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Post by Jillian on May 1, 2017 10:40:20 GMT
Yes, forgot about those, I have seen both and they are frightening. Phone Booth, Cellular and When astranger Calls are quite scary as well. Then there is that movie with Mark Wahlberg and Witherspoon, but cannot remember much of it. It's 'Fear'! I love that movie. Ah, right. I am not sure if I have ever seen it, but Wahlberg's a wonderful actor! Although I prefer it when he plays one of the good guys, like in the Italian Job. Why is is it Good? Scary scenes? |
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Post by petrolino on May 1, 2017 10:44:35 GMT
It's 'Fear'! I love that movie. Ah, right. I am not sure if I have ever seen it, but Wahlberg's a wonderful actor! Although I prefer it when he plays one of the good guys, like in the Italian Job. Why is is it Good? Scary scenes? It's very tense and scary and fearlessly taps into the obsessive, aggressive nature of a vile sociopath. Good work from Mark Wahlberg, Reese Witherspoon and Alyssa Milano. It also has another strong director in James Foley so it's technically sound. |
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Post by Jillian on May 1, 2017 10:48:09 GMT
Ah, right. I am not sure if I have ever seen it, but Wahlberg's a wonderful actor! Although I prefer it when he plays one of the good guys, like in the Italian Job. Why is is it Good? Scary scenes? It's very tense and scary and fearlessly taps into the obsessive, aggressive nature of a vile sociopath. Good work from Mark Wahlberg, Reese Witherspoon and Alyssa Milano. It also has another strong director in James Foley so it's technically sound. Sounds scary but interesting! I miss these old- school thrillers that are suspenseful and character-driven. |
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Post by petrolino on May 1, 2017 13:29:15 GMT
One of the all-time nastiest stalkings is witnessed in Percival Rubens' South African shocker 'The Demon' (1979) in which a hideous and disgusting predator drenched in his own sweat and hateful narcissism targets the most vulnerable people he can find for his own vile deeds, smugly exclaiming private pleasure while invading personal space and snuffing out breathing room with his malleable odour. You can smell the almighty stench omitted by this smarmy, systematic serial abuser in every horrific frame of Rubens' sickening nightmare. It's said to have been partially inspired by a true life case which makes it all the more revolting to watch. The mythical dust devil of Namibia has nothing on this dangerous creepozoid but thankfully Cameron Mitchell is on hand to save the day ... ... it's devastating and disturbing but a superb horror classic.
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Post by petrolino on May 1, 2017 13:41:23 GMT
A frightening tale is told in Noboru Tanaka's creepfest 'Watcher In The Attic' (1976) which is based on a story by legendary writer Edogawa Rampo. Its influence can be felt in the twisted psychological thriller 'Hider In The House' (1989) and the ghastly black comedy 'The Vagrant' (1992).
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Post by wanton87 on May 1, 2017 14:02:24 GMT
Hardly a classic, but it fits the genre: The Babysitter starring Alicia Silverstone. |
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Post by Jillian on May 1, 2017 15:14:46 GMT
The Bodyguard ( I've always liked this movie a lot)
Red Eye
Secret Window
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Post by Doghouse6 on May 1, 2017 17:05:20 GMT
Okay, here's one out of left field: Fred Astaire.
What? Astaire, a stalker? It's all treated as innocent, boy-pursues-girl romantic fun as he alternately annoys and charms the object of his affection, but along the way, he engages in behavior in several of his films that could reasonably be considered stalker-ish.
Top Hat - Meeting Ginger Rogers after disturbing her from her sleep in the room below while tap dancing in his friend Horace's London apartment, he inquires after her the next morning in the lobby and, told that she's hired a hansom cab to take her to riding stables, takes the driver's place. When she seeks refuge from a storm in a nearby bandstand, Fred shows up with both cab and umbrella (HE: "May I rescue you?" - SHE: "No thank you, I prefer being in distress"). Learning she's spending the weekend in Venice with Horace's wife, he pursues her there, where he even disrupts her honeymoon (after she's married the dress designer for whom she works to escape Fred).
Swing Time - Following Ginger to her job at a dancing school after a streetside misunderstanding over a quarter for which she'd given him change, Fred feigns interest in dancing lessons. He then takes an apartment in her building to be near her and, after another misunderstanding (don't ask) spends a day pacing the hall outside her door with a picket sign when she refuses to see him. Still another misunderstanding leads to her engagement to a bandleader, and Fred shows up to disrupt the wedding.
Shall We Dance - Having fallen for stage performer Ginger from photographs ("I haven't even met her...but I'd kinda like to marry her"), ballet dancer Fred visits Ginger in her Paris apartment (adopting a thick Russian accent to suit his stage name, Petrov), employing the ruse that she's rumored to wish to perform with him. Overhearing that she's sailing for New York to marry her fiance, Fred books passage on the same ship, continuing on board to dog her steps (literally: while she's walking her dog on deck, he shows up with one of his own; rebuffed, he shows up again the next day with several). Once in New York, his apartment just happens to be next door to hers (although this time, it's coincidence).
The Sky's the Limit - Flying Tiger Fred, on leave and incognito, spots celeb photographer Joan Leslie in a posh nightspot and proceeds to photo-bomb every shot she lines up. As if that didn't annoy her enough, he pretends to be a draft-dodging slacker, of which she of course disapproves. At the USO club where she entertains, he crashes her act. Taking an apartment in her building (again!), he's discovered by her the next morning in her kitchen cooking breakfast.
