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Post by manfromplanetx on Mar 29, 2021 7:39:43 GMT
Dakota Lil (1950) Dir. Lesley Selander The government are aware of a major counterfeiting operation going on down in Mexico so they send Secret service agent Tom Horn (George Montgomery) under the alias of Steve Garrett to track the gang down. Tom's first contact Dakota Lil (Marie Windsor), a dance hall girl who not only knows how to entertain but also, she is an expert forger… An ordinary crime western to many, however the saloon bar rendition performed by Dakota Lil (voice credit Anita Ellis) of Ecstasy based on the traditional "Charlie Is My Darlin “ is quite something !, originally shot in Cinecolor, also released a black and white version.   |
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Post by london777 on Apr 7, 2021 3:11:16 GMT
In Close-Up (1990) dir: Abbas Kiarostami, a humble loser impersonates celebrated Iranian film director Mohsen Makhmalbaf. He imposes himself upon an upper middle-class family by proposing to shoot a movie in their house, starring a son of the family. Events preceding his arrest for fraud are shown in reconstructions acted out by the real-life non-actors involved in them. Subsequent events (including his trial) are (for the most part) filmed live as they occurred. This still shows the real-life Makhmalbaf driving the impostor to apologise to the family he deceived.  |
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Post by OldAussie on Apr 7, 2021 3:25:15 GMT
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Post by bravomailer on Apr 7, 2021 4:11:57 GMT
The forger in The Great Escape  |
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Post by bravomailer on Apr 7, 2021 4:24:51 GMT
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Post by london777 on Jul 12, 2021 21:35:20 GMT
In Der Hauptmann (The Captain) (2017) dir: Robert Schwentke, a German deserter in the very last days of the war takes the uniform of a dead captain, initially just to keep warm, but finds that his assumed rank gives him authority to carry off increasingly ambitious scams, not excluding wholesale atrocities. These are portrayed in horrific detail, yet the film is almost a black comedy in the absurdity of the situation, as all normal (even by Nazi standards) society has collapsed. The film ends with a coda set in the present day, warning us to beware of a resurgence of totalitarianism. I found this detracted from the power of the message, which did not need spelling out.  |
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Post by phantomparticle on Jul 12, 2021 21:55:11 GMT
Mister. 880 Burt Lancaster tracks a counterfeiter who turns out to be sweet old codger Edmund Gwenn. Santa Claus goes to the slammer! Who would have thought?  |
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Post by OldAussie on Jul 12, 2021 22:39:20 GMT
Speaking of imitation generals....  
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Post by bravomailer on Jul 13, 2021 0:58:20 GMT
Speaking of imitation generals.... The sight of Saudi troops, who are well equipped but inept, always makes me think of Sutherland's line: "You're men are pretty. Very pretty. But can they fight?"
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Post by bravomailer on Jul 13, 2021 1:05:10 GMT
Private Schulz, a 1981 British comedy miniseries, set in WW2. Schultz is a small-time German forger who is impressed into the military during WW2 to make millions of counterfeit British pounds. He is parachuted into England to spread the fake money about and cause inflation and weaken the economy. He hides the money, then is discovered and has to flee across the Channel. After the war he returns to England to look for the money.
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Post by OldAussie on Jul 13, 2021 11:35:30 GMT
another 2 fake generals   |
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Post by london777 on Sept 14, 2021 2:19:20 GMT
Istoria mias kalpikis liras, The Counterfeit Coin (1955) Greek written and directed by Giorgos Tzavellas
A counterfeit gold sovereign links four independent tales as it passes between various hands. Four stories of human imperfection, seduction, fate, desire, and devotion inextricably interweave. Humorous, dramatic and very touching this is an excellent classic Greek film, ranking among them as one of their best … I added this to my collection on your recommendation, planetx. You have not let me down yet! It reminded me of the English portmanteau films of a few years earlier where an object or location linked together disparate plots. I have only minor criticisms. I thought the guy who played the naïve silversmith bordered on Fernandel style with his buffoonery, and that the miser's Scrooge-type conversion was too abrupt. I liked the fact that the closing love story did not take the clichéd path. That was a very Somerset Maugham-style effort. Nice to see some different locations and unfamiliar actors. I gave it a 6.0, meaning 'well worth seeing'. But the reviews and ratings om IMDb are a laugh. Lots of excitable Greeks giving it 9s and 10s and even a few 'one of the greatest movies of all time'. Having written that, we never know how much we are missing with sub-titles. Maybe there was crackling dialog? One thing struck me as odd. A decade after WWII ended, English sovereigns and half-sovereigns were such commonly accepted currency in Athens that even small shopkeepers knew their exchange rate. Where did they get them from? They were rare in the UK at that time.
