NEW AGE IN MEDIA: The WALL STREET JOURNAL’s John Anderson noted the voiceover content has been “‘composed’ out of Chamberlain’s own writings and public statements.” Anderson: “Knowing this going in may skew a viewer’s perception for me, the delivery by Robot Chamberlain seemed stiff.” The “recurring shadow-puppet motif - to which the directors resort when their story lacks corresponding film footage - exacerbates the sense of artifice” ( WALL STREET JOURNAL, 7/13). Co-director Rob Ford said that the film “aims to allow the audience to better understand Chamberlain.” He said the film “has infinite layers.” The directors thought that there was “no one better … to narrate Chamberlain’s story than himself.” An actor was “hired to read passages from Chamberlain’s three autobiographies and statements he was quoted as saying in news articles.” The filmmakers then “used an artificial-intelligence program to alter the tenor of the actor, matching Chamberlain’s voice based on hours of recordings gathered over the years.” The film directors said that they “made sure to get the approval of Chamberlain’s family” ( PHILADELPHIA INQUIRER, 7/14). The documentary includes interviews with Chamberlain’s family and other HOFers.
#Richard chamberlain now series#
The three-part series about Chamberlain’s life also airs Sunday night on Showtime. In hugging Fee and crying in grief, and in resolving her differences with Justine, Meggie finally finds the peace she needs in life she is then able to let go of Ralph when the inevitable takes him from her for good.Artificial intelligence is used to “recreate” Basketball HOFer Wilt Chamberlain’s voice for “narration” in the documentary “Goliath,” which begins streaming on Paramount+ on Friday, according to Matt Breen of the PHILADELPHIA INQUIRER. That is why, to me, the most profoundly moving scenes in this entire series are right near the end: 1) when the old Fee has to tell Meggie that her son Dane has died, and she caresses Meggie's face for the first time in both their lives, and 2) the scene in the stable barn, between Meggie and Justine, as they confront the truth: that Meggie does love Justine, but Dane WAS the favorite child, for reasons beyond Justine's control. Meggie choses to love someone who cannot commit to her, Justine choses to avoid love altogether and throw herself into acting to escape reality, Frank goes off and kills a man because he cannot deal with loving his mother too much, Ralph reveals his mother abandoned him early so he too inclines towards a non-committal type of love with Meggie and escapes through the church, etc.) The pattern develops early and continues throughout the lives of the Clearys. It is this basic lack of love that each child feels from his or her mother that determines the choices they make in life (i.e. Meggie is an afterthought to her mother Fee until the very end of the story (Frank is her favorite child, even though he is troubled, because Frank was the love child of a pre-marital affair), and later on when Meggie becomes a mother Dane is her favorite child (also a product of a clandestine love), and her daughter Justine is the afterthought. This theme is the real heart tugger here.
While the main thrust of this story and film appears on the surface to be the love of a Roman Catholic priest for a young girl whom he sees grow into adulthood, the underlying, truly poignant aspect of this story is about the long-term effects of what happens to children when mothers love one child more than another. The casting was perfect in every way to bring the story of the Australian Cleary family to life so vividly (Jean Simmons as the mother "Fee" won the Emmy Award that year unfortunately Henry Mancini didn't for his gorgeous musical score, and he deserved to win!).
#Richard chamberlain now tv#
For anyone who has suffered through the slings and arrows of outrageous misfortune in love, this 1983 mini-series will touch their hearts like no other film or TV series ever made.
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