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Post by BATouttaheck on Jun 11, 2020 22:56:59 GMT
A large scale model of USS Caine from the climactic typhoon scene (with the vessel's mast and forward funnel damaged) can be seen during the bicycle chase through the Warner Bros. lot in Pee Wee's Big Adventure (1985)
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Post by london777 on Jul 18, 2020 3:43:26 GMT
Much of The Wild Pear Tree (2018) dir: Nuri Bilge Ceylan is set in the Turkish town of Çanakkale. On the waterfront is this idiosyncratic "Wooden Horse". In one dream sequence the hero hides inside it from the authorities after damaging a historic bridge. It is the same wooden horse created for Wolfgang Petersen's Troy (2004).
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Post by Doghouse6 on Jul 18, 2020 14:41:51 GMT
Much of The Wild Pear Tree (2018) dir: Nuri Bilge Ceylan is set in the Turkish town of Çanakkale. On the waterfront is this idiosyncratic "Wooden Horse". In one dream sequence the hero hides inside it from the authorities after damaging a historic bridge. It is the same wooden horse created for Wolfgang Petersen's Troy (2004). Right you are, london777! I haven't seen The Wild Pear Tree, but I did see Troy. Quite a distinctive prop, isn't it? Thanks for submitting it.
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Post by Doghouse6 on Aug 16, 2020 0:19:32 GMT
Sometimes, things don't become noticeable until later, when you stumble across something that makes them noticeable in retrospect. What the hell am I talkin' about? This: in Sunset Blvd, Nancy Olson is making suggestions to William Holden about improvements to one of his stories. "To being with, I think you should throw out all that psychological stuff, exploring the killer's sick mind." Cynical Holden replies, "Psychopaths sell like hotcakes."I've just seen for the first time The Dark Past, a film of which I hadn't been aware, that was released the year Sunset Blvd went into production. Following the basic construction of Key Largo, released the year before, it involves escaped con and psychopathic killer Holden holing up with his gang at the secluded weekend home of psychiatrist Lee J. Cobb to await a rendezvous with others to complete their getaway. As the hours pass, the unrelentingly cool and unflappable Cobb uses the tools of his training to get inside the head of explosive and constantly on edge Holden, keenly observing and questioning his behavior, delving into his childhood, analyzing his dreams and, in short, "exploring the killer's sick mind." The line from Sunset Blvd never meant anything special to me before, but I must now surmise that it was deliberately inserted by Wilder and Brackett into their screenplay as an intentional inside reference to The Dark Past, one of Holden's early postwar films after a four-year hiatus, when he was restarting his film career after military service. As with many films of the period employing psychoanalysis as plot devices, the treatment is now laughably simplistic: recover the memory of a traumatic event, and your neuroses instantly disappear. But setting that criticism aside, The Dark Past is a dramatically sound and satisfying little exercise in psychological battles of wit, will and balances of power, with a very nice role for Nina Foch as Holden's unfailingly loyal but quietly concerned moll. An added attraction is the reunion of Cobb and Holden, who had played father and son in Golden Boy, Holden's first major role, a decade earlier. EDIT for afterthought: now I think of it, the story they were discussing in Sunset Blvd was called "Dark Windows."
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Post by Doghouse6 on Dec 6, 2021 20:20:44 GMT
Reviving this thread after over a year for something I spotted today watching 1939's Torchy Runs For Mayor, the last of seven films Glenda Farrell made as fast-talking, go-getter reporter Torchy Blane. The climactic scene involves a brawl and shoot-out between cops and bad guys at a gangsters' hideout, in which a staircase looked familiar. When the action continued to the landing above, I was sure: they were the same sets used that year for Dark Victory (when sightless Davis goes up to her room for her "victory over the dark" in the final scene). Even the wallpaper was the same. The only frame grab I could find of either set was the one in the upper-right quadrant of the montage below: It was weird seeing hoods firing bullets through the closed door behind which I'd last seen Bette Davis dying so peacefully.
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lune7000
Junior Member
@lune7000
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Post by lune7000 on Dec 6, 2021 20:39:35 GMT
Reviving this thread after over a year for something I spotted today watching 1939's Torchy Runs For Mayor, the last of seven films Glenda Farrell made as fast-talking, go-getter reporter Torchy Blane. The climactic scene involves a brawl and shoot-out between cops and bad guys at a gangsters' hideout, in which a staircase looked familiar. When the action continued to the landing above, I was sure: they were the same sets used that year for Dark Victory (when sightless Davis goes up to her room for her "victory over the dark" in the final scene). Even the wallpaper was the same. The only frame grab I could find of either set was the one in the upper-right quadrant of the montage below: It was weird seeing hoods firing bullets through the closed door behind which I'd last seen Bette Davis dying so peacefully. A staple of classic cinema, the grand staircase has almost completely disappeared from film today.
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