imdb_id
stringlengths 9
9
| title
stringlengths 1
92
| plot_synopsis
stringlengths 442
64k
| tags
stringlengths 4
255
| split
stringclasses 1
value | synopsis_source
stringclasses 2
values | review
stringlengths 119
19k
⌀ |
|---|---|---|---|---|---|---|
tt0069753
|
Baba Yaga
|
Valentina Rosselli (Isabelle De Funès) is a Milanese photographer with a knack for controversial shoots. Her friend and lover, Arno (George Eastman), is a director. One night, on her way home, Valentina gets struck by a car driven by a middle-aged blonde (Carroll Baker). She introduces herself as "Baba Yaga" and tells Valentina their meeting was pre-ordained. After she drives Valentina home, she snatches the clip from her garter belt, saying she needs a personal object from her and that she will return it tomorrow. Intrigued and disturbed Valentina crashes for the night and has a series of strange and vivid dreams. As promised, Baba Yaga returns Valentina's garter clip the next day. She fondles a camera Valentina uses and invites her to her old home to take some photographs. Valentina visits the woman's house where she is given doll dressed in bondage gear. Valentina's life suddenly becomes full of strange occurrences. After discovering Baba Yaga is somehow responsible for that, Valentina decides to go back to her house and confront her.
|
haunting
|
train
|
wikipedia
|
'Baba Yaga' is a fascinating mess which will appeal to fans of arty Eurotrash like Franco's 'Vampyros Lesbos' and 'Eugenie De Sade' and Bava's 'Lisa And The Devil'..
Corrado Farina seems like an intelligent guy but even he admits that he failed in his attempt to adapt the erotic comics of Guido Crepax to the movie screen.
Farina's initial choices for the lead roles of Valentina and Baba Yaga fell through and so he had to reluctantly make do with Isabelle De Funes and Carroll Baker.
Despite all this behind the scenes drama it is a movie which will appeal to fans of arty Eurotrash like Franco's 'Vampyros Lesbos' and 'Eugenie De Sade' and Bava's 'Lisa And The Devil'.
Valentina (De Funes) is a successful photographer who comes under the spell of a mysterious witch Baba Yaga (Carroll).
Farina complained that Carroll Baker wasn't the right physical type to play Baba Yaga, who in the original comic strip was androgynous and not conventionally beautiful.
That may be so but I certainly enjoy looking at Ms. Baker, an actress who made several left of center movie choices in the '60s and '70s including 'Orgasmo', 'The Sweet Body Of Deborah', 'Bad' and 'Bloodbath'.
Filled with style and inventive camera work that could leave Argento in shame, the movie had a bizarre, interesting story.
The pace was slow and lethargic (similar to Franco's Succubus and Vampyros Lesbos); the music was excellent, including a melancholic jazz tune and a stylish rock score; and the acting was above average: Carroll Baker, as opposite of what many reviewers said, shines in the role of the evil witch (and looks very attractive also), and Isabelle de Funes was a nice revelation.
Apparently inspired by a comic book, "Baba Yaga" is an unusually compelling, surreal nightmare of movie that also is vibrant with the essence of the late 1960s.
The story follows pretty young fashion photographer Valentina (Isabelle De Funes) who runs afoul of seductive sorceress Baba Yaga (Carroll Baker) who proceeds to meddle in her life via a tiny doll in an S&M getup.
Fumetti were also pretty hip in Europe at the time (again in contrast to America where the coolest guy who publicly admits to reading comics even today is "Clerks" director Kevin Smith).There have been a handful of movies based on fumetti.
It was this movie though that has just confused the hell out of everybody since it's based on a comic strip "Valentina" few outside of Italy have read and few in Italy probably understood.
Valentina is a photographer who through the agency of a magic camera falls under the spell of a strange lesbian witch, Baba Yaga.
At one point, for instance, Baba Yaga gives Valentina a doll which suddenly turns into a real-life dominatrix who strips her naked, ties her up, and whips her while the witch looks on approvingly.
The actress that plays Valentina, Isabella de Funes couldn't act her way out of an 8mm porno loop with a German shepherd co-star, but she really doesn't have to in this very visual, non-linear movie.
She saves a dog from a fancy car driver by Baba Yaga (Carroll Baker), a mysterious older woman that insists to drive her home.
Until the day Valentina visits Baba Yaga´s house."Baba Yaga" is a film with stylish cinematography, beautiful music score that becomes tiresome after many repetitions, and a storyline typical from the Italian films from the 70´s (especially from Jesse Franco) with eroticism and cult elements such as references to Goddard and "The Golem".
Pouty-lipped Valentina is smack-dab in the middle of the art house European revolution crowd of the time - photographing nude woman by day and walking the lonely city streets at night alone, which is how she meets up with "Baba Yaga" a mysterious woman who dresses in black (played by the always lovely Carroll Baker).
"Baba Yaga" takes Gothic Horror, stylish pop art, comic books and bondage sex, whirls them in a blender and spews the concoction forth.
Those who are fans of the trippy stylish body-baring Giallo/Horror output from Italy circa 1970 should put "Baba Yaga" on their "must-watch" list..
(Very) loosely based on the erotic graphic novels by Italy's own Guido Crepax, BABA YAGA is a "giallo" movie on acid.
I know nothing about the comic strip so I can't compare
Valentina is a fashion photographer being romantically pursued by George Eastman (aka Luigi Montefori, from The Unholy Four and The New Barbarians).
Fobbing him off one night and walking home herself, she finds a puppy lying within a circle of candles and narrowly manages to save it from being run over by a car driven by the mysterious Baba Yaga (Carrol Baker, from The Devil with Seven Faces).
Intrigued in a way only free living seventies people can be, Val goes to Baba's house, takes photos of things, finds a bottomless pit in the hall, finds a strange glove and puts in on, which prompts her to do a bit of invisible banjo playing while the film turns into a comic.
The sets and general execution are very good indeed, involving scenes that turn from reality to comic strip, a nazi trial, a boxing match with a guy dressed like Jesus, and a soap powder commercial that's truly bizarre.
I saw this in my local video store for a while, and only rented it after finally reading the reviews here, and I must say, it was quite bizaare.Valentina is a photographer who, one night, has a run-in with a mysterious woman named Baba Yaga.
Things continue, including a creepy photoshoot at Baba Yaga's home, the gift of a strange leather-clad doll named Annette, all leading up to an extremely bizaare ending.
It was sort of half horror, half look at the mod culture in early 1970s Italy (although it seems like all the giallo movies back then showed it).
If you love intelligent artsy horror films like Roeg's "Don't Look Now" you should definitely check this out..
Corrado Farina's "Baba Yaga" is a delirious art-house gem adapted from Guido Crepax's "Valentina" comics, which centers around the sex life of a popular fashion photographer.
Many of the flaws are admitted by Farina in his interview on the Blue Underground DVD, especially the casting of Carroll Baker as Baba Yaga, which simply doesn't work, but there are other flaws which he doesn't mention.
It's also full of bizarre non-sequiturs, such as Guido Crepax, author of the graphic novels upon which the film is based, appearing as himself, and Valentina even reading pages from them at one point (pages which seem to feature herself) - had they been handled better, these ideas might actually have been very effective.
First, I must say I`m a big fan of the recently deceased Guido Crepax`s work and have readed and studied most of it, including the storyline Baba Yaga for the Valentina saga.
Farina (in "Valentina and I", included in the DVD) tells he was a very good friend of Crepax himself, he really seemed to understand the linguistical narrative that Crepax does in his fumettos, and he had the firm intention of doing the best adaptation posible of the Baba Yaga storyline (trying to avoid bad results as Modesty Blaise and Barbarella).
Tough the plot is faithfull (most part of it, anyway, Rembrant, the long time and true Valentina`s lover, is replaced by Arno Treves, a existing character in the saga but from another storyline), it is rendered in the most boring and unimaginative way a director could.
Sure this isn't the typical horror wanna be film with blood, gore, no plot, etc but this is a very deep movie with multitudes of depth, innuendo and symbolism.
The plot deals with a young female photographer who becomes unwilling struck under the spell of b*tch bondage witch, and midaged woman portrayed by Baba Yaga (Carroll Baker).
Valentina is definitely not sure WHAT to make of this stranger, and relays her suspicions to TV director Arno Treves (Italian icon Luigi Montefiori, a.k.a. George Eastman), her would-be boyfriend.Director / writer Corrado Farina (who also makes a couple of cameos) gives this a valiant effort, even if he himself admits that his film isn't all that successful.
Further harming the film is the fact that Valentina is not a particularly interesting character, and De Funes may be attractive, but her performance isn't all that great.
Picking up some of the slack are old pro Eastman, the lovely Ms. Baker (who does seem to be enjoying herself to some degree) and Ms. Galleani.There's also some nice music by Piero Umiliani, and at least one memorable twist, but "Baba Yaga" may still not appeal to *all* fans of arty Eurotrash.Viewers may be thunderstruck by the questionable taste of a commercial shot by Arno and his crew at one point.Six out of 10..
A fashion photographer called Valentina encounters a mysterious witch called Baba Yaga.
It's a fairly basic narrative but it has been used as a framework here for all manner of stylish madness.Isabelle De Funès plays Valentina and she looks suitably chic in the part, regular Italian genre actress Carroll Baker is the enigmatic Baba Yaga, while George Eastman gets to appear in a role that unusually does not call for him to be a psychopath but instead is a romantic lead of sorts who works as a director of commercials (his effort for a soap power advert really has to be seen to be believed!).