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Post by manfromplanetx on Sept 15, 2021 20:50:26 GMT
Istoria mias kalpikis liras, The Counterfeit Coin (1955) Greek written and directed by Giorgos Tzavellas
A counterfeit gold sovereign links four independent tales as it passes between various hands. Four stories of human imperfection, seduction, fate, desire, and devotion inextricably interweave. Humorous, dramatic and very touching this is an excellent classic Greek film, ranking among them as one of their best … I added this to my collection on your recommendation, planetx. You have not let me down yet! It reminded me of the English portmanteau films of a few years earlier where an object or location linked together disparate plots. I have only minor criticisms. I thought the guy who played the naïve silversmith bordered on Fernandel style with his buffoonery, and that the miser's Scrooge-type conversion was too abrupt. I liked the fact that the closing love story did not take the clichéd path. That was a very Somerset Maugham-style effort. Nice to see some different locations and unfamiliar actors. I gave it a 6.0, meaning 'well worth seeing'. But the reviews and ratings om IMDb are a laugh. Lots of excitable Greeks giving it 9s and 10s and even a few 'one of the greatest movies of all time'. Having written that, we never know how much we are missing with sub-titles. Maybe there was crackling dialog? One thing struck me as odd. A decade after WWII ended, English sovereigns and half-sovereigns were such commonly accepted currency in Athens that even small shopkeepers knew their exchange rate. Where did they get them from? They were rare in the UK at that time. Thanks for sharing your thoughts london777 I also thought the film was a bit uneven, but was redeemed by the emotional depth of the last story, a signature feature in the films of director Yorgos Tzavellas. It was a great choice for the passing object thread... Recently viewed, surprising us an excellent film that fits the bill here... 
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Post by Doghouse6 on Sept 16, 2021 0:49:49 GMT
The Monte Carlo Story In his one and only turn in charge behind the camera, playwright/screenwriter Samuel Taylor ( Sabrina, Vertigo) directs Marlene Dietrich and Vittorio De Sica as impoverished nobles trading on the illusions of their former wealth while fortune-hunting. Each scopes out and zeroes in on the other, not realizing, of course, that the other is as broke as they. Having found one another out, they adopt a new strategy, teaming up to pose as siblings as they look for new wealthy prospects. Dietrich selects nouveau riche American businessman Arthur O'Connell, on his first grand tour; De Sica goes for O'Connell's daughter. While it has moments of charm (cool Dietrich coaching gauche O'Connell through his first try at chemin de fer, for example), it's rather a film out of its time, requiring the light touch of an Ernst Lubitsch and atmosphere of '30s elegance. Due possibly to Taylor's inexperience at the helm, it plays instead with stately reserve. With its opulent locations and Technirama cinematography, however, it's sumptuous-looking. The Palm Beach Story If you want to pull off sibling impersonations among the moneyed swells, this is how it's done. Concluding that she's holding hubby Joel McCrea back from success, Claudette Colbert dashes off to Florida in search of a rich replacement, reasoning that she'll then be in a position to help his career. Meeting fabulously wealthy Rudy Vallee along the way, she adopts the pose of a wife on the run from an abusive husband, but McCrea complicates things when he tracks her down, and she impulsively passes him off as her brother. Forced into this impersonation, he's then pursued by Vallee's madcap and much-married-and-divorced sister Mary Astor. Written and directed by Preston Sturges, TPBS snaps and sparkles where TMCS only glides with the deliberate stride of a model on a fashion-show runway. The two present an interesting comparison of the directorial dos and don'ts of sophisticated hijinks but, between them, you can't go wrong choosing the domestic label over that of the south of France.
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