Pencil Portrait by Antonio Bosano.
The quality of the prints are at a much higher level compared to the image shown on the left.
A3 Pencil Print-Price £45.00-Purchase
A4 Pencil Print-Price £30.00-Purchase
*Limited edition run of 250 prints only*
All Pencil Prints are printed on the finest Bockingford Somerset Velvet 255 gsm paper.
P&P is not included in the above prices.
Desert Island Discs (2/8/80)
The Keys of the Kingdom (1945)
Duel in the sun (1946)
Roman Holiday (1953)
The Big Country (1959)
The Guns of Navarone (1961)
A huge box office hit in its day and a perennial feature of New Year’s Eve television listings, ‘The guns of Navarone’ has suffered in recent decades from broadcast overkill, yet those lucky enough to have caught the movie throughout its initial theatrical run, will recall its superb cinematography and widescreen credentials.
Thankfully, we can now ditch all the conventional/cable TV, VHS and even Laserdisc versions, thanks to a new UCLA restoration now available on DVD. The film won the Best Special Effects Academy Award back in 1961 and it’s easy to see why. Even today, the film remains both impressive and filled with breathtaking action. The high definition upgrade betrays nothing of the film’s antiquity, the initial mountaineering sequence as Peck scales an almost impossible rock face, still visually breathtaking.
The storyline is familiar to millions. Academy Award winners Gregory Peck, David Niven and Anthony Quinn star as a team of Allied military specialists recruited for a dangerous but imperative mission; namely to infiltrate a Nazi-occupied fortress and disable two long-range field guns, so that 2000 trapped British soldiers may be rescued. Faced with an unforgiving sea voyage, hazardous terrain, and the possibility of a traitor among them, the team must overcome the impossible without losing their own lives.
Filmed on Rhodes island, the editing is top-notch, a lovingly woven tapestry with nice artistic dissolves, fades and graphics transitioning scenes. Character development is evenly paced – Baker’s escalating cowardice, Niven’s political proselytising, Quinn’s enmity towards Peck – whilst the accompanying soundtrack music ably enhances the movie’s taut editing.
There he is on screen – that authority figure of quiet dignity and uncompromising single-mindedness – who beguiled cinema audiences in their droves for more than two decades.
Then there was the darker side to his film persona, a man fatalistically possessed by hidden demons that push him toward the brink of madness and murder, culminating in his performance as Dr. Joseph Mengele in “The Boys of Brazil” (1978), a late career volte- face that shook critics to the core and alienated his admirers in equal measure.
One of the postwar era’s most successful actors, Gregory Peck was long the moral conscience of the silver screen; his performances embodying, almost without exception, the virtues of strength, conviction, and intelligence, so highly valued by American audiences.