The director here is Corrado Farina who had previously helmed another strange art-horror film called They Have Changed Their Faces (1971).
Piero Umiliani provides a pretty varied musical score which splits itself into three styles – upbeat easy-pop for the fashion shoot scenes, slower orchestral stuff for scenes involving Baba Yaga and jazzy compositions to accompany the more surreal episodes.On the whole, this is quite a strange movie which will not have widespread appeal.
The style of direction, the fashions and the camera-work is also very typical of the period which gives this film a solid grounding as well as making it extremely dated – but hey, isn't that part of the fun of watching?
As another plus, Carroll Baker is effective in the role of Baba Yaga, the witch, even though she isn't given much to work with...she certainly gave me the chills!
Sadly too much of the film is filled with filler material, and it seems that the director struggled to adapt this movie from its comic book roots.
Baba yaga is very stylish Italian horror movie but at the same time it's not as graphic as many movies of the spaghetti cinema.
A somewhat strange offering that is based on folklore and erotic Italian comic books, Kiss Me, Kill Me is a first rate film set in modern Milan.Baba Yaga (played wonderfully by Caroll Baker) is a witch who tries to seduce and control a beautiful photographer, Isabelle De Funès (Valentina Rosselli).
Baba has also fondled a camera belonging to Isabelle which then seems to cause bad things to happen whenever someone is photographed with it.Throughout the movie Isabelle has dreams that are filled with eroticism and violence.
Carroll Baker by this time had moved to Europe to start a new phase of his career,there had more opportunity to make movies like this,worth to remember a Italian star George Eastman who made several spaghetti western,Baba Yaga is an interesting Giallo with some lesbian and fumetti style,that period of time was so popular,using a famous names and appealing to nudes scenes,the fans weren't disappointed for this time,worth each cent!!!!
Beautiful photographer Isabelle is pursued by beautiful witch Baba Yaga in an attempt to seduce her in this mess of a film based on a Italian comic.
It was an accident that I even saw this film - I bought the DVD from Diamond Entertainment under the assumption that the disk, titled "Umberto Lenzi Presents Kiss Me, Kill Me" was actually the 1969 Giallo, which also stars Carol Baker.
Diamond Entertainment made a mistake, and the disk and the cover do not match, which is a huge shame as Baba Yaga is a horrible mess of a film, and I spent eighty minutes bored to tears with it.
The plot supposedly comes from an Italian comic book, and follows a young female photographer named Valentina (Isabelle De Funès), who comes under the spell of an evil witch called Baba Yaga (Carol Baker).
Perhaps the most annoying thing about Baba Yaga is the fact that it's about a relationship between two women, one of them a witch; and yet barely any attempt is made to capitalise on either of these potentially interesting themes.
(aka: KISS ME, KILL ME aka: BABA YAGA)Hip fashion photographer Valentina (Isabelle DeFlines) walks home alone late at night and is almost hit by a blond witch (Carroll Baker) driving a Rolls Royce.
It adds a lot to what is already a dreary film atmosphere.The impeccable widescreen Blue Underground DVD has plenty of extras, one of which explains that this is all based on a comic books of Cepax, a popular illustrator in Italy during the 1960s, plus a 20 minute interview with director Farina who explains why he was inspired by all this.
Lanky, shorthaired fashion photographer Valentina (Isabelle De Funes) takes time out of her busy schedule snapping photos of naked babes to soak up the advances of new boyfriend Arno (George Eastman, from THE GRIM REAPER films).
Out of nowhere appears Baba Yaga (Carroll Baker), a mysterious black-clad lesbian sadist who challenges Arno for the affections of our malnourished heroine and uses her supernatural powers in nasty ways to get her.Oh yeah, she also has an endless pit in her living room that leads to hell and a sexy S&M doll named Annette who comes to life in the form of gorgeous Ely Galleani to do her bidding.
This extremely pretentious (but entertaining) Eurotrash effort masquerading as an art flick was based on a popular Italian comic book (and includes lots of comic stills), is full of female nudity and features an amazingly wooden Baker during her prime weird period..
One day, Valentina catches the eye of Baba Yaga (Carroll Baker), a beautiful older woman who just might be a witch.
With the help of her friend Arno (cult favorite George Eastman), Valentina does her best to resist Baba Yaga's efforts at seduction and domination.Reviewer Theron Neel says, "Farina wrapped his basic tale in bizarre imagery and visual non sequitors that are faithful to Crepax but don't have much relation to traditional film grammar and syntax." This is quite true, I presume.
hmmm.If you do wish to watch or own this film, look for it as "Baba Yaga".
I have just watched Baba Yaga, and i found it to be quite a boring film for most of the time.
I am wholly unfamiliar with Guido Crepax' "Valentina" comic strip, so really cannot say how closely the Italian/French coproduction "Baba Yaga" (1973) hews to its source material.
Director Corrado Farina states, however, in one of this Blue Underground DVD's many extras, that he failed in his intention to produce a film that replicates the feel of a comic strip.
In it, we meet Valentina (Isabella de Funes), a pretty fashion photographer living in Milan, who, one evening, encounters a very strange woman.
She is Baba Yaga, a sensual, echoey-voiced, blond enchantress of sorts who gives Valentina a leather-clad living doll, puts a hex on her camera, and shows her her creepy old house (replete with a bottomless pit in the living room!).
Carroll Baker, older but still very beautiful, is quite good as this "witchy woman"--I just love the way she wraps her mouth around the word "Valentina"--although, Farina reveals, she was far from the director's first choice for the role.
Known also as Baba Yaga, this film is in the tradition of Jesus Franco and Mario Bava.Carrol Baker (Baby Doll, The Carpetbaggers) is Baba Yaga, a witch who is definitely a lesbian.
She crosses paths with Vanentina (Isabelle De Funès), a fashion photographer.Baba Yaga was also into S&M, and used her lesbian assistant (Ely Galleani - Lizard in a Woman's Skin) to whip Valentina after she captured her.But, George Eastman (The Grim Reaper, Kidnapped) comes to the rescue.
Still, no matter what Farina claims, nothing can divert the attention away from the fact that "Baba Yaga" is a dull and utterly incoherent movie.
Late one night and following only a brief encounter, she reluctantly becomes the object of obsession of the funnily named lesbian witch Baba Yaga (Carroll Baker).
What I didn't care for was some of the acting (Carroll Baker is dissapointingly stiff, and clothed), the ridiculous plot (yes, the film is hallucinatory, but it still makes little sense) and most of all, the music!
Baker's character is named Baba Yaga, which is laugh-inducing the second that she is introduced in the film (who thought that was a good idea?) All in all, "Kiss Me, Kill Me" reminded me of a few of those Jess Franco movies made in the late 1960's, and not just with the jazz music.And, like Franco's films, this one is definitely entertaining.
Isabelle De Funès stars as a fashion photographer in Milan who has a bizarre incident one night with a black-clad woman who calls herself Baba Yaga (played by Carroll Baker).
Definitely worth a look.***** Baba Yaga (9/20/73) Corrado Farina ~ Isabelle De Funès, Carroll Baker, George Eastman.
I expect that these chunks of film that were left on the cutting room floor were sexual.The cast was interesting, and all the women were beautiful whether clothed or not.This movie is worth the time, but try not to waste too much money doing so..
I could never see why he is described as a handsome man but he works in front of the camera better than all the ladies in this movie do.Apparently it was based on an Italian comic strip called a "fumetti".
|
tt1855401
|
Tim and Eric's Billion Dollar Movie
|
Tim Heidecker and Eric Wareheim are two filmmakers who are given a record-setting $1 billion budget to make a movie. The funds are provided by Tommy Schlaaang and the Schlaaang Corporation. The two waste all of their money on the making of Bonjour, Diamond Jim, a three-minute film (based on a poem by "personal shopper and spiritual guru" Jim Joe Kelly (Zach Galifianakis) who they paid $500,000 a week), plus expensive makeovers, 10-course lunches, real diamonds for Diamond Jim's suit, and a Johnny Depp impersonator. Because of this, the two leave Los Angeles in fear that they will go to prison or be hunted down by the Schlaaang Corp.
After seeing an advertisement for it in a nightclub bathroom, Tim and Eric decide to renovate the S'Wallow Valley Mall run by Damien Weebs (Will Ferrell), in the hopes that they will make back their billion dollar debt. While trying to refurbish the mall, they must deal with vagrants (such as a man-child named Taquito (John C. Reilly), bizarre stores (such as Reggie's Used Toilet Paper Discount Warehouse), and a man-eating wolf that stalks the food court.
During their time at the S'Wallow Valley Mall, Tim and Eric also face many challenges, such as an angry shop owner named Alan Bishopman (Will Forte) who "doesn't want anything to change", and the fact that Eric is in love with Katie (Twink Caplan), a woman who works at the mall (whom Eric also compulsively masturbates to.) Because of this, Tim poisons Eric and ends up making love to Katie, whilst Eric goes to the Shrim Alternative Healing Center, run by Dr. Doone Struts (Ray Wise) to seek "spiritual healing", only to be placed in a bathtub which gets filled with diarrhea by Struts' sons as part of the "spiritual healing". After the event, Eric finds Tim sleeping with Katie and subsequently fights Tim. After the fight, Eric apologizes to Tim for starting the fight and understands why Tim made love to Katie.
