 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I really miss him. His humour, his wisdom, just his huamenly heart. His was a voice of reason.
He had intelligence, knowledge of the world. He was a TRUE world citizen.
He was so great...
|
|
|
|
|
|
Yes, Philipp, there is a void isn't there? Out of curiousity, was there any particular 'thing or event' that made you feel this? What was the urge that made you realize his absence?
I enjoyed him in 'TOPKAPI' as well as one of his last performances in 'LORENZO'S OIL'.
|
|
|
|
|
|
Nothing special, really. I alway mourned his absenced, since he died, because he always made a huge impression on me, even when I was a kid. He was like the first role model I had.
|
|
|
|
|
|
|
|
|
|
Hey Avie...
doesn't that first picture you posted look an awful lot like Goldsmith?
|
|
|
|
|
|
I've always enjoyed Peter Ustinov. His performance in Spartcus is excellent! I've always wanted to see that cruddy Charlie Chan movie he did because, if nothing else, watching him would surely be entertaining (there's only a fullscreen DVD of it as of yet). I also immensely enjoyed his Hercule Poirot films (Death on the Nile being the best), and he was very memorable in Lorenzo's Oil.
I remember him being hilarious in that wacky Beau Geste spoof in the seventies (was he the one with the wooden limb?). And hey...who can forget him in the Great Muppet Caper? 
|
|
|
|
|
|
Hey Avie...doesn't that first picture you posted look an awful lot like Goldsmith?
You're just extrapolating the sight of a long, white ponytail behind his head.
I don't think he ever sported one himself but, Protean Renaissance Man that he was, Ustinov was probably capable of scoring a film that would've done Jerry proud.
Oddly, enough, despite their long careers, Ustinov's and Goldsmith's careers only converged once (if my memory doesn't fail me), with LOGAN'S RUN.
|
|
|
|
|
|
|
|
|
|
Ustinov was always brilliant when he rewrote other people’s lines. Reportedly, he wrote most of his scenes in SPARTACUS. I always loved his quip to the servant holding the umbrella over him, “The sun’s over there.”
But, curiously, the plays hecwrote, though often produced, were whimsical comedies, but mostly flat: “Romanoff and Juliet,” “The Love of Four Colonels,” “The Unknown Soldier and His Wife,” and one I actually saw, “Halfway Up the Tree.” This was about a man who, fed up with life, decides to spend his remaining years, literally up in a tree next to his house, with numerous ensuing family issues. Whimsical, but contrived, something more suited to a TV movie.
But I’ll always remember him in his films in the early 50’s. He once observed that, as his roles evolved from emperor in QUO VADIS, to king in BEAU BRUMMEL, he was treated like royalty by the crew, until he played the slave, Kaptah, in THE EGYPTIAN, where the crew was more likely to treat him like the outcast his character was. Clothes make the man, I guess.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
