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Post by MrFurious on May 23, 2018 11:01:39 GMT
Pitfall(48) Another classic. This one would certainly put you off commiting adultery
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Post by MrFurious on May 23, 2018 13:19:48 GMT
Another great one in before lunch, Woman on the Run(50) Lesson learnt here, never witness a shooting, see nothing
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Post by teleadm on May 23, 2018 17:30:18 GMT
The Road to Glory (1936) / Howard Hawks This was a pretty good anti-war movie, although the copy I bought was not the best. It did give me a chance to see Fredric March, Warner Baxter, and Lionel Barrymore (before wheelchair) all in the same movie and all in top form. I was not familiar with the young lady in the movie, June Lang, but she was quite good too. (I had to use my multi-region DVD player for this movie since the DVD I played was not a region 2 DVD).
I read up a little about June Lang. Well she was actually married to the mob, Chicago mobster Johnny Roselli. No wonder why the big movie companies didn't wan't to hire her, Fox got rid of her when she walked off a production that was made in London ( So This is London 1939). She got scared of the air raids, something that is just natural, but Fox used it as a reason to break her contract. Being married to a mobster killed her career, she maintained that she never knew what his business was, in later interviews.
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Post by teleadm on May 23, 2018 18:14:41 GMT
Amacord 1973, directed by Federico Fellini, based on stories by Federico Fellini and Tonino Guerra, music by Nino Rota, starring Bruno Zanin, Magali Noël, Armando Brancia, Ciccio Ingrassia, Josiane Tanzilli and many many more. Comedy-Drama of vignettes set in a 1930s Italian coastal town. Slightly and consciously overdone with some surrealism. With a slightly off-kilter cast of characters are affected by time and location, the social mores dictated largely by Catholicism and the national fervor surrounding Il Duce aka Benito Mussolini and Fascism. We follow a mid-teen named Titta (Zanin) who is sexually awakening and his family and other citizens during a year. How do we remember our own childhoods, and do we remember them correct, have we forgotten some parts, creating many loose ends, though we remember things that happened, but do we remember them in their correct context? To make our childhoods more interesting we might put in a little fiction over the years. At least that is how I interpret this movie, that is both fascinating and frustrating to watch, as some things just fades away without explanation, and scenes without relevance to the story pops up. This is the kind of movie one has to be in the right mood to watch. I rate it high, but without falling in love with it. Warning: since this is a family friendly site, the movie contains some nudity. Winner of the Best Foreign Language Film Oscar in 1975 (it must have took some time for it to reach America/USA). It was also nominated for Best Director and Best Writing, Original Screenplay Oscars, but not until 1976 (!!). Fellini stated in interviews that it was not based on his childhood, but that there are some similarities. Locations standing in for, but not named in the film as the coastal town, was Rimini.
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Post by MrFurious on May 23, 2018 18:25:30 GMT
Got 3 watched on this quiet day at work. The Farmer's Daughter(47) Delightful little political one. I wonder was J Cotten as nice as the characters he played.
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Post by Aj_June on May 23, 2018 18:48:55 GMT
Another great one in before lunch, Woman on the Run(50) Lesson learnt here, never witness a shooting, see nothing haha....I saw this one last December. This was one of those movies in which you want to shout to the gullible woman that don't search for danger outside. Just look near you. A pretty interesting movie might I say. Raw Deal (1948) which stars this movie's villain ( Dennis O'Keefe) in a slightly more positive role is also a good watch.
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Post by Primemovermithrax Pejorative on May 23, 2018 18:59:03 GMT
KOMMISSAR X-KISS KISS KILL KILL 1966. I am not a James Bond fan and usually watch them reluctantly, however for some reason I don't mind watching the various Bond clone films that came out in the 60s. They sure made a lot of eurospy films. You can usually count on them for attractive locations and women, and the occasional amusing joke. The stunts are a mixed-bag. They never have the budget to really push the envelope that way but they usually do what they can with what little they have.
This series of films has the shtick of pairing two agents together--laid back humorous Tony Kendall and serious athlete Brad Harris.