They are eventually discovered by the Schlaaang Corporation thanks to Alan. After a dramatic shootout in front of the mall, in which most of the main characters are killed, Tim and Eric manage to kill the members of the Schlaaang Corporation, and are sentenced to death for murder.
However, it is revealed that the preceding events are actually a film the two were showing to Steven Spielberg, who pronounces it the greatest movie ever made. Tim and Eric then celebrate with their Awesome Show co-stars.
|
bleak
|
train
|
wikipedia
|
Hollywood producer Tommy Schlaaang (Robert Loggia - God knows if he's in on the joke or not, but he's hilarious in the movie) has given the duo a billion dollars to make a movie, and the result is a three minute short starring Johnny Depp (or rather an impersonator - everyone swore it was really Depp!) wearing a suit made entirely out of diamonds.
The plot is, of course, ramshackle nonsense and the film feels very much like the work of a sketch comedy team, but I have no problem with that as long as it's funny.
I'm a huge Tim and Eric fan, and I can say without a doubt, if you like their humor, you will love this film.
Having loved and enjoyed Tim and Eric's stuff for years, I couldn't wait to see this film.
I keep reading "OK, you have to be a Tim and Eric Fan to like the movie" and i can honestly say I thought I was one of those people.
I could understand someone falling flat with a feature film considering the length of it but this is like they want to make fun of the viewer by just being as dumb as humanly possible.There is not one single scene I can get back in my mind which would come close to the weird ads, intermissions, zany animations and Characters from the show.
It borders on surreal and if you try to watch it for any reason other than Tim and Eric you're in for a disappointment.Now, let's get this straight: What this movie IS NOT - IS TIM AND ERIC AWESOME SHOW GREAT JOB.I do not know why people came into this thinking it was a movie about the TV show.
I love Awesome Show, Tom Goes To The Mayor was damn good, I love most of their short films, and I am a huge fan of Eric's music videos.
Maybe it is the fact that a crossing of the fine line between my love for Tim and Eric and my hatred for Will Ferrell movies was inevitable.
As a huge Tim and Eric fan, I'd been looking forward to this movie for quite some time, and very simply put, you should go in with your expectations in the medium-low range.
Sadly I couldn't, yes a large percentage of it is childish and purile but for every bad joke there is a really quite good one.Tim & Eric do a decent enough job here and are flanked by a great cast including plenty of cameos.
This by itself was very impressive, my attention was grabbed.Again a lot of it is the most childish level of humour but it's saved by some great gags and I have a feeling this will linger in my mind for a while for both good and bad reasons.If you like random, bizzare comedies then this might be right up your street but be aware this pushes the boundaries in places and isn't for the faint of heart.Passable stuff.The Good:Some really funny stuffGreat castI loved the plotThe Bad:Some of the humour is patheticThings I Learnt From This Movie:If my sex life ever devolves into that I'm moving to YemenThese new health fads are getting out of controlIf people always exploded from gun fire movies would be so much better.
It's a good laugh & a Gretta move.Tim and Eric's Biilion Dollar Movie tells a story about two guys, their son and their adventures.
Starring Jonny Depp and Steve Farrell as a very funny boss.Watch with your friends but not with your family (it contains very sexy scene).Such a great movie you can watch a lot of times and thank you Tim and Eric your my favourite friends.I give Tim & Eric Billion Dollar EXCELLENT stars out of 10 stars..
Great JobBasically Tim and Eric are given a billion dollars to make a movie by the Schlaaang corporation, but waste it.
They try to rehabilitate a bankrupt mall full of vagrants, bizarre stores and a man-eating wolf that stalks the food court in order to get enough money to pay back what they owe.This movie is mostly for Tim and Eric fans but i think even if your not a fan you will love the movie.
Not so much from a narrative standpoint, but in the absolute weirdness of the humor, which, having been taken out of Tim and Eric's usual 45 second sketch format and placed in a feature length film, seems even more jarring than usual.
(if you've seen the movie, you know what I'm talking about) Even so, I'm sure that Tim and Eric understood this, that many would dislike some of these gags, but simply didn't care.
Tim and Eric's Billion Dollar Movie is a wretched comedy with one joke after another falling flatter and flatter as time goes on, desperately careening itself over the ninety minute mark to pass as a sufficient film.
Their movie might as well be named Tim and Eric Disgraceful Film, So Sorry!.I'm prepared to get the backlash of the century, with people from all around the United States telling me how I can't appreciate "real" humor and that I have poor taste in films.
And there is certainly no humor to be found about the depressing event in which a man is running a "used toilet paper" store in the mall.Let me bring you up to speed; Tim and Eric are two morons who are given a billion dollars by the Schlaaang corporation (a name that desperately screams "laugh at us") to create their movie, Diamond Jim. When the movie turns out to be only three minutes in length, and awful for that matter, the company requests a refund.
If you have to resort to making a fictitious PSA for a product that is obviously horrible, don't expect to achieve comedic heights.Granted, Tim and Eric's Billion Dollar Movie is a cult film, and I probably just gave some fanboys the greatest laugh of their day after ranting about the film.
The dialog is thin, the performances laughably bad (probably intentional), and the scent of desperation is so thick it becomes distracting.Starring: Tim Heidecker, Eric Wareheim, Zach Galifianakis, Will Ferrell, William Atherton, Will Forte, Ray Wise, Jeff Goldblum, and Michael Gross.
To the "fans" of previous Tim and Eric ventures, if you found Awesome Show or Tom goes to the Mayor funny, you'll love this.
Many people absolutely hated this film, most of them probably not being Tim and Eric fans who were unpleasantly baffled by this bizarre comic mess, others being Tim and Eric fans who were disappointed by the film for whatever reason, whether it be because of the admittedly mixed gross-out content or its awkward incorporation of a plot which contradicts the sketch/variety show-ish format of 'Tim and Eric's Awesome Show,' but, honestly, I was super entertained and amused by this movie and find it to be super underrated.
The point is this movie is superb with it's star studded appearances and hilariously executed characters that may or may not have any purpose to the "plot" (although in this Time & Eric production, there is an actual plot I still feel the need to stress the looseness of the term).
I think that the time has finally come now to spill the beans about what is REALLY going on here: the entire careers of Tim and Eric have been nothing more than than a decades-long thought-control experiment financed by shadowy petrochemical magnates to get the American public to hate comedy as a form and want nothing further to do with it for the rest of their lives.In this long-term quest, their efforts reach their zenith with Tim and Eric's Billion Dollar Movie.
They shock and awe viewers with their insanely bizarre deliveries and plot lines and that is what fans of Awesome Show, Great Job love about the duo.This movie is everything I hoped it would be and more.
Next, the live-action "Tim and Eric Awesome Show, Great Job!" upset "Tom Goes to the Mayor" fans who were expecting a similar show.
In 2011, Tim and Eric again surprised their fans with the dark comedy short-film "The Terrys," a major departure compared to their previous work.In short, the duo is always adopting new techniques, and therefore, their feature-length debut should not come as a shock.
A recurring criticism is that the film is not an adaptation of "Awesome Show." As another IMDb reviewer has aptly stated, Tim and Eric never promised that they would recycle any aspect of "Awesome Show." While it is in their best interest to please fans, they would never stoop down so low as to rehash a joke for the sake of, in the words of Spaghett, "a goof and a spoof."One could easily imagine what "Billion Dollar Movie" would be like if it were simply a film translation of "Awesome Show." It would probably be in the style of "Kentucky Fried Movie," a collection of randomly linked sequences that would allow for inclusion of most of the "Awesome Show" characters.
In conclusion, "Tim and Eric's Billion Dollar Movie" is a wonderful film that is up to par with their other works.
I think that is normal and both the guys probably would take 1 in 10 as a compliment since they are so over the top bizarre.If you are a Tim and Eric fan or just a fan of the Alternative World, you really need to see this movie.John C Reilly is one of the most talented actors in the world.
I want my money back!" After getting a billion dollars from a producer to make a movie Tim & Eric are surprised when he doesn't like it.
Many of their regular gags are brought in here -- but stretching these gags out merely makes the film seem long and uninspired.For die hard fans of Tim and Eric, however, there are some laugh out loud scenes, such as the unexpected explosion of a few characters toward the end of the film.
Reilley also delivers a sufficiently pathetic performance as a sickly mall maintenance worker, and other supporting actors ham it up with funny results.Ultimately, Tim and Eric's Billion Dollar Movie is a mixed bag at best.
You can beat out all the jokes from most comedies of Ben Stiller or so and there would still be a good or okay movie left over here, just a huge steaming pile of horse shit would be left behind which one in a blender with insulting stupidity and infantilism served us right at the moment where we are most hungry.I wanted to move on relatively quickly but took my courage to watch it to the end and that was a mistake because not only did I lose a piece of my humor, I think I lost a lot of power and tolerance and I have a few IQ points lost and must train pretty hard to regain the lost..
Say whatever you want about Tim and Eric Awesome Show Great Job and Tim and Eric's Billion Dollar Movie but love them or hate them their comedy is unique and will stick with you.
I'm not a fan of that genre but I have to admit that some of the material in this film really works despite it's complete lack of taste.The story revolves around Tim and Eric receiving $1 billion to make the most expensive movie of all time and blowing it all on themselves while only delivering a three minute movie.
