whereas in the book it remains unexplained And Orlando s change of sex in the film is the result of his having reached a crisis point a crisis of masculine identity 1 14 15 At film s end Orlando has a daughter whereas in the novel she had a son 1 15 Potter said that she intended Orlando s breaking the fourth wall to be an equivalent to Woolf s direct addresses to her readers a and that this was her attempt at converting Woolf s literary wit into a more cinematic humour 1 15 One obvious similarity remained however The film ends in its present day 1992 1 15 b just as Woolf s novel ends in its present day 1928 9 Cast EditTilda Swinton as Orlando Quentin Crisp as Elizabeth I Jimmy Somerville as Falsetto Angel John Wood as Archduke Harry John Bott as Orlando s Father Elaine Banham as Orlando s Mother Anna Farnworth as Clorinda Sara Mair Thomas as Favilla Anna Healy as Euphrosyne Dudley Sutton as James I Simon Russell Beale as Earl of Moray Matthew Sim as Lord Francis Vere Charlotte Valandrey as Princess Sasha Toby Stephens as Othello Oleg Pogudin credited as Oleg Pogodin as Desdemona Heathcote Williams as Nick Greene The Publisher Lothaire Bluteau as The Khan Thom Hoffman as William III Sarah Crowden as Mary II Billy Zane as Shelmerdine Ned Sherrin as Addison Kathryn Hunter as Countess Roger Hammond as Swift Peter Eyre as Pope Toby Jones as Second ValetProduction EditWhen first pitching her treatment in 1984 Potter was told by industry professionals that the story was unmakable impossible far too expensive and anyway not interesting 1 16 Nevertheless in 1988 she began writing the script and raising money 1 16 Potter saw Swinton in the Manfred Karge play Man to Man and said that there was a profound subtlety about the way she took on male body language and handled maleness and femaleness In Potter s words Quentin Crisp was the Queen of Queens particularly in the context of Virginia Woolf s gender bending politics and thus fit to play the aged Queen Elizabeth Poetry Edit Portions of the following texts are used 10 The Faerie Queene by Edmund Spenser Shakespeare s Othello and Sonnet 29 Women Surat an Nisaʼ from the Quran The Indian Serenade and The Revolt of Islam by Percy Bysshe ShelleyMusic Edit The following songs are featured Jimmy Somerville Eliza Is the Fairest Queen composed by Edward Johnson Andrew Watts with Peter Hayward on harpsichord Where er You Walk from Semele composed by George Frideric Handel Jimmy Somerville Coming composed by Potter Jimmy Somerville and David Motion Anonymous Pavana Reception EditCritical reception EditBefore Orlando s release in the United States in June 1993 Vincent Canby wrote in an effusively positive review This ravishing and witty spectacle invades the mind through eyes that are dazzled without ever being anesthetised Throughout Ms Potter s Orlando as in Woolf s there is a piercing kind of common sense and a joy that because they are so rare these days in any medium create their own kind of cinematic suspense and delightedly surprised laughter Orlando could well become a classic of a very special kind not mainstream perhaps but a model for independent film makers who follow their own irrational muses sometimes to unmourned obscurity occasionally to glory 11 Canby however cautioned that while the novel stands on its own he was not sure if the film does He wrote Potter s achievement is in translating to film something of the breadth of Woolf s remarkable range of interests not only in language and literature but also in history nature weather animals the relation of the sexes and the very nature of the sexes 11 By contrast Kenneth Turan of the Los Angeles Times described Orlando as hollow smug and self satisfied and complained that any kind of emotional connection to match Orlando s carefully constructed look is simply not to be had 12 By 2010 Orlando was received as part of Potter s successful oeuvre with Matthew Connelly and had one critic affirming in the first line of his review that Rarely have source material director and leading actress been more