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Post by hi224 on Jan 25, 2019 5:48:44 GMT
so thoughts here?.
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Post by politicidal on Jan 25, 2019 17:37:31 GMT
Effective thriller. Real intense at the end. Hepburn and Arkin were really good.
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Post by bravomailer on Jan 25, 2019 17:46:37 GMT
Arkin's Harry Roat is one of the best villains in film. Jack Weston and Richard Crenna play well against type as henchmen. One of the first "jump scares"?
"I let them do it their way, right up to the very end. And then, topsy-turvy. Me topsy and them turvy."
– Harry Roat
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Post by teleadm on Jan 25, 2019 18:11:32 GMT
I liked it, even if it's a bit theatrical in it's setting in an isolated area for most of it's running time. It didn't bother me, but it might bother others.
Audrey, Arkin and Crenna are great, while Zimbalist Jr is a bit wasted.
Terence Young was a very uneven director, but this might be one of his best.
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Post by fangirl1975 on Jan 25, 2019 21:44:26 GMT
Excellent thriller.
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Post by teleadm on Jan 25, 2019 23:57:44 GMT
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Post by rudeboy on Jan 26, 2019 0:11:45 GMT
Tense thriller with a good performance by Hepburn and a great one by Arkin.
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Post by mikef6 on Jan 26, 2019 1:51:38 GMT
I absolutely love “Wait Until Dark.” It is one of my favorite movies to watch just for fun. I went to see it several times when it was first released. As I have written elsewhere, I took all my friends to see it (separately) so I could laugh at their reaction to the climactic moment. It backfired on me when the guy next to me yelled, “Holy shit!” and grabbed my arm which was holding a large drink, spilling soda all over me. “Wait Until Dark” had inadvertently invented two of the most insidious clichés ever. Both are still very much in use in today’s so-called “horror” movies. I mean the jump scare (as bravomailer has already pointed out) and the most stupid trope of all, the killer who is supposedly dead but jumps up again to threaten the protags. I don’t blame WUD at all for this, just the lazy film makers who, over 50 years later, are still copying it.
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Post by Doghouse6 on Jan 26, 2019 2:17:47 GMT
“Wait Until Dark” had inadvertently invented two of the most insidious clichés ever. Both are still very much in use in today’s so-called “horror” movies. I mean the jump scare (as bravomailer has already pointed out) and the most stupid trope of all, the killer who is supposedly dead but jumps up again to threaten the protags. I don’t blame WUD at all for this, just the lazy film makers who, over 50 years later, are still copying it. In the interest of both historical perspective and credit where it's due, it's fair to point out that both arose (pun slightly intended) directly from the 1966 B'way play. And as much fun as it is to consider that a beaten-to-death (yeah, another pun) film trope originated on the stage, the "jump scare" itself has cinematic roots. Most historians seem to trace its origin to 1942's Val Lewton-Jacques Tourneur Cat People: It was employed for Lewton again by Robert Wise in 1945's The Body Snatcher (with a snorting horse in place of the wheezing bus). Alfred Hitchcock updated it with some rapid-fire editing in 1960's Psycho, when Lila's glimpse of her own reflection in a mirror across the room elicits her sudden gasp.
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Post by petrolino on Jan 26, 2019 2:23:55 GMT
It's one of Steven Spielberg's favourite movies. Lewis Teague too.
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Post by mikef6 on Jan 26, 2019 2:48:59 GMT
“Wait Until Dark” had inadvertently invented two of the most insidious clichés ever. Both are still very much in use in today’s so-called “horror” movies. I mean the jump scare (as bravomailer has already pointed out) and the most stupid trope of all, the killer who is supposedly dead but jumps up again to threaten the protags. I don’t blame WUD at all for this, just the lazy film makers who, over 50 years later, are still copying it. In the interest of both historical perspective and credit where it's due, it's fair to point out that both arose (pun slightly intended) directly from the 1966 B'way play. And as much fun as it is to consider that a beaten-to-death (yeah, another pun) film trope originated on the stage, the "jump scare" itself has cinematic roots. Most historians seem to trace its origin to 1942's Val Lewton-Jacques Tourneur Cat People: It was employed for Lewton again by Robert Wise in 1945's The Body Snatcher (with a snorting horse in place of the wheezing bus). Alfred Hitchcock updated it with some rapid-fire editing in 1960's Psycho, when Lila's glimpse of her own reflection in a mirror across the room elicits her sudden gasp. Thanks for the historical perspective on the "jump scare." But I still think the "dead villain is really alive" trope was launched by WUD. And since you brought up the Broadway play, the original cast was Lee Remick as Susy and Robert Duvall as Roat. How great would that have been?