Tim and Eric's Billion Dollar MovieFor a movie that cost one billion dollars to make its money back, producers would have to hold audience members hostage for a billion dollars.Fortunately, the irate producers in this comedy have only decided to harm the makers of their financial flop.Given a billion dollars by Tommy Schlaaang (Robert Loggia) to produce a motion picture of epic proportions, Tim (Tim Heidecker) and Eric (Eric Wareheim) blow it all on luxury items for themselves.Unable to pay back the money, Tim and Eric take shopping-mall magnate Damien Weebs (Will Ferrell) up on his billion dollar offer to run his dilapidated mall, where a wolf stalks the food court.A feature-length version of their bizarre 11-minute vignette show, B$M brings Tim and Eric's surreal safety video feel and oddball ensemble actors to the apex of ironic camp.As for the best thing about managing a shopping-mall: flirting with all the mannequins.
"Plot Points" go no where, like rehabilitating a mall ( which never happens- although a commercial airs for the grand re-opening?), a man eating wolf (that shows up once and dies in that very scene), Tim's new son Jeffery (which is nothing more than an attempt at injecting their patented "dad humor" into the mix- he gets oggled by Tim in a mildly pedophilic manner and is shot by machine guns in mid air after being stolen from his father, a used toilet paper salesman- as boringly unfunny as it sounds), a love interest of Eric's (Tim seduces her, Eric gives her a ring and then she gets shot and dragged outside and shot some more), earning the billion dollars (they don't get the money or seem to care if they do and the Shlaaang corporation doesn't even want the money in the first place- they just want to brutally murder our beloved duo).
This all sounds very bad, but it's really, really funny.I will be completely honest in saying that I absolutely did not get Tim and Eric's sense of humor when I first saw Awesome Show in high school.
That all makes perfect sense and it was exactly what I expected because I was watching a Tim and Eric film.
Call me a blind fan, but B$M was the exact amount of cringe I expected from a full length Tim and Eric movie.
As a fan, I do not get offended when people say Tim and Eric are not funny.
Apart from first time viewers, I also understand a lot of Tim and Eric fans not enjoying this film because of various plot-line and casting issues, and perhaps many fans found it too low-brow to meet their standards but I will once again state that it was exactly what I expected.
As a big fan of Tim and Eric's Adult Swim work, I was looking forward to their first feature film.
You either love or hate Tim and Eric, so there's no point in going into their style of humor and why someone may or may not like it for the umpteenth time.I watched this this morning On Demand, as it's currently being offered before hitting the theaters.
I think its safe to say the majority of us here have explicitly stated that were huge fans of Tim and Eric's, but the problem is that this movie just isn't up to par with their best work.Having thought about it some more since seeing the film, I have to say I'm in agreement with other sentiments echoed here that a really big problem with it is the reliance on gross out humor.
Tim and Eric's Bad Movie...
They've officially broken the number one rule of comedy: It isn't funny if it requires an explanation.The plot, as it were, involves Tim and Eric losing the $1 billion they were given by a Hollywood production company to make their own movie.
First off, let me me follow the trend of all the user reviews for this movie in saying that I've been a big fan of Tim & Eric's Awesome Show, Great Job. While somewhat hit-and-miss at times, the show had many funny characters and always was entertaining to me.
Tim & Eric are the stars, and for most of their fans, that's reason enough for watching.In conclusion, for fans that "get" T&E's humor (which I feel very lame in saying), the movie is great.
First I wanna say something to all the people not familiar with Tim and Eric who watched this movie and hated it: I'm really, really disappointed in you, okay?
First of all, any Tim and Eric fans complaining about the absence of Awesome Show characters, miss the point of the film.
For the fans not expecting an Awesome Show special, the Tim and Eric style is still there in all its surrealistic glory, which is all that matters, and it makes for the perfect antithesis of a Hollywood comedy.
So if you are after Tim and Eric Awesome Shoe Great Job the Movie, don't be disappointed when there are new characters, and new ideas on show.
To those who have never heard of Tim and Eric, don't think of this as a 'Will Ferrell film', open your minds to a new way of thinking about comedy and you just may be rewarded..
This movie is a colossal waste of their time.Tim and Eric's Billion Dollar Movie is completely without a single laugh.
"Tim and Eric's Billion Dollar Movie" is a juvenile, often disgusting attempt at comedy that knows it isn't funny and doesn't even try to be.
Nevertheless, it goes something like this: Two idiots (Tim and Eric) are given a Billion dollars by the Schlaaang Corporation to make a movie but waste it all on such things such as a suit made of diamonds and a spiritual adviser who is paid by the millions.
What kind of fool are you coming into this comedy expecting to find jokes, clever setups and punch lines?" To make things worse, the film is not only abysmal, but it's unmemorable and often cringe-inducing so even if you knew how torturous of an experience sitting through this disaster would be ahead of time, you can't make fun of it on a "so bad, it's good" level.If you are a fan of the show Tim and Eric star in, there is a chance you might enjoy it, but overall it establishes itself as complete garbage very quickly and goes downhill from there.
Folks, I have just watched "Tim & Erics Billion Dollar Movie".
|
tt0300748
|
Cómplices al rescate
|
This is the story "Mariana Cantú" and "Silvana Del Valle Ontiveros", the twins in question. Silvana is taken away from her mother, Rocio, and sister at birth. by Gerardo Ontiveros, who paid the doctor that helped Rocio give birth for one of the twins; as his own sister, Regina, needed an infant to pose as her own daughter with her husband Rolando, who Silvana grows up believing is her biological father, as she cannot have children herself in order to keep him and his money at her side.
After 12 years, the twins meet again.
They see the resemblance between them, and Silvana asks Mariana to switch places with her for a day so that she can audition as Silvana and get a part in a famous upcoming children's band called Cómplices al Rescate, as Mariana can sing well and Silvana cannot sing at all.
A while later, Silvana's "father" Rolando's heart illness becomes worse and he eventually suffers a stroke, which leaves him in the hospital. Regina, thinking Rolando has left all his money to her in his will, sees this as an opportunity to kill Rolando and have what she's always wanted, his fortune. Regina tells a weak Rolando that Silvana is not his biological daughter and that she has only been with him for his money the entire marriage. This angers Rolando, who then tries to get up and hurt Regina but ends up suffering another heart attack and dies on the scene.
Regina is then informed that Rolando had changed his will at the last minute, seeing as how she was always cold and never a real mother to Silvana. Rolando changed his will and left all the money to Silvana, leaving her nanny, Macrina and her godfather, Raul, in charge of the fortune until Silvana turns eighteen. This infuriates Regina, who then realizes that the twins have met and uses this as an opportunity to get the inheritance back under her name and remain rich. Regina and Gerardo then decide to kidnap Mariana too and force her to pose as Silvana, seeing as how she is actually able to sing, with the intention of making a fortune off of the Complices band and eventually, get back the inheritance.
Nanny Macrina is now in charge of Mariana too, who is being forced to pose as Silvana, and sees how Mariana is becoming friends with the Complices. She tells Mariana that perhaps the Complices will be able to help. Mariana opens up to Joaquin, Julia, Felipe and Andres, who agree to help return both twins to their mother.
Silvana is the one who was kidnapped and she is selfish, spoiled and arrogant. On the other hand, Mariana is sweet, humble and caring because was raised by Rocio, who is the same way.
Throughout the series they meet people like Joaquin and his siblings. Joaquin is an orphan along with his sister Julia and his brother Felipe. Their parents died in a car accident and the kids were left in the care of his aunt Florencia, who later gets tired of them and abandons them.
With the help of their friend and neighbor Andres (who is secretly in love with Julia) and his parents, these kids can keep living alone in the home. This becomes their biggest secret, one they must keep at all costs from the world, especially their neighbor Doña Meche, who becomes obsessed with proving that the children live alone.
Mariana, still posing as Silvana, asks the Complices to return Silvana to her mother so that Rocio's suffering will end and for Silvana to finally meet their mother. The Complices succeed in doing so, returning Silvana, who is now posing as Mariana, to Rocio. Rocio is ecstatic to have her daughter back, but Silvana, thinking Rocio gave her away as a baby, the lie Regina told her, acts very cold towards her mother the entire time she is posing as Mariana.
The series is split into two parts, during Belinda (whom played the roles of Silvana and Mariana before exiting the show) and after. The first part ends shortly after Belinda's exit on Monday, May 13th 2002, when the twins are finally rescued by the kids and Alberto, Rocio's former boyfriend who is still madly in love with her. The second part begins when Daniela Lujan takes the place of Belinda portraying the twins on episode 92 the day Tuesday, May 14th 2002.
The twins are returned to Rocio, who is shocked to find out she truly did have twins as she suspected throughout her entire pregnancy. But being from a small, humble town, she was unable to get any sort of ultrasound done.
Shortly after, Alberto asks Rocio to marry him. He accepts and the two wed. When the truth about what Regina and Gerardo did comes to light, Gerardo flees and Regina fakes her own death. Rocio and her family move into Silvana's "father"'s mansion, which is now under Silvana's name.
This is where the second half of the story commences.
While Silvana was posing as Mariana, she realized that Rocio really wasn't aware that she had twins and did not give her up shortly after her birth. This helps Silvana unlock her singing voice and allows her to sing as beautifully as Mariana. The two twins now begin singing together as the lead vocalists of the Complices.
Regina comes back at this point under the alias Tania Belmont to take her revenge on Silvana. "Tania" opens up a new record label, Enter Records with the intent of starting a new band to destroy the Complices and get Silvana on her label so that she can gain her trust and get back Rolando's fortune.