Having one guy for the comedy and the other for the action works quite well I think.
At one point while visiting the villain's hide out they comment on the decor "early Ian Fleming" which gets a big laugh out of the bad guy watching from a monitor in another room.
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Post by MrFurious on May 24, 2018 13:05:58 GMT
Another great one in before lunch, Woman on the Run(50) Lesson learnt here, never witness a shooting, see nothing haha....I saw this one last December. This was one of those movies in which you want to shout to the gullible woman that don't search for danger outside. Just look near you. A pretty interesting movie might I say. Raw Deal (1948) which stars this movie's villain ( Dennis O'Keefe) in a slightly more positive role is also a good watch. Only Raw Deal I knew of was the Arnie one but just checked youtube and this one is on there. No films at work today but will be watching The Wrong Box(66) tonight when I get home thanks to TCM channel
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Post by teleadm on May 24, 2018 18:17:45 GMT
Vi som går scenvägen ( We from the Theatre) 1938, directed by Gideon Wahlberg, starring Benkt-Åke Benktsson, Gideon Wahlberg, Fritiof Billquist, Elof Ahrle and others. In small roles one can see Stig Järrel and Gunnar Björnstrand when they were young, they later acted in Ingmar Bergman films. Swedish folk or pilsner comedy about a young couple who because of a missunderstanding separates, but are helped together by two lovable stage hands. This was a pretty lousy movie, but typical of it's time, men with big stomachs are the nice guys, and sound editing is a little so-so and out of sync with what is viewed, and never corrected, door slamming and such sounds. Some charm can be had seeing those old once beloved actors, but only if you know who they were. A correct translation of the title is more like "We Who Walks Through the Stage Door".
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Post by ZolotoyRetriever on May 24, 2018 18:31:14 GMT
...One Third of a Nation... (1939), directed by Dudley Murphy, with Sylvia Sidney, Leif Erickson, Myron McCormick. DVR'd from recent TCM telecast. First-time viewing.
Drama about run-down New York tenement buildings and their inhabitants, as well as their "slum-lord" owners, who together must deal with the aftermath of a serious fire in one of the buildings. There's more than a little propaganda feel about the picture in that it comes across as a push for the wealthy landlords of the area to do something about these fire-trap tenement buildings, and a call for urban renewal in general. It's not exactly explained how all this will be bought and paid for, other than the possibility that the wealthy landlords will suddenly turn magnificently altruistic and will just tear down old buildings and rebuild them out of a change of heart or something. Since most of us pretty much know how things work in the "real world" as regards the hard-ball politics and economics involved in any urban renewal project, well, the film's approach and its conclusion come across as a bit of a fantasy. It's still an interesting watch, though, with some interesting New York on-location footage and some rather unsettling fire scenes. Look for a young Sidney Lumet (future director) as a teenage tenement resident. His father, Baruch Lumet, has a small role as well. Fun also to note the prevalence of "short pants" (knickerbockers) on all the kids. Those were the times.