in alignment than in Orlando the 1992 adaptation of Virginia Woolf s novel directed by Sally Potter and starring Tilda Swinton Watching Orlando some 17 years after its U S theatrical run however proves a welcome reminder of just how skillfully they Potter and Swinton marshalled their respective gifts here how openly they entered into a dialogue with Woolf s playful slippery text 13 The film s score at Rotten Tomatoes is 84 based on 62 reviews with an average rating of 6 7 10 and the consensus Orlando can t match its visual delights with equally hefty narrative but it s so much fun to watch that it doesn t need to 14 Box office Edit The film grossed 5 3 million in the United States and Canada 15 It also grossed 2 million in the United Kingdom 1 9 million in Italy 1 6 million in Germany and over 1 million in Australia By October 1993 it had grossed 13 million 2 Awards EditOrlando was nominated for Academy Awards for Production Ben Van Os Jan Roelfs and Costume Design Sandy Powell 16 The film was also nominated for the 1994 Independent Spirit Awards Best Foreign Film award 17 At the 29th Guldbagge Awards the film was nominated for the Best Foreign Film award 18 Orlando The Queer Element Edit Poster advertising Orlando The Queer Element at Hanbury Hall In 2017 the film was screened multiple times as part of a multi media arts project Orlando The Queer Element The project explored issues of science and gender through history and was organised by the theatre company Clay amp Diamonds in association with organisations such as the BFI and the National Trust with funding from the Wellcome Trust and Arts Council England A one off immersive performance using five actors some from the LGBT community took place on Friday 24 March at the BFI Flare London LGBT Film Festival alongside a 25th Anniversary screening of the film 19 20 A separate series of performances was mounted in June by Clay amp Diamonds with over 30 actors from the performance training company Fourth Monkey Together they created a site specific piece that was performed at the National Trust venues Hanbury Hall 21 22 and Knole house the home of Vita Sackville West Woolf s lover and the inspiration for Orlando These performances were made for both the public and school audiences with many of the performances featuring a screening of the film The event also served part of the National Trust s Prejudice and Pride programme which marked 50 years since the partial decriminalisation of homosexuality in the United Kingdom with the passage of the Sexual Offences Act 1967 23 The project also featured the screening of a number of short art films created by Masters in Design students at the Royal College of Art as well as a series of scientific workshops and lectures 24 2020 Met Gala inspiration EditOrlando both the film and the novel was the primary inspiration for both the 2020 spring exhibition of the Costume Institute at the Metropolitan Museum of Art and the 2020 Met Gala The exhibition entitled About Time Fashion and Duration was specifically inspired by the labyrinth scene in Orlando where Tilda Swinton runs through the labyrinth dressed in an 18th century gown before she reappears dressed in mid 19th century garb 25 Using that scene as the initial inspiration curator Andrew Bolton took Orlando s concept of time and the manner in which she he moves seamlessly through the centuries to trace more than a century and a half of fashion illustrating how garments of the past influence the present 25 Although the COVID 19 pandemic forced the cancellation of the Met Gala the opening of the exhibition itself was postponed until October 2020 26 Notes Edit See List of narrative techniques From the press kit T he ending of the film needed to be brought into the present in order to remain true to Virginia Woolf s use of real time at the end of the novel where the story finishes just as she puts down her pen to finish the book Coming up to the present day meant acknowledging some key events of the 20th century the two world wars the electronic revolution