Tania offers Silvana a recording contract as the one and only vocalist of a new band she calls Silvana y los Bandidos (Silvana and the Bandits). Silvana accepts, leaving Mariana broken and the other Complices hurting.
This becomes the main focus of the second half of the telenovela, Tania trying to get her revenge on Silvana and trying to destroy the Complices.
The telenovela ends as Tania is revealed to be Regina, has a mental breakdown and is taken to a mental hospital and Gerardo is captured by the police and taken to prison.
The finale of the telenovela happens on stage at Veracruz during a Complices concert where the band, now being joined again by Silvana and the other members of Silvana y los Bandidos, perform a show. Mantequilla comes on the stage wearing a sign around his neck that reads "FIN" (The End) and the Complices reunite with all the cast members of the show since the beginning (excluding Belinda) and dance El Baile del Sapito.
|
romantic
|
train
|
wikipedia
| null |
tt0026198
|
Charlie Chan in Paris
|
Chan is on his way back from completing the London case—they always mentioned the previous case—to go on "vacation" to Paris, but this is just a way to make people think that he is innocently there. He is on a case for some London bankers and customers who say that some bonds from the Lamartine Bank in Paris are forged, so they hired Chan to solve the case. The suspects Chan meets include; Max Corday, a local artist who wants to reap the financial rewards of fame; Albert Dufresne, the assistant to the bank president who is living beyond his means; Henri Latouche, a bank officer who has access to financial bank records; Yvette Lamartine, the daughter of the bank president who is determined to recover old love letters from the bank vault; and Marcel Xavier, a crippled and blind beggar and "crazed World War I veteran who thinks that the bank is cheating on him and wants his money.
After various murder attempts on Chan and other killings, including that of his assistant, Nardi, and the ex-boyfriend of Yvette. Chan realizes that the murders were staged by Xavier. But it turns out not to be the case.
The murderer was Xavier, but he is actually not real; he has alternately been played by both Corday and Latouche; with Latouche appearing as Xavier when Corday was with Charlie, and Corday appearing as Xavier when Charlie meets Latouche at the Bank. Chan takes young Victor Descartes with him to find Xavier, and while they search Corday's and LaTouche's lair where they have been printing the counterfeit bonds, Latouche (as Xavier) arrives. Chan and Descartes kill the lights, and Latouche shoots at Chan's flashlight, apparently hitting him. But Chan has mounted it on a broomstick to decoy Latouche, and Descartes is able to capture Xavier/Latouche. Then the police arrive (summoned by Chan's son Lee), giving Chan a chance to explain how Corday and LaTouche created alibis for each other by alternately playing Xavier.
|
flashback
|
train
|
wikipedia
|
Charlie Chan goes to Paris, he says on a vacation, but is investigating the Lamartine bank (the richest and most prestigious bank in France) where several forged bonds have circulated across Europe.
Dufresne is murdered by a mysterious beggar, Xavier Marcel and the blame is placed on Yvette Lamartine, daughter of the bank's president.
This is one of the better Chan's in the series, with plenty of mysterious goings-on throughout the film.
This is the first film to feature Keye Luke as number one son Lee, which gives Oland to play Chan as the fatherly genial type, which is an improvement over the previous entry, Charlie Chan in London.
As in, 'Charlie Chan in Egypt', this little gem reeks with early film atmosphere and sustains itself with the wonderful portrayal by Warner Oland.
This entry in the Charlie Chan series has a great deal of signifigance due to the fact that it is the first entry to "feature" one of Charlies kids as a major part of the story.
Charlie also has to help another young lady in the same group who has been wrongly accused of murder As these multiple storylines weave together this becomes a really good mystery tale that leaves you guessing right up to It,s conclusion.
Thought to be a "lost film" for almost 35 years,this is an excellent entry in the series and is commercially availible...So if you like a really good mystery...pick this up and enjoy!.
"Charlie Chan in Paris" (Fox, 1935), directed by Lewis Seiler, the seventh installment to the long running and extremely popular 'Charlie Chan' mysteries starring Warner Oland, is an immediate sequel to "Charlie Chan in London" (1934), in which the story opens with the Oriental sleuth arriving in Paris following his latest case in London.
What makes this particular episode special, other than the near perfect Paris backdrop sets and interesting suspense buildup near the conclusion, is the introduction of Keye Luke playing Charlie Chan's Number One Son, Lee. The chemistry between Oland and Luke worked out so well that Luke became a regular, thus, setting the pattern to the future installments that has made the series based on Earl Derr Bigger's created character so successful.
Following the montage of stock footage of Paris, the story immediately gets underway as Charlie Chan (Warner Oland), getting off the airplane where he is set to visit his friend, Victor DeCartier (Thomas Beck).
Having met other characters, including Max Corday (Erik Rhodes), Yvette Lamartine (Mary Brian) and Renee Jacquard (Ruth Peterson), Charlie is entertained at a café where he witnesses the Apache dance, where Naldi (Dorothy Appleby), a woman working as a dancer, actually an undercover agent, is murdered.
Aside from his involvement with Yvette, accused of murdering her blackmailer, Albert DeFresno (John Miljan), Charlie encounters an intruder in his hotel room only to find him to be his son, Lee (Keye Luke), taking time away from college to visit and afterwards assist his father in solving his latest caper.Featured in the supporting cast are: Minor Watson as Mr. Renaud; Henry Kolker as Monsieur LaMartine; John Qualen as Concierge; Murray Kinnell as Henri LaTouche; and Perry Ivins as Bedell.
Close to being virtually forgotten today, "Charlie Chan in Paris" is best known as being a lost entry in the series with a print to actually be discovered in the 1970s, while earlier episodes, "Charlie Chan Carries On" (1931), "Charlie Chan's Chance" (1932), "Charlie Chan's Greatest Case" (1933) and "Charlie Chan's Courage" (1934), all featuring Oland, continue to be among the missing links.
Thanks to its discovery, "Charlie Chan in Paris" has become a welcome addition to the television markets, and at long last, introduced to television, in the New York City area anyway, on August 12, 1978, becoming the final installment to the eight-week television series, titled "Lost and Found" (1978) hosted by Richard Schickel on WNET, Channel 13.
For the "Chan" segment, Schickel did go on to mention in his discussion about Keye Luke's performance as Chan's son to be actually a one-time commitment resulting becoming an addition to the series.
With Warner Oland as one of the more notable Charlie Chan portrayals, his venture in Paris ranks one of the better entries and worthy screen entertainment for any mystery lover or follower to the 'Charlie Chan' mysteries.
Next installment: "Charlie Chan in Egypt" (1935), with Warner Oland, but without Keye Luke.
A Warner Oland classic that takes place in Paris.Excellent mystery in all respects.No doubt one of the best written Chan dramas and brought to fruition by some excellent acting.
Charlie Chan In Paris was recently released on VHS and DVD in the UK and I was pleased I purchased a VHS copy.Charlie Chan comes to Paris making out he is having a holiday but is actually over to investigate a forgery racket but also ends up investigating murders after two people are killed.
With the help of his No 1 son, he gathers clues and the investigation takes them under Paris in the sewers and the culprit is caught at the end, in heavy disguise...This mystery is atmospheric at times, especially the sewer scenes.Charlie Chan is played well by Warner Oland.
I'm not familiar with the rest of the cast though.If you like a good old mystery, you will enjoy Charlie Chan In Paris.
Between 1931 and 1942 the studio produced no fewer than 27 Charlie Chan films, first starring Warner Oland and later Sidney Toler.
Unfortunately, of the sixteen films starring Warner Oland, four have been "lost." For a great many years, however, the number of "lost" films stood at five--until a single print of the 1935 CHARLIE CHAN IN Paris was located.Like the earlier CHARLIE CHAN IN London, this film shows the series in full stride, a neat mixture of comedy and mystery bolstered by a solid cast.
It is particularly notable as the first film in the series to introduce Chan's son Lee, memorably played by Asian-American actor Keye Luke, who would continue the role through several films.
This episode finds Chan in, of course, Paris--pretending to be on vacation while in fact investigating counterfeit bank bonds in a mystery that leads Chan to the infamous sewers of the city.Chan films, particularly those starring Oland, often use the device of allowing other characters to show vulgar racism toward Chan--and Chan often encourages such dismissiveness to his own ends; underestimation of Chan's talents often delivers the killer into the detective's hand.
At times, however, the device has an unfortunate tone, and that occurs here, particularly in an early scene which presents Chan speaking in pidgin and then joining others in their laughter at the "joke." This sort of patronization would be soon dropped from the series, but it is significantly offensive when it occurs.That aside, however, CHARLIE CHAN IN Paris is quite a good entry in the series, which features dancing spies, stolen love letters, and shots in the dark.
Charlie Chan (Warner Oland) goes to Paris to investigate a forger and winds up investigating a murder alongside his son Lee (Keye Luke).
I love old detective films and the Charlie Chan series are among the best.
This film is also the debut of another favorite, Keye Luke as Lee Chan aka Number One Son. Luke was a wonderful addition to the series, providing Charlie with a sidekick to do physical action as well as be comic relief.
Like good old Charlie says in the movie: «Must turn many stones to find hiding place of snake»!
This is another Warner Oland Charlie Chan classic!
It has everything--a great performance by Oland in the title role; the introduction of Keye Luke as Lee Chan; an ingenius mystery; loads of atmosphere; and strong supporting players.
Charlie Chan in Paris is slow but enjoyable mystery.