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Post by kijii on May 25, 2018 4:00:06 GMT
Les Girls (1957) / George Cukor This movie epitomizes everything that I learned to hate about those MGM and 20 Century Fox musicals that I grew up with in the 50s. It is just one production number and after another, held together by a very thin story line. It's as if the story line had to be created in order to show off the production numbers--that I never cared about in the first place. In fact, I am beginning to wonder if I ever really like Gene Kelly's hammy acting or voice, though he was one hell of a dancer, choreographer, and musical production producer. This so-called story revolves around three dancers (Kay Kendall, Taina Elg, and Mitzi Gaynor) who had three different versions of their relationship with Gene Kelley as the four worked together on year while traveling around Europe. The three versions are shown, as flashbacks, as each witness presents her (or his) case in a "scandalous" libel suit resulting from a book that one of them (Kay Kendall) had written during their year together as a dancing team. As a result of watching three versions of the same basic story, I had to watch the same production numbers over and over with slight variations. In addition to this, there was no real "star power" to the movie, except Kelly and Gaynor. Then, at the end of the TCM DVR'd movie, I was told that Cukor really didn't think Mitzi Gaynor was right for her role. On the bright side, this filled in a missing gap to my Cukor-directed movies. Best line from the movie: "She failed in nursing school since she couldn't tuck a sheet." That phrase, "tuck a sheet" is funny; it just skirts around a really funny, even nastier, quote. For TCM Full Synposis with SPOILERS: www.tcm.com/tcmdb/title/269/Les-Girls/full-synopsis.html
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Post by Chalice_Of_Evil on May 25, 2018 8:29:18 GMT
Saw Solo: A Star Wars Story at the theatre yesterday. Since the casting of a young Han Solo was first announced, I wondered why they went with Alden Ehrenreich, as I'd thought Anthony Ingruber (who I first saw in the movie The Age of Adaline) was like a perfectly de-aged Harrison Ford and seemed tailor-made for the role. However, I reserved passing judgement on the guy playing young Han until I at least saw a decent amount of footage with him. After having watched the trailers, I was still unsure. After seeing the movie? My verdict is...he's adequate, but I'll always wonder what this movie could've been with Ingruber in the role instead. After the familiar 'A long time ago', we're treated to a bit more text setting up where this story begins (though evidently not enough to warrant an 'opening crawl'). When we meet Han, he's stealing a speeder, accompanied by Qi'ra (Emilia Clarke), who he grew up with on the mean streets of Corellia. I enjoyed the look of this chase scene, the setting and the 'feel' of it, like a good old-fashioned car chase. We get a sense of the history between their characters just in time for them to get separated, which leads to Han enlists in the Imperial Army to elude his pursuers (which is where he acquires the last name Solo). We eventually get to the first meeting between Han and Chewbacca, which doesn't go down quite the way you'd expect. Building the relationship between Han and Chewie was always going to be one of the most important parts of the film, and both actors portray their growing friendship well. We also see more sides to Chewie, as he's eager to help out fellow Wookiees. Just as Han first stepping onto and piloting the Millennium Falcon are pivotal moments, so too is Chewie proving himself the excellent co-pilot (that we already know he is) to Han, and even Qi'ra acknowledges it's him who belongs in the co-pilot chair. On top of seeing his developing friendship/partnership with Chewie, we also get to see Han acquiring his blaster, learning why it's smart to shoot first and being optimistic with "I've got a really good feeling about this.", which will inevitably turn into his classic and much more pessimistic line. We're also treated to some subtitles when Han communicates with Chewie in his Wookiee language. It's not long before they've gained each other's trust and helping each other out. The pair then fall in with a crew of thieves made of Woody Harrelson's Tobias Beckett (who Han learns much from, both good and bad), the seemingly perpetually moody Val (Thandie Newton), and the multi-armed Jon Favreau-voiced alien Rio. Pulling a job with them seems like the best course of action to further Han's goal of getting back to Qi'ra. Unfortunately, she's now under the thumb of Paul Bettany's villainous Dryden Vos. While the crew who Han falls in with are played well enough by the actors, it never feels like we really get to 'know' them or form an attachment to them. I thought the sequence on the train was very well done, though. Things kick into gear when Han is first reunited with Qi'ra and she takes him to meet Lando Calrissian (Donald Glover). Both actors do a good job of quickly establishing that relationship between their characters we're so familiar with. It quickly becomes clear why they're so mistrusting