the contraction of space through time reinvented by speed References Edit a b c d e f g h i Soto Samantha 26 May 2010 Orlando Press Kit PDF Press release New York NY Sony Pictures Classics Retrieved 3 April 2018 a b Box office performance Screen International 26 November 1993 p 13 Young R G ed 2000 The Encyclopedia of Fantastic Film Ali Baba to Zombies New York Applause p 468 ISBN 1 55783 269 2 Glaessner Verina 1998 Potter Sally In Unterburger Amy L ed Women Filmmakers amp Their Films Detroit MI St James Press pp 336 337 ISBN 1 55862 357 4 Venezia Liberta Per Gli Autori La Repubblica 31 July 1992 Retrieved 29 April 2014 Orlando www sonyclassics com Potter s Orlando set for US re launch Screen 1 June 2010 Retrieved 2 April 2018 Dibble Jeremy 3 March 2016 Jerusalem a history of England s hymn The Conversation Retrieved 2 April 2018 Marik Mikkonen Niina December 2015 Modernism and Time in Virginia Woolf sOrlando A Biography PDF Master s thesis Finland University of Eastern Finland School of Humanities Philosophical Faculty p 46 The only complete date given in the book is at the end telling exactly when the narrative ends And the twelfth stroke of midnight sounded the twelfth stroke of midnight Thursday the eleventh of October Nineteen hundred and Twenty Eight Poetry amp Lyrics reocities com Archived from the original on 5 April 2012 Retrieved 2 April 2018 a b Canby Vincent 19 March 1993 Review Film Festival Witty Pretty Bold A Real She Man The New York Times Retrieved 2 April 2018 Turan Kenneth 25 June 1993 Lush Orlando Makes Its Point Once Too Often Los Angeles Times p F8 Retrieved 3 November 2022 Orlando Film Review Slant Magazine 19 July 2010 Orlando Rotten Tomatoes Orlando 1993 Release Summary Box Office Mojo www boxofficemojo com Retrieved 7 October 2022 The 66th Academy Awards 1994 Nominees and Winners oscars org Retrieved 4 August 2011 Connors Martin Craddock Jim eds 1999 Orlando VideoHound s Golden Movie Retriever 1999 Detroit Visible Ink Press p 669 ISBN 1 57859 041 8 ISSN 1095 371X Orlando 1992 Swedish Film Institute 23 March 2014 Interactive cinema event explores the queer element of Virginia Woolf s Orlando www bfi org uk British Film Institute 16 March 2017 Retrieved 31 December 2017 Orlando The Queer Element at BFI Flare Bills Geddes Gary 31 May 2017 The mysteries of gender at Hanbury Hall Worcester News Newsquest ltd Retrieved 31 December 2017 Archive page of Orlando The Queer Element at Hanbury Hall on The National Trust s website Prejudice amp Pride at Hanbury National Trust Orlando The Queer Element Home a b Catherine St Germans 4 May 2020 Inside the Costume Drama That Inspired This Year s Met Gala Exhibit avenuemagazine com Retrieved 4 April 2020 Caroline Leaper 4 May 2020 Everything you need to know about the Met Gala 2020 theme About Time Fashion and Duration Daily Telegraph Retrieved 4 May 2020 Further reading EditBarrett Eileen Cramer Patricia eds 1995 Two Orlandos Controversies in Film amp Fiction Redirections Challenging the Class Axe and Lesbian Erasure in Potter s Orlando by Leslie K Hankins Re Reading Re Writing Re Teaching Virginia Woolf New York Pace University Press ISBN 978 0944473221 OCLC 32273822 Craft Fairchild Catherine 2001 Same Person Just a Different Sex Sally Potter s Construction of Gender in Orlando Woolf Studies Annual Pace University Press 7 23 48 ISSN 1080 9317 JSTOR 24906451 Hollinger Karen Winterhalter Teresa 2001 Orlando s Sister Or Sally Potter Does Virginia Woolf in a Voice of Her Own Style Penn State University Press 35 2 237 256 JSTOR 10 5325 style 35 2 237 Winterson Jeanette 3 September 2018 Different sex Same person how Woolf s Orlando became a trans triumph The Guardian External links EditOfficial website Orlando at IMDb Orlando at AllMovie Orlando at Box Office Mojo Orlando at Rotten Tomatoes Orlando at the TCM Movie Database Yahoo Movies IMP Awards Retrieved from https en wikipedia org w index php title Orlando film amp oldid 1131968940, wikipedia, wiki, book, books, library,

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