Charlie Chan in Paris is the second Warner Oland entry I've seen, the first was Charlie Chan at the Opera some twenty years before.
Charlie goes to the French city, ostensibly on vacation, to visit a son of a banker friend and with his fiancée and another couple whose male part likes to draw pictures of people he knows, they go to a nightclub where an apache dancer, actually an assistant of Chan's named Nardi, gets murdered.
This film is notable as Keye Luke's first appearance as Chan's number one son Lee, here seen quite helpful in the case.
From 1935, "Charlie Chan in Paris" was considered one of the lost of the series, but a print was found.Years and years ago, when I first discovered the Chan films, the TV station I watched at the time showed Sidney Toler films.
Oland brings different qualities to the role, and he's a delight - very upbeat, more active, and in this one anyway, Lee Chan (Keye Luke) was a welcome addition to him, not a bother.
He really radiates a special warmth.Part of the energy difference is due to age -- Oland was about 12 years younger than Toler when he began the series.In this story, Chan goes on vacation to Paris, but it's just a cover.
He has someone there, Nardi, working undercover, but she is murdered shortly after the film starts.Good film, and somehow, even working in a studio, the film manages to create a dark and mysterious atmosphere.Enjoyable.
Directly from solving successfully the London murder mystery, Charlie Chan goes on to Paris - on account of a British bank, who's discovered there's some strange business with bonds going on at a Parisian bank, with huge sums of money involved, of course.
In Paris, Charlie has got an undercover helper who's been working on the case for a while and has gathered quite some information; and they agree that he and the beautiful young dancer meet right after her performance - but, there's a pretty gruesome beginning to this new case: at the end of her magnificent dancing performance, pretty Nardi is brutally stabbed before she can give any information to Charlie.At least, he finds something in her apartment: a notebook with everything she'd found out, which contains the name of one of the bank's employees, Dufresne, who's been spending surprisingly high amounts of money lately...
To his good fortune, his 'number 1 son' Lee (Keye Luke, in his first appearance in the series) appears in Paris to assist his father!
In one of the few times that another Charlie Chan film made reference to its immediate predecessor, Charlie Chan In Paris notes that Warner Oland is in Paris having picked up a client in London.
Fans of the series will remember that Oland was in London solving the murder in a stable on an estate, a fact also specifically mentioned.The clients who hired Oland are some bondholders who have bought what looks forged bonds from a respected Paris bank.
That other racket though manages to cast suspicion on a false perpetrator.Charlie Chan In Paris is one of the cleverest films in the Chan series and fans of Charlie should not miss this one..
Charlie Chan in Paris (1935) *** (out of 4)Another good entry in the Fox series has Charlie Chan (Warner Oland) working in Paris trying to crack some fraudulent bonds.
He receives a warning to leave town but of course he doesn't but the stakes rise when his undercover assistant is murdered.Up to this point in the series, CHARLIE CHAN IN Paris was without question the best.
This is due in large part to the fine performances, a great little mystery and one of the most memorable murder sequences from this period of films.
It's clear that the series kept making money for Fox or else they wouldn't have kept making them but it also shows that the studio was willing to treat the series with respect and that includes coming up with a very good screenplay.The story itself is one that works extremely well because all of the twists and turns are nicely done and help build up a very good mystery.
The movie will certainly keep the viewer off guard as we get several suspects but the mystery of the killer is never given away early in the film, which just helps keep you more involved with the plot.
The strong supporting cast includes nice work from the likes of Mary Brian, Erik Rhodes, John Wualen and of course Keye Luke who makes his appearance as the #1 son.
CHARLIE CHAN IN Paris really succeeds on all levels making it one of the more memorable films of the series..
A reviewer wrote this: "Chan films, particularly those starring Oland, often use the device of allowing other characters to show vulgar racism toward Chan--and Chan often encourages such dismissiveness to his own ends; underestimation of Chan's talents often delivers the killer into the detective's hand.
At times, however, the device has an unfortunate tone, and that occurs here, particularly in an early scene which presents Chan speaking in pidgin and then joining others in their laughter at the "joke." This sort of patronization would be soon dropped from the series, but it is significantly offensive when it occurs." Which, of course, couldn't be more wrong.
After solving the Stable Murder, Charlie finds his way to Paris and a meeting with a contact, who is a dancer, performing In a nightclub.
I think this is the best of the Chan films that I have seen so far.*Involving mystery.*Some suspense.*Very good lurking in the dark room/sewers scenes.*Engaging banter between Chan and son Lee(Keye Luke).*John Qualen cameo(line in the Searchers-Next time I raise Pigs by Golly!), blink and ya miss him.*Oland very good here.*Check out the pseudo-Astair and Rogers-like opening dance number where Nardi is killed.
Arriving in Paris under pretense of a vacation break, Charlie is on a case for a London banking house investigating fraud at the Banque Lamartine.
Forged bonds have surfaced with the actual signatures of the bank president and portending a potential bank crisis.The investigation begins at the Cafe de Singe Bleu, where the Chan party encounters the mysterious beggar once again, and at this point one begins to wonder why this character chooses to be so conspicuous.
With his contact gone, Chan must now use other devices to uncover the murderer and the bank fraud.It's in this film that the first of the Chan offspring make an appearance; Number #1 Son Lee (Keye Luke) turns up at Charlie's hotel room following a business trip to Rome, and eagerly entreats "Pop" to join the case.
Nevertheless, the ruse is effectively carried out, and makes "Charlie Chan in Paris" an effectively entertaining mystery..
Charlie Chan in Paris is another solid entry in the Charlie Chan series.
And the sewers in Charlie Chan in Paris are as uninviting a place as Chan ever visited.
Ably assisting Chan is son Lee played by Keye Luke.
Unlike later Charlie Chan films where the offspring are there for little more than comic relief, Lee actually helps his father and saves his life on more than one occasion.
The criminals' identities will keep you guessing up to the very end.I suppose that this is as good a time as any to write about my feelings on the racial aspects and controversy surrounding the Charlie Chan films in recent years.
There's an unfortunate scene in Charlie Chan in Paris where one of the characters attempts to make a joke at Chan's expense by speaking to him in pigeon English.
The Honolulu sleuth Charlie Chan(Warner Oland), is undercover in Paris investigating a bond forgery scheme, when a fellow agent is murdered.
Although the covert assignment becomes public, the detective's Number One Son Lee(Keye Luke) provides important assistance.
One of the better films in the popular Charlie Chan mystery series.
"Charlie Chan in Paris" is one of the better Charlie Chan films I have seen so far.
It also introduces Chan's no.1 son, likably played by Keye Luke.
Charlie Chan In Paris is a little too melodramatic for me; it has a murder take place during an apache dance, and it's main plot device is the killer disguising himself as a disabled war veteran to commit the murders.
It reminded me of Conan Doyle's The Man With The Twisted Lip, and with its botched murder attempt on Charlie, The Final Problem.In Paris isn't a bad film by any means.
Warner Oland is always welcome and the entrance of Lee Chan (Keye Luke - not as comic relief here but straight support) was to prove a popular staple for a number of years.
The scene where Lee first meets his father in Paris is very warm and beautifully played by both actors.The plot concerns Charlie investigating Bank bond forgeries in Paris, which involves several murders and an innocent person again suspected of the crime (a very hoary scene of the murderer throwing the gun he's used into the room and the innocent girl immediately picking it up and holding at gunpoint the people who turn up to investigate the shots!) So what we are really left with are a number of good scenes in a movie that never quite gels.
The mystery itself is not as engaging as the one in the previous film Charlie Chan In London, but this is still a reasonably enjoyable detective movie.
for a Charlie Chan film, it's good stuff.
The famous Charlie Chan series of the 1930s starred Swedish actor Warner Oland as the main character.
Since this is one of the earlier Fox Charlie Chan films, it is a definite step up in quality and entertainment.In this film, Charlie is supposedly on vacation in Paris but is actually on the trail of a counterfeiting scheme.
The best of Chan's sons, #1 son Keye Luke, is there to assist him and Mantan Moreland of the Monogram films is NOT--a good recipe for success.
I'm plowing through a boxed set of Fox's Charlie Chan movies with Warner Oland and maybe that's a mistake.
Best to have only once in while.Charlie Chan is supposed to be investigating some bank fraud and, inevitably, a couple of murders in Paris.
|
tt0023872
|
Captured!
|
British Captain Fred Allison (Leslie Howard) bids farewell to his new wife, Monica (Margaret Lindsay), whom he has only known for six days, and sets out for the war. He ends up a prisoner of war (POW), tortured by the fact that his wife has not written to him since the early days of his two year captivity.
When a fellow inmate shoots a guard, the prisoners make an impromptu unsuccessful dash for freedom, resulting in much bloodshed on both sides. As punishment, they are locked in a crowded cell for about a month. Finally, a new commandant, Oberst Carl Ehrlich (Paul Lukas), takes charge of the camp. Allison persuades Ehrlich (a fellow Oxford alumnus) to rescind the punishment.
One day, a fresh batch of POWs arrives. Allison is delighted to find his oldest and best friend among them, Royal Flying Corps Lieutenant Jack "Dig" Digby (Douglas Fairbanks Jr.). For some reason though, Dig is not as pleased to see him. However, Allison attributes that to their situation. Dig is determined to escape, regardless of the consequences to his fellow prisoners. He does manage to break free, stealing an airplane from the nearby airfield.