In all of these, the lady eventually yields to his persistent ardor (facilitated by some songs and dances along the way), and everything comes right in the end. But it seemed to be something of a formula in Astaire's first decade in films that his attentions met with resistance through most of the running time, resulting in at least as much aggravation as wooing, and examples of similar behavior occur in both his films with Rita Hayworth, as well as in Holiday Inn.
It's fair to note that these sorts of plots were limited to neither Astaire's films nor musicals, and there were dozens of rom-coms of the era in which the leading man committed any number of acts in the name of romantic pursuit that could today lead to a restraining order if not an arrest. But in Astaire's case in particular, his innate charm - consisting of equal parts worldly elegance and boyish innocence - along with his always-honorable intentions surmounted any such concerns.
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Post by petrolino on May 1, 2017 17:35:26 GMT
Okay, here's one out of left field: Fred Astaire. What? Astaire, a stalker? You make alot of great points Doghouse! You see alot of risque elements in old romantic comedies and screwballs. |
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Post by teleadm on May 1, 2017 17:55:21 GMT
In a way I came to think of the two teenage girls who is in a way stalking a concert pianist, in all there spare time they spies on him since they have a sort of crush on him, the movie I'm trying to describe is The World of Henry Orient 1964.
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Post by Doghouse6 on May 1, 2017 18:06:04 GMT
Okay, here's one out of left field: Fred Astaire. What? Astaire, a stalker? You make alot of great points Doghouse! You see alot of risque elements in old romantic comedies and screwballs. Teleadm's post above reminds me that the roles were sometimes reversed: in Howard Hawks' Bringing Up Baby (and in his later Man's Favorite Sport?), a ditzy lady goes out of her way to concoct situations that will enable her to spend time with the sedate man who's caught her eye. George Marshall did it again in A Millionaire For Christy, as did Peter Bogdanovich in What's Up Doc. |
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Post by petrolino on May 1, 2017 18:24:46 GMT
In a way I came to think of the two teenage girls who is in a way stalking a concert pianist, in all there spare time they spies on him since they have a sort of crush on him, the movie I'm trying to describe is The World of Henry Orient 1964. Perfect! There's also a fun comedy with a similar premise involving two girls and Richard Nixon, 'Dick' (1999) with Dan Hedaya as the President. |
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Post by Lebowskidoo 🎄😷🎄 on May 4, 2017 13:58:25 GMT
Matt Damon in The Talented Mr. Ripley, he so wanted to have Dickie Greenleaf's life, disturbing!
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Post by petrolino on May 6, 2017 0:45:13 GMT
Matt Damon in The Talented Mr. Ripley, he so wanted to have Dickie Greenleaf's life, disturbing! This could be a theme with the novelist Patricia Highsmith as there's shades of this deadly obsession dynamic within the relationships explored in 'Strangers On A Train' (1951), 'Purple Noon' (1960) and 'Carol' (2015) which are all based on books she wrote.  |
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Post by petrolino on May 6, 2017 15:51:44 GMT
The Bodyguard ( I've always liked this movie a lot) Red Eye Secret Window I've never seen 'The Bodyguard', thanks for the recommendation. |
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Post by petrolino on May 6, 2017 16:04:04 GMT
Here in U K, I believe the laws changed regarding stalking and harassment in the 1990s, following some chilling high-profile cases involving sociopaths who showed no remorse. There were some great films made during this decade. Two of my favourites set inside the workplace are Tom Holland's 'The Temp' (1993) and Barry Levinson's 'Disclosure' (1994).
Today, there's lots of films being made about online stalking that address patterns of behaviour and the invasion of privacy, as well as documentaries made for tv to help protect people which is great. Issues such as rejection rage sometimes motivate the unhinged stalker in movies, for example, a loner who becomes obsessed with their target and systematically increases the intensity of their abuse over time. Psychological violence often escalates into physical violence. A serial bully may exhibit the characteristics of stalking; a devastating effect of stalking that often goes unmentioned is psychiatric injury. A fine recent horror movie dealing with these kinds of serious issues is 'Sleep Tight' (2011), directed by Spanish filmmaker Jaume Balaguero.
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Post by Jillian on May 6, 2017 17:39:36 GMT
The Bodyguard ( I've always liked this movie a lot) Red Eye Secret Window I've never seen 'The Bodyguard', thanks for the recommendation. You're welcome. It is not that scary, but if you like Whitney Houston's music and Kevin Costner as an actor and a certain old-school kind of suspense, it is good! |
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Post by gadolinium on May 6, 2017 21:07:19 GMT
Jimmy Stewart in Vertigo and Robert Mitchum in The Night of the Hunter.
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Post by petrolino on Jun 10, 2017 10:09:47 GMT
Jimmy Stewart in Vertigo and Robert Mitchum in The Night of the Hunter. Two landmark productions from the 1950s. I enjoy 'Vertigo' a great deal. |
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Post by petrolino on Jun 10, 2017 10:15:29 GMT
Horror cinema's stalker dynamic seemed to shift in 1960 with the release of 'Psycho' (1960) and 'Peeping Tom' (1960), a move towards "stalker vision" becoming clear, ushering in a new era of "stalk n' slash" theatrics that featured classical monsters, inscrutable entities and average human beings as predators. I don't, however, believe that "stalker vision" and "monster vision" have proven to be mutually exclusive as multi-camera set-ups, split-screen techniques and multiple "point-of-view" constructions were explored by filmmakers like Brian De Palma, Wes Craven and Tobe Hooper in America (as well as many directors active in Italy). There's an explicit crossover at work in modern horror cinema with the surveillance techniques seen in conspiracy films. The theme of voyeurism, a favourite of 'Psycho' director Alfred Hitchcock, had reached some kind of delirious apex with the shattering release of his mystery 'Rear Window' (1954).
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