of each other when we see them reunite in Episode V. Glover is much more successful in playing a believable young version of Billy Dee Williams' Lando than Ehrenreich is at playing a young version of Harrison Ford's Han. At times Glover even *sounds* like older Lando (and we finally discover why Lando always pronounces 'Han' differently to everyone else). He certainly earns that 'you old smoothie' comment from Han in Episode V, but he's also a cheat. His relationship with the droid L3-37 shows that he *is* capable of caring (though he also loves his collection of capes). Things are set up nicely by the end of the film for when Han and Lando will next meet. The relationship between Han and Qi'ra also proves quite the complicated one, as you're never quite sure of which side she's on (though she does get some awesome moments, especially towards the end, with Emilia getting to swing a sword more than she ever has in Game of Thrones). I thought she was an interesting character, and Emilia gave a very nice performance (plus, she certainly had the 'classic' look working for her, with all those fine costumes she wore/hairstyles she sported). Another thing I liked about the film is that it has a sort of Rogue One look/'vibe' to it (which I don't think is a bad thing, since I quite enjoyed that movie). Giving the standalone films a different 'feel' to them (which sets them apart from the main trilogies) is a good thing, I think. While the movie does have nods to what's yet to come (those are some well-traveled gold dice Han carries, and you'll see why he brags about the 'Kessel Run' in an excellent sequence that will have you sympathizing with the Millennium Falcon by the end), they thankfully avoid going overboard with them (and one particular cameo is sure to make fans of the prequel trilogy lose their minds...assuming they haven't already). And if you've ever wanted to see why it's not wise to upset a Wookiee...then you're in luck. While I do think some alterations could've been made (not just Ehrenreich's casting) to improve the film, I don't think it's anywhere near as 'terrible' as some have made out. It might be a film that seemingly 'nobody asked for', but it's still not Episodes I & II levels of 'bad'. It does feel like there's set-up for possible sequels to come, but I'm not sure how likely it is that they'll ever happen. If they don't then I don't mind this being a 'solo' film.
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Post by teleadm on May 25, 2018 16:22:14 GMT
kijiiI haven't seen Les Girls 1957 in years, but the first thing I came to think of was that this looks like a musical variation of Kurusawa's Rachomon 1950, in that the same story is told in front of a judge three times. I agree with you that too many songs in a musical can by tiresome, what works on the stage might not work in a movie, since a movie needs another kind of flow.
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Post by teleadm on May 25, 2018 18:02:31 GMT
Heller in Pink Tights 1960, directed by George Cukor, based in a novel by Louis L'Amour, starring Sophia Loren, Anthony Quinn, Margaret O'Brien, Steve Forrest, Eleen Heckart, Ramon Novarro, Edmund Lowe., and many others Drama in an unussual envirenment, A wild west traveling acting company,that is always running away through fromm the law. But be mistake the female puts herself on a bet, ad in a scen.
Loren responds very well. Cukor and Loren is said to have a great resp
The movie is also the last rale roles ever played of having Edmund Love and Ramon Novarro i a movie
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shield
Sophomore
Reading is to the mind what excercise is to the body
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Posts: 776
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Post by shield on May 25, 2018 20:03:55 GMT
Mr. Blandings Builds His Dream House (1948) I could not possibly pass this up since it contains both Cary Grant and Myrna Loy. Melvyn Douglas was just icing on the cake. It was a fun and silly romantic comedy with a bigger message underneath.
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Post by kijii on May 26, 2018 3:16:10 GMT
School for Scoundrels (1960) / Robert Hamer & Hal E. Chester (double credit here for directing) I have seen and enjoyed this movie many times over the years. So, I DVR'd it (to see it again) when it was recently shown in TCM. It is based on Stephen Potter's wonderful book (which I bought in my early 20s right after I had seen the movie for the first time on regular broadcast TV in the early 60s). This was my introduction to good British comedy, and although I didn't understand all the British phrases and puns, I surely loved the comedy and cleverness of this movie. I'm sure I had seen Alastair Sim in A Christmas Carol (1951), but never like he was here. Terry-Thomas would go on to be enjoyed here in America in such movies as It's a Mad Mad Mad Mad World (1963) and How to Murder Your Wife (1965) where he played Jack Lemmon's butler. Raymond Delauney (Terry-Thomas): [Repeated line during tennis game to Palfrey] Hard cheese old boy!Mr. Potter (Alastair Sim): Just remember, if you're not one up on the other fellow, then he's one up on you.