The Germans find his coat near the dead body of Elsa (Joyce Coad), a woman who delivered fresh food to the camp. Ehrlich writes to the Allies, demanding Dig's return to stand trial for rape and murder. Allison refuses to cooperate, until he recognizes the handwriting on a letter found in the coat. When he reads it, he discovers that Monica and Dig have been carrying on an affair for the last six months. Allison then adds his signature to Ehrlich's request. On the strength of Allison's endorsement, the British do send Dig back.
Dig refuses to defend himself, insisting only that he knows Allison's motive for bringing him back. He is found guilty and sentenced to death by firing squad. The real perpetrator, Strogin (John Bleifer), writes a note confessing to the crime, then hangs himself. Allison finds the note, but instead of notifying the Germans, crumples it up. Just before Dig is to be executed, Allison's conscience makes him show the confession to Ehrlich. Afterward, Allison tells Dig he will give Monica up.
All along, Allison has been planning a mass escape. He seizes the machine gun guarding the front gate, then holds off the guards while his comrades escape. The POWs race to the airfield, overcome the aircrews there, and fly off in a squadron of bombers preparing for their nightly raid. Allison is killed by a grenade. When Ehrlich finds his body, he salutes.
|
romantic, murder
|
train
|
wikipedia
|
Complicated Love Triangle.
A somewhat far-fetched plot spoils what could have otherwise been an excellent movie with Leslie Howard and Douglas Fairbanks, Jr. in the leading roles.
Cast as prisoners in a German POW camp during World War I, Leslie Howard finds out that his wife of just six days has strayed during his two years of captivity -- with his best friend.
The film has many of the themes that later POW moves will be known for -- the duty to escape vs.
the duty to keep the men safe; how far the leader will go in "collaboration" with the camp commandant; duty and honor vs.
personal desire; the juxtaposition of international law within the insanity of war.
Paul Lukas as excellent as the commandant.
The setting of World War I is interesting because it allows the portrayal of the officers as decent chaps that went to school together who now just happened to be trying to kill each other.
The final flying sequence is authentic and worth the price of admission.
Recommended..
Unknown World War I prison drama is a relic but still carries a punch....
In a salute to director Roy Del Ruth, TCM aired this one, a relic from the early past of Capt.
LESLIE HOWARD and Lt. DOUGLAS FAIRBANKS, JR., who are both prisoners of war in a German concentration camp run by Commandant PAUL LUKAS.
Howard's wife is MARGARET LINDSAY.It's a forerunner of films like STALAG 17, but the accent is on drama rather than comedy and the love interest is crucial to the plot, with Howard separated from a wife he hasn't seen in two years.
With dialog full of clichés, some of the romantic moments (flashbacks to Howard's past) are an embarrassment.Howard is reunited with an old friend (DOUGLAS FAIRBANKS, JR.) when his plane makes a forced landing and he ends up in the same prison camp.
Fairbanks is grilled by Howard about his wife and how she is--and we soon learn that Fairbanks has been having a relationship with her.
The plot develops into a study of their relationship as comrades despite both loving the same woman and generates further suspense when Fairbanks is wrongly suspected of killing and raping a German woman.The performances are excellent with Howard and Fairbanks both extremely impressive.
The firing squad scene seems a bit excessive for dramatic effect when Howard's nobility takes over and he confesses that he knows the truth about Fairbanks' innocence in the murder.
It's a grittier, scruffier and more virile role than usual for Howard and he makes the most of it.Naturally, this being a POW drama, there are escape plans that give added suspense to the final scenes with Howard heroically enabling a great escape.
It looks as if it was given low-budget treatment by Warners except for some good action scenes.Summing up: Creaky plot but worth watching.
The trench warfare scenes are well staged..
Under-Seen WWI POW Film that is Gritty and Gripping.
Obscure WWI Pre-Code Movie Starring Leslie Howard and Douglas Fairbanks Jr. It is a Gritty, Violent, and Compelling POW Story Based on a Novel by Sir Philip Gibbs, a Non-Fiction Chronicler of the Great War and a Liberal Spokesperson of the Era.This is a Gripping, Downer of a Film (as it should be), Peppered by a Love Triangle that is the Nucleus of the Otherwise Nastiness that Goes On and Besides the Prisoners Plight is What Drives the Story.
The Production is Striking and the Darkness of the Situation is Enhanced by the Almost Exclusive Night-Time Shoot.
Very Rare in the Early Thirties.The Result is a Film that Looks and Feels Different From Others of the Era. The Movie is Bookended with Two Rousing Escape Scenes that are Well Choreographed and Brutal.
Overall, This is an Underseen and Virtually Unknown WWI Film that is Sure to Impress When Discovered..
Seedy Story.
Always liked both of the principals here, especially Leslie Howard.
And this could have been a good war story with the premise of two old buddies reunited in a POW camp and plotting an escape.
But it started to lose me when it unfolded, as it turns out that one cuckolded the other when one was pressed into service.
Played impeccably by Leslie Howard, Capt.
Allison pines for the bride he left behind, which stirs guilt in his best friend, Lt. Digby (Fairbanks), who had an affair with his wife.
Howard carries the picture and Fairbanks is not up to the task as the co-respondent and not in the same acting class with Howard.
Fairbanks overreacts each time Howard talks about his wife, and a child could tell something was not right between the two.
There is additionally a surreal air about the POW camp, as the men were allowed to build facsimiles of country cottages on the grounds of the camp to simulate home.
This fanciful idea was granted by the commandant of the camp, played by a benign Paul Lukas.
A couple of rousing fight scenes, but the story was tainted by the aforementioned flaws.5/10 - The website no longer prints my star ratings..
Pretty good little POW film with some twists.
At first I thought was going to be a routine film about soldiers surviving the POW experience during WWI, but it turned out to be quite a bit more than that with some unexpected turns.
Leslie Howard plays Captain Fred Allison, the commanding officer of a group of British flyers who are captured by the Germans.
After the British have been imprisoned for awhile, one of the men gets hold of a gun and shoots one of the German guards in a botched escape attempt and, as a result, the whole group is sequestered in a dungeon of sorts with nothing to do and no exercise.
As a result, quite a few of the men begin to "lose it" after a few weeks of this isolation.
Allison goes to the German commanding officer and says that his men need activity and something to center their attention upon.
Allison says if the men are allowed to build little shelters of their own out in the open air of the camp that they will be less trouble, plus Allison guarantees that none will escape.
Such an officer's promise meant something back in those days, so the German commander gives Allison his request.
One day a few weeks later, some new prisoners arrive.
Among them is Lieutenant Fred Digby (Douglas Fairbanks Jr.), Allison's closest friend.
In fact, he's closer than he thinks.
Allison can talk and think of nothing but his wife Monica - they were married only a short time in London before he shipped off.
The problem is, Digby can think of nothing but Monica either.
The two fell in love after Allison shipped out.
It turns out that Monica almost immediately realized her marriage to Allison was a mistake after he left for war, and has found true love with Digby.Allison wonders why Monica is not writing to him - she is actually too busy writing love letters to Digby.
Digby is not really a cad, and hearing Allison go on and on about his wife - Allison even builds a miniature replica of their house in London from memory - Digby realizes this prison camp is not big enough for Allison, Digby, and Digby's conscience.
Digby plans an escape, and being a gentleman he even tells Allison ahead of time so he can turn him in to the Germans if he wants.
Allison does not.
Digby escapes successfully, but he gets a bit tripped up in the barbed wire and leaves his coat behind - a coat that happens to contain Monica's love letters to him.
Unfortunately for Digby, the night of his escape is also the same one in which a psychotic POW - Strogin - rapes and kills the German girl who brings supplies into the camp.
Strogin has slipped out, committed his horrible crime, and slipped back into the bunkhouse undetected.
Thus, the Germans blame the crime on Digby.The next morning the girl's body is found along with Digby's coat nearby.
The German commandant tells Allison that he is requesting that the British return Digby for trial for the murder of the girl, but that he needs Allison's signature to lend gravity to the request, otherwise the British will just consider this a ruse to get an escaped prisoner returned.
At first Allison refuses, claiming Digby is not capable of such a deed.
The commandant hands Allison Digby's coat that was found nearby, claiming this proves he is a logical suspect.
Of course, Allison finds Monica's love letters in the pocket, reads them, and plans a terrible revenge - he signs the commandant's request for Digby's return.How all of this plays out is very interesting, and being made before the production code I'll say you don't exactly get the moral ending you'd expect if this film had been made just a couple of years later.
Leslie Howard is always interesting to watch, and his great acting talents somewhat make up for Fairbanks' tendency to ham it up sometimes.
Highly recommended as a very entertaining war picture that is really not that much about war at all..
The almost-great escape.
Pretty good pre-Code melodrama (there's even a fairly graphic shower scene) with an impressively gritty World War I prison camp ambiance, and pleasingly complicated morality.
Leslie Howard, doing his usual noble-sufferer thing, nevertheless plays a morally ambiguous hero who, given a chance for unspeakable revenge against his best friend, takes it.
Fairbanks, as the friend, plays a severely flawed man, yet makes his way to a happy ending, as does Margaret Lindsay, as an adulteress who doesn't have to die for it.
Paul Lukas, the commander of the camp, is polished and dignified, and plays a wholly admirable German--not something you saw in a lot of American movies set in either World War. It looks quite expensive, especially the aerial sequences, and there's real rhythm to the editing.
It ends abruptly, and I wouldn't have minded more flashbacks to know the Howard/Lindsay story more thoroughly, but what's there is tense and compelling..
