'Colossus : The Forbin Project' (1970)
May 21, 2017 0:36:03 GMT
pimpinainteasy, teleadm, and 1 more like this
Post by petrolino on May 21, 2017 0:36:03 GMT
The science-fiction thriller 'Colossus : The Forbin Project' is one of the first major paranoia pieces of the 1970s. It's an adaptation of the novel 'Colossus' by Dennis Feltham Jones, scripted by James Bridges who'd go on to direct the chilling conspiracy thriller 'The China Syndrome' (1979) at the end of the decade. There's been talk of a remake of 'Colossus : The Forbin Project' for some years now, with Ron Howard, Sylvester Stallone and Will Smith all reportedly expressing an interest. The original picture has controlled camerawork and wide angle captures from cinematographer Gene Polito and special photographic effects created by Albert Whitlock. Michel Colombier's startling, multi-rhythmic jazz score uses percussive dissonance and alert syncopation.
This dark tale from director Joseph Sargent concerns the battle between Doctor Charles A. Forbin (Eric Braeden) and his scientific creation, a supercomputer with advanced artificial intelligence known as Colossus. Trouble brews when Forbin fears Colossus may be colluding with the Russians. His team of scientists and military personnel must work round the clock to find a solution but they risk their own lives to do so. See it at your peril, but be warned, it may incur sleepless nights.
Coloussus
The China Syndrome
The China Syndrome
This dark tale from director Joseph Sargent concerns the battle between Doctor Charles A. Forbin (Eric Braeden) and his scientific creation, a supercomputer with advanced artificial intelligence known as Colossus. Trouble brews when Forbin fears Colossus may be colluding with the Russians. His team of scientists and military personnel must work round the clock to find a solution but they risk their own lives to do so. See it at your peril, but be warned, it may incur sleepless nights.
"The 1974 crime thriller ''The Taking of Pelham One Two Three'' exploited the New Yorker's recognition of that fact and turned existentialism into entertainment. The film, made from John Godey's novel about a group of hijackers who take charge of a New York subway car and hold its 18 passengers for a $1 million ransom, is swift, sure and merciless, like a ride on the D train in the dead of night. (The title refers to the captured Pelham line IRT train.) This extremely effective adaptation, available again in a new print that opened Friday for a one-week run at Film Forum, was directed with hard-nosed authority by Joseph Sargent from Peter Stone's sourly witty script. With steely efficiency, the movie flaunts the filmmakers' fascination with, and revulsion for, the Manhattan of the 1970's. And the Sargent-and-Stone alternation of danger and comedy give the film a staccato flair that is still admired. David Shire's intriguing jazz score, which uses that rhythm as a backbeat, deserves more attention than that of rabid cultists. Stone, who died in April, understood that tempo was the way to keep the movie alive, and he measured the plot and doled it out with brutal persistence; each spoonful heightens the tension. The reputation of ''Pelham'' began to rise when Quentin Tarantino started mentioning his affection for it in interviews. Indeed, the skillful shifting of points of view in Mr. Tarantino's ''Reservoir Dogs'' owes a debt to the earlier picture's brisk and businesslike terror; in addition, the subway kidnappers of ''Pelham'' adopt the names of colors -- they identify themselves to the authorities as Mr. Blue (Robert Shaw), Mr. Green (Martin Balsam), Mr. Grey (Hector Elizondo) and Mr. Brown (Earl Hindman) -- a note that may sound vaguely familiar to Tarantino observers."
- Elvis Mitchell, The New York Times
- Elvis Mitchell, The New York Times
"Keep an eye on the kind of movement that I was obligated to introduce into this scene as it's a highly technical environment. Things could get very dry if they were too static so I had to find ways of keeping the actors moving and as completely mobile as possible."
- Joseph Sargent on the making of 'The Forbin Project'
- Joseph Sargent on the making of 'The Forbin Project'
"THERE IS ANOTHER SYSTEM"
CIA Director Grauber (William Schallert)
Scientist Doctor Cleo Markham (Susan Clark)
Scientist Doctor Kwee Chin (James Hong)
Technical Researcher Angela Fields (Marion Ross)
'Sunday' - Michel Colombier
"Allow me to introduce you to your new Computer Overlord ..."
"The chilling 1970 sci-fi film called Colossus: The Forbin Project comes to us courtesy of a bygone age when movies - especially genre movies - weren't afraid to be smart. This clever, sharply-crafted and utterly fearless techno-thriller is based on the 1966 novel by Dennis Feltham Jones. Like the literary work, this mostly-faithful film concerns the activation of the American supercomputer Colossus, as well as the ensuing changing-of-the-guard as the intelligent machine achieves something approaching sentience and decides it should rule the Earth."
- John Kenneth Muir, 'Reflections On Cult Movies'
CIA Director Grauber (William Schallert)
Scientist Doctor Cleo Markham (Susan Clark)
Scientist Doctor Kwee Chin (James Hong)
Technical Researcher Angela Fields (Marion Ross)
'Sunday' - Michel Colombier
"Allow me to introduce you to your new Computer Overlord ..."
"The chilling 1970 sci-fi film called Colossus: The Forbin Project comes to us courtesy of a bygone age when movies - especially genre movies - weren't afraid to be smart. This clever, sharply-crafted and utterly fearless techno-thriller is based on the 1966 novel by Dennis Feltham Jones. Like the literary work, this mostly-faithful film concerns the activation of the American supercomputer Colossus, as well as the ensuing changing-of-the-guard as the intelligent machine achieves something approaching sentience and decides it should rule the Earth."
- John Kenneth Muir, 'Reflections On Cult Movies'