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Post by kijii on May 26, 2018 5:49:29 GMT
Saw Solo: A Star Wars Story at the theatre yesterday. Since the casting of a young Han Solo was first announced, I wondered why they went with Alden Ehrenreich, as I'd thought Anthony Ingruber (who I first saw in the movie The Age of Adaline) was like a perfectly de-aged Harrison Ford and seemed tailor-made for the role. However, I reserved passing judgement on the guy playing young Han until I at least saw a decent amount of footage with him. After having watched the trailers, I was still unsure. After seeing the movie? My verdict is...he's adequate, but I'll always wonder what this movie could've been with Ingruber in the role instead. After the familiar 'A long time ago', we're treated to a bit more text setting up where this story begins (though evidently not enough to warrant an 'opening crawl'). When we meet Han, he's stealing a speeder, accompanied by Qi'ra (Emilia Clarke), who he grew up with on the mean streets of Corellia. I enjoyed the look of this chase scene, the setting and the 'feel' of it, like a good old-fashioned car chase. We get a sense of the history between their characters just in time for them to get separated, which leads to Han enlists in the Imperial Army to elude his pursuers (which is where he acquires the last name Solo). We eventually get to the first meeting between Han and Chewbacca, which doesn't go down quite the way you'd expect. Building the relationship between Han and Chewie was always going to be one of the most important parts of the film, and both actors portray their growing friendship well. We also see more sides to Chewie, as he's eager to help out fellow Wookiees. Just as Han first stepping onto and piloting the Millennium Falcon are pivotal moments, so too is Chewie proving himself the excellent co-pilot (that we already know he is) to Han, and even Qi'ra acknowledges it's him who belongs in the co-pilot chair. On top of seeing his developing friendship/partnership with Chewie, we also get to see Han acquiring his blaster, learning why it's smart to shoot first and being optimistic with "I've got a really good feeling about this.", which will inevitably turn into his classic and much more pessimistic line. We're also treated to some subtitles when Han communicates with Chewie in his Wookiee language. It's not long before they've gained each other's trust and helping each other out. The pair then fall in with a crew of thieves made of Woody Harrelson's Tobias Beckett (who Han learns much from, both good and bad), the seemingly perpetually moody Val (Thandie Newton), and the multi-armed Jon Favreau-voiced alien Rio. Pulling a job with them seems like the best course of action to further Han's goal of getting back to Qi'ra. Unfortunately, she's now under the thumb of Paul Bettany's villainous Dryden Vos. While the crew who Han falls in with are played well enough by the actors, it never feels like we really get to 'know' them or form an attachment to them. I thought the sequence on the train was very well done, though. Things kick into gear when Han is first reunited with Qi'ra and she takes him to meet Lando Calrissian (Donald Glover). Both actors do a good job of quickly establishing that relationship between their characters we're so familiar with. It quickly becomes clear why they're so mistrusting of each other when we see them reunite in Episode V. Glover is much more successful in playing a believable young version of Billy Dee Williams' Lando than Ehrenreich is at playing a young version of Harrison Ford's Han. At times Glover even *sounds* like older Lando (and we finally discover why Lando always pronounces 'Han' differently to everyone else). He certainly earns that 'you old smoothie' comment from Han in Episode V, but he's also a cheat. His relationship with the droid L3-37 shows that he *is* capable of caring (though he also loves his collection of capes). Things are set up nicely by the end of the film for when Han and Lando will next meet. The relationship between Han and Qi'ra also proves quite the complicated one, as you're never quite sure of which side she's on (though she does get some awesome moments, especially towards the end, with Emilia getting to swing a sword more than she ever has in Game of Thrones). I thought she was an interesting character, and Emilia gave a very nice performance (plus, she certainly had the 'classic' look working for her, with all those fine costumes she wore/hairstyles she sported). Another thing I liked about the film is that it has a sort of Rogue One look/'vibe' to it (which I don't think is a bad thing, since I quite enjoyed that movie). Giving the standalone