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Post by BATouttaheck on Jan 26, 2019 4:34:59 GMT
It was quite good ! This is the playbill I have!
Found this about the 1999 Revival: Quentin Tarantino Broadway debut Harry Roat, Jr. Marisa Tomei Broadway debut Susy Hendrix
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Post by mikef6 on Jan 26, 2019 4:41:44 GMT
It was quite good !
1999 Revival: Quentin Tarantino Broadway debut Harry Roat, Jr. Marisa Tomei Broadway debut Susy Hendrix Hey, lucky guy. I can only dream. Tarantino as Roat. I can almost envision it.
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Post by bravomailer on Jan 26, 2019 5:23:07 GMT
“Wait Until Dark” had inadvertently invented two of the most insidious clichés ever. Both are still very much in use in today’s so-called “horror” movies. I mean the jump scare (as bravomailer has already pointed out) and the most stupid trope of all, the killer who is supposedly dead but jumps up again to threaten the protags. I don’t blame WUD at all for this, just the lazy film makers who, over 50 years later, are still copying it. I agree completely.
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Post by Doghouse6 on Jan 26, 2019 16:08:15 GMT
In the interest of both historical perspective and credit where it's due, it's fair to point out that both arose (pun slightly intended) directly from the 1966 B'way play. And as much fun as it is to consider that a beaten-to-death (yeah, another pun) film trope originated on the stage, the "jump scare" itself has cinematic roots. Most historians seem to trace its origin to 1942's Val Lewton-Jacques Tourneur Cat People: It was employed for Lewton again by Robert Wise in 1945's The Body Snatcher (with a snorting horse in place of the wheezing bus). Alfred Hitchcock updated it with some rapid-fire editing in 1960's Psycho, when Lila's glimpse of her own reflection in a mirror across the room elicits her sudden gasp. Thanks for the historical perspective on the "jump scare." But I still think the "dead villain is really alive" trope was launched by WUD. And since you brought up the Broadway play, the original cast was Lee Remick as Susy and Robert Duvall as Roat. How great would that have been? Oh yes, I'm sure that's the case about the trope. I imagine if Richard Boleslawski had thought of the gimmick in 1932, he might have used it for Lionel Barrymore's extended death scene in Rasputin and the Empress, in which he withstands poison, savage beatings with hands and a fireplace poker before finally being drowned in a freezing lake (brother John even screams in hysterical frustration halfway through the scene, "Why don't you die?"). I remember seeing a regional theater production of WUD in the mid-'70s (I can't even recall now who was in it), and wondered how well Roat's leap would work onstage. It turned out to be every bit as alarming as it was on film. That's something about which I'm sure BATouttaheck can speak even more emphatically, having seen it on B'way before the film was made.
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Post by kijii on Jan 26, 2019 16:10:10 GMT
Good lighting....
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Post by BATouttaheck on Jan 26, 2019 16:18:31 GMT
Doghouse6 Yahoo shows a Playbill with an unfamiliar (to me) theater name on it with Ann Blythe in the starring role. I suspect it was a production on that other coast, As for speaking (emphatically or not ) about the Remick/Duvall version... all I know is that I must have liked it as I would remember in more detail if I did not … it was a looooooooooooooooong time ago and the pile of playbills are there to remind me of what I saw. It gets muddles sometimes because we used to pick up Playbills from shows we had not actually seen but they are in another box (mostly )
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Post by mikef6 on Jan 26, 2019 16:21:30 GMT
Oh yes, I'm sure that's the case about the trope. I imagine if Richard Boleslawski had thought of the gimmick in 1932, he might have used it for Lionel Barrymore's extended death scene in Rasputin and the Empress, in which he withstands poison, savage beatings with hands and a fireplace poker before finally being drowned in a freezing lake ( brother John even screams in hysterical frustration halfway through the scene, "Why don't you die?"). I remember seeing a regional theater production of WUD in the mid-'70s (I can't even recall now who was in it), and wondered how well Roat's leap would work onstage. It turned out to be every bit as alarming as it was on film. That's something about which I'm sure BATouttaheck can speak even more emphatically, having seen it on B'way before the film was made.
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Post by Doghouse6 on Jan 26, 2019 17:17:36 GMT
Doghouse6 Yahoo shows a Playbill with an unfamiliar (to me) theater name on it with Ann Blythe in the starring role. I suspect it was a production on that other coast, I think the one I saw was in San Jose ("that other coast"), but I'm sure it wasn't with Blyth...the not-so-dolce Veda (couldn't resist).
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Post by BATouttaheck on Jan 27, 2019 0:09:58 GMT
Doghouse6 looks like it has been done many times on stage ! picture linksRE Veda …. am sure that you valiantly resisted
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