films a different 'feel' to them (which sets them apart from the main trilogies) is a good thing, I think. While the movie does have nods to what's yet to come (those are some well-traveled gold dice Han carries, and you'll see why he brags about the 'Kessel Run' in an excellent sequence that will have you sympathizing with the Millennium Falcon by the end), they thankfully avoid going overboard with them (and one particular cameo is sure to make fans of the prequel trilogy lose their minds...assuming they haven't already). And if you've ever wanted to see why it's not wise to upset a Wookiee...then you're in luck. While I do think some alterations could've been made (not just Ehrenreich's casting) to improve the film, I don't think it's anywhere near as 'terrible' as some have made out. It might be a film that seemingly 'nobody asked for', but it's still not Episodes I & II levels of 'bad'. It does feel like there's set-up for possible sequels to come, but I'm not sure how likely it is that they'll ever happen. If they don't then I don't mind this being a 'solo' film. Wow, under that Spoiler is a great review....! Great post, Chalice_Of_Evil
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Post by kijii on May 27, 2018 3:59:30 GMT
The List of Adrian Messenger (1963) / John Huston This is one of the best murder mysteries I've ever seen. Better than any of the Agatha Christie or "Sherlock Holmes" mysteries to my way of thinking. The movie works on SO many levels, that I saw it three times (once with English subtitles) to try to grasp as many the details as possible. One can even forget about all the big-name actors--Tony Curtis, Kirk Douglas, Burt Lancaster, Robert Mitchum, and Frank Sinatra (all in cameo roles, masterfully disguised behind latex mask faces)--and just try to fit all the pieces of the mystery together as they appear in the movie. During a family manor fox hunt, Adrian Messenger (John Merivale) quietly engages Anthony Gethryn (George C. Scott), a former British intelligence officer, to quietly find the whereabouts of 10 very diversely-located people on one list. (Messenger does this without telling Anthony why they need to be found.) Shortly after accepting the job, Adrian's passenger plane is blown up with only two survives: Adrian (for a short time) and a Frenchman named Raoul Le Borg (Jacques Roux). The latter becomes an assistant to Gethryn as he traces through the list to understand it.
In the "hunt" to find the serial killer, Gethryn is always one step ahead of a totally unknown murderer. More than simply trying to find the murderer, Anthony had to figure out the commonality between the people he had murdered (and was still murdering), who he might kill next, and why.
This movie takes us in to the "sport of fox hunting," code breaking, phonetic analysis*, deductive reasoning, and trap laying. Anthony--with the help of an old friend, Raoul Le Borg (Jacques Roux)--seems to be able to build on almost all of skills that he had acquired from being a former British intelligence officer (AND without using the police or Scotland Yard in any way, since that would tip off the murderer).
*Did you know that to, could also sound like two or too? Did you know that Bruttenholm, Brougham, and Broom could all sound the same but have totally different meanings or spellings?
The movie is engrossing and entertaining; it utilizes actors from the Golden Age of Hollywood--Gladys Cooper, Herbert Marshall--with actor who were still at their peak when the movie was mad. The English actor, Clive Brook, was also great in his final movie as the Marquis of Gleneyre, lord of the manor and master hunting enthusiast.
Marquis of Gleneyre (Clive Brook): [gathered together, playing cards] You hunt, LeBorg? Raoul Le Borg (Jacques Roux): Alas, the horse and l are not compatible. Marquis of Gleneyre: Shoot, eh? Raoul Le Borg: The birds don't attack me, l don't attack them. Marquis of Gleneyre: Fish? Raoul Le Borg: Pourquoi? All the fish one wants are available in the market. Marquis of Gleneyre: What *do* you do?
Raoul Le Borg (Jacques Roux): [Referrung to Brougham] so, the masquerade is over Anthony Gethryn (George C. Scott): [sighs] Yeah, no need for disguises now. All that ended when the last name was struck off the list. All he has to do now is be his own charming self. Raoul Le Borg : What arrogance... making himself welcome at Gleneyre! Anthony Gethryn : Heh, makes it easier for him to get at the boy, hmmm, from the inside. You know, I hate to admit it, but I must confess to a sneaking admiration for him.
John Huston was even able use his own English estate and cast his own young son (Walter Anthony Huston) as one of the main focal points of the mystery.
For TCM Full Synposis with SPOILERS: www.tcm.com/tcmdb/title/81488/The-List-of-Adrian-Messenger/full-synopsis.html
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Post by teleadm on May 28, 2018 17:36:38 GMT
Heller in Pink Tights 1960, directed by George Cukor, based in a novel by Louis L'Amour, starring Sophia Loren, Anthony Quinn, Margaret O'Brien, Steve Forrest, Eleen Heckart, Ramon Novarro, Edmund Lowe., and many others Drama in an unussual envirenment, A wild west traveling acting company,that is always running away through fromm the law. But be mistake the female puts herself on a bet, ad in a scen. Loren responds very well. Cukor and Loren is said to have a great resp The movie is also the last rale roles ever played of having Edmund Love and Ramon Novarro i a movie I had trouble with my connection when I wrote this review, that why it looks unedited and incomplete. I thought I hadn't even sent it, but apparently I did.
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Post by kijii on May 29, 2018 6:19:13 GMT
Human Desire (1954) / Fritz Lang Made one year after The Big Heat (1953), this is another Lang movie coupling Glenn Ford and Gloria Grahame. Human Desire is good film-noir in which Grahame is almost the classic femme fatale. The story may be based on Émile Zola's novel,La bête humaine, but there is very little to relate this movie to Jean Renoir's great 1938 film version with Jean Gabin and Simone Simon.
That's not to suggest that this wasn't a good movie. It was. It's just not same masterpiece that Renoir's was. There are similar motifs (train stations, a murder on a train, and a boarding house) between the two versions. But, the time (50 years later than the novel) locations (somewhere in American small town rather than in the French small town), motives, subjects, connections, and basic stories between the two versions are completely different. One might say that Renoir's was more closely related to Zola's French naturalism a la mode at the turn of the century, while this is an American film-noir. (It actually makes me wonder if film-noir did not evolve from literary naturalism. But, that is another huge subject.)
American audiences in the early 50s would no more relate to naturalism (based on natural instincts beyond human control) than turn-of-the-century audiences would relate to the spoken phases used in American film noir, phrases like "he's all twisted inside." "I feel empty inside" or "I feel dirty inside." Jeff Warren (Glenn Ford) : It's all wrong, Vicki. The whole thing's been wrong from the beginning... and I feel dirty.
In the American film-noir of the time, it was easier to talk about feelings than causes of contributing conditions. Never mind taking spending too much time talking about what caused Broderick Crawford to be such a brute of a husband or why Gloria Grahame married him in the first place (although that is referred to). We just need to hate him and know he is the bad guy, while Ford will ultimately be the good guy--the Korean vet, glad to be home again. He knows, instinctively, the difference between killing in a war and killing a man in cold blood for Vicki's sake: Vicki Buckley (Gloria Grahame): You've killed before! Jeff Warren (Glenn Ford): Before? Oh, the war, huh. I'd almost forgot. You thought I could do it because of that, huh? Well, there's a difference. In the war you fire into the darkness... something moving on a ridge, a position, a uniform, an enemy. But a man coming home helpless, drunk... that takes a different kind of killing. Vicki Buckley : Yes, and a different kind of a man.
In Human Desire (1954), Broderick Crawford--not the protagonist, Glenn Ford--is the twisted character; in La bête humaine (1938), the protagonist, Jean Gabin is the twisted character. His faults are blamed on inherited, social or environmental qualities, things beyond his control: www.imdb.com/title/tt0029957/reviews?ref_=tt_ov_rt [After clicking on the above link, scroll down to see my IMDb user review under the title, Naturalistic forces beyond man's control... kijii6 December 2016 for a full description of Jean Renoir's 1938 version of this story. There are SPOILERS for that version in the review]
For full synopsis of Human Desire (1954) see TCM Full Synposis with SPOILERS: www.tcm.com/tcmdb/title/3672/Human-Desire/full-synopsis.html
By the way, I saw Human Desire (1954) on a DVD which only plays on my all-region DVD player. I think it only sells and plays in PAL format, but it would be a good movie for TCM to acquire, if possible, since no Fritz Lang-directed movie collection should be without it. It is good film noir.
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