A definitive film noir!.
"Captured!" (1933) is a prince of a film noir, and will serve to illustrate exactly what film noir is: (1) the theme is not only downbeat, but unrelentingly so from start to finish, except for a flashback or two which serve to make the hero's situation even more poignant and impossible-to-endure; (2) the central character is depressed.
He feels hemmed in, disillusioned, and is convinced he has no way to go, no way out – except death; (3) the atmosphere of the film is extremely black, the mood intensified by clever cinematography and effects.
Captured!
represents an extreme example of all three noir characteristics.
Not only is almost every scene set at night, but the lighting always makes a distinct contrast between pinpoints of brightness and seas of black.
To add to the realistic effects, the central character (Leslie Howard) is unflatteringly photographed, whereas his nemesis (Douglas Fairbanks, Jr.) always looks as if he has just stepped out of a band-box.
Paul Lukas, as immaculately attired as he is good-mannered, serves as a further contrast to the quietly-spoken, nervy hero.
Superbly paced and directed by the way under-rated Roy Del Ruth, "Captured!" is, if anything, too grim, too uncompromising in its depiction of a hideous prison camp, to be regarded as escapist entertainment, but it definitely ranks as a definitive must-see for film noir fans..
If you turn off your brain, you can enjoy this film.
Just don't think too much as you watch it..
Tons O' Spoilers Alert!!
This is a WWI prisoner of war film.
It begins with allied soldiers (British, American and French) in a German internment camp for captured officers.
Soon, one of the prisoners goes nuts and this sparks a deadly riot.
In response, the Germans lock all the soldiers in a building and leave them there for weeks.
Finally, out of desperation, the senior officer (Leslie Howard) makes a deal--the prisoners will stop offering resistance if the Germans let them out of the building and run it like a normal prison camp.
SO, for a very long time in the film, a truce exists and all is well...and boring, as they're stuck until the war is finished.In comes improbable incident #1.
A man (Douglas Fairbanks, Jr.) who has fallen in love with the EXACT SAME WOMAN that Howard was in love with arrives in camp as a prisoner.
Unlike those who are following the truce, he wants to escape desperately--and since his rival is in the camp with him, there's A LOT of incentive to do so.
When Fairbanks eventually does escape, a local woman is found dead and it appears she was raped!
This plot element clearly shows that this is a Pre-Code film--when such topics were still allowed and relatively common in films.Because it appears that the escaped prisoner is a murderer/rapist, Howard signs a letter sent to Allied command--requesting the prisoner's return to face charges for this evil deed.
Well, given that WWI was still occasionally fought as a 'gentlemanly war', the Allies force Fairbanks to return.
The Germans sentence him to death and just before he is killed enters improbable incident #2 (perhaps 'impossible incident #1 is a better term)--a crazy man signs a confession that he and not Fairbanks had done the evil deed.
But, knowing now that Fairbanks took his girlfriend away from him, Howard is torn--will he try to stop the execution or just stand back and get his revenge?
Overall, the film has some very good acting and nice sets that look rather authentic.
However, given the improbability of it all, as I said, you must suspend disbelief.
If you can, it's worth seeing and definitely gets points for being original.Super-Duper Spoiler to Follow: In the final scene where Leslie Howard is killed, watch him closely.
After he's supposedly dead, you can see his eyebrow quickly move!
I'm not sure how this got past the director or editor (and in many films this is the same person)..
Romantic triangle subplot weakens strong prisoner of war tale..
There is a feeling of artificiality to the conflict between the two Oxford chums (Leslie Howard and Douglas Fairbanks Jr.) who are both in love with the same woman (Margaret Lindsay) and the conflicts which arise when this is revealed while they are prisoners of the Germans during World War I.
The opening is truly exciting, an escape attempt where the men seem to be on their way to freedom.
They are put into solitary confinement, released only when a new commandant (Paul Lukas) makes an agreement with their leader (Howard).
Lukas is by far the most interesting character in the film, giving a look into a truly decent character who just happens to be German.
His kindness to the prisoners is reflected by his agreement to give the men smaller shared quarters rather than large dorms and more freedoms, showing a perspective not often shown in films on the enemy during the two World Wars.A plot line involving the rape and murder of a local girl by an obviously deranged prisoner is quite disturbing and feels forced as Fairbanks is accused of the murder and sentenced to death.
This wraps up the plot line a bit too neatly as if someone was writing the script from a chart of predictable ideas rather than really giving us an in-depth story of what life was like at a prisoner of war camp.
The whole story of these two friends being at conflict because of Howard's wife who really loves Fairbanks is too predictable.
The final shot, though, is totally unforgettable.
|
tt0105402
|
Sidekicks
|
Barry Gabrewski is an asthmatic boy who lives with his widowed father, Jerry Gabrewski (Beau Bridges), in Houston, Texas. A loner, Barry has vivid daydreams about being Chuck Norris' sidekick, battling against Norris's movie enemies, who are often personified by Barry's everyday bullies such as Randy Cellini (John Buchanan). Noreen Chan (Julia Nickson-Soul), his favorite teacher, often plays the damsel in distress in these daydreams.
Barry wants to learn the martial arts, but is rejected by the arrogant dojo owner Kelly Stone (Joe Piscopo) for being too weak. Instead, he is taken on as a student by an old Chinese man called Mr. Lee (Mako), the sly uncle of his teacher and the owner of a local Chinese restaurant, "Frying Dragon". Mr. Lee finds creative ways to teach Barry to defend himself from his bullies. Lee devises training methods that increase Barry's endurance, which helps his asthma. Lee also deduces Barry's hero worship of Norris and from that, deduces at least some of Barry's daydreams. He creatively incorporates this into Barry's training, creating training scenarios that seem more dangerous than they are so that Barry will feel heroic for succeeding at them.
Lee enters himself, Barry, and Chan into a local team Karate tournament but is a bit stymied to learn that a team must have four members. Norris is attending the tournament as a guest. Chan (at Lee's urging) convinces Norris to join the team. Norris is both willing to help an ardent fan and has his own motivation for participating: he has encountered Stone on several prior occasions and wants to teach him "a lesson in humility." Barry is stunned to find himself working together with his hero.
The tournament involves four events: Breaking, Mens Weapons, Female Kata, and Freestyle fighting. Stone's team narrowly defeats Chan in the Female Kata, but Lee defeats Cellini, one of Stone's students, in Breaking. True to his word, Norris defeats Stone in Freestyle fighting. Barry -- aided by a vivid daydream -- scores well in the Mens Weapons. The result is a tie between Stone's team and Lee's team. In the tie-breaker, Lee is allowed to choose the participants, and chooses Barry and Cellini, saying Barry is the member of the team with "something to prove." Stone chooses the event, Breaking. Barry is dismayed to be confronting Cellini in the latter's best event but Lee tilts the odds in Barry's favor by using a small amount of lighter fluid to set Barry's bricks on fire. Faced with a much more heroic-seeming task, Barry wins.
After the tournament, Barry is seen talking to Norris, thanking him for his help. Norris vanishes, and it is implied that Barry has found the strength to live his life without the need for his daydreams. Before the movie fades to black, a young boy finds Barry's Chuck Norris magazine. With an excited "Wow" the camera pans out to reveal the young man is in a wheelchair.
|
revenge, violence
|
train
|
wikipedia
| null |
tt0422419
|
Hide and Creep
|
A southern town is simultaneously attacked by a UFO and zombies (a reference to Plan 9 from Outer Space, although it is unclear whether or not the two are related or coincidental in this film). A government agent (played by John Walker) parachutes in to investigate reports of UFO sightings. Upon arriving, he finds zombies springing from the graveyard. He is killed by one of them (this zombie virus is contagious, spread by biting). From here, the movie splits into four main stories.
=== Story 1 ===
Three men must defend their hunting club from attacking zombies, which can only be killed by head wounds. The men encounter the zombies outside their hunting lodge, but having neglected to bring any guns with them, they split up in the woods in an attempt to escape. Two of the men make it back to their hunting lodge and begin firing on the zombies. One of the men try to contact the sheriff's office, but the sheriff is out and they are advised by an agent from the Department of Home Land Defense to shoot the zombies in the head and avoid being bitten. The third man is wounded and makes it back to the lodge after his two friends have dispatched the zombies. His friends ask him what caused his wound and he claims he ran into a tree, when in fact he was bitten by a zombie. The men leave the woods to help defend the town. Eventually, the two non-infected friends are forced to kill the wounded man when he begins to show signs of infection. Lee, one of the remaining men, goes to a grocery store, where he is accused of being a zombie himself. The grocery store employees begin brutally beating him. His friend (Keith) walks by the store and witnesses what is happening to Lee, but is too late to stop it from happening. Assuming there was nothing he could do, Keith goes back to the nearby strip club. The strippers have been zombified and chase him out, but he learns they are afraid of the dark. After calling the local radio station with this information, Keith returns to his house, which his two daughters have been left to defend all alone. Keith takes his daughters and the secretary (Barbara from the police station) and her ex-boyfriend with him and they flee the town in Keith's SUV. However, as they are leaving the town, Keith's youngest daughter states that she is hungry and wants something to eat. Keith promises her they will get some food soon. But she grabs Keith's hand and bites him, and the SUV careens off the road.
=== Story 2 ===
A man is found naked in the graveyard, looking for his car and girlfriend after being briefly abducted by aliens. He goes to the police station, where he is able to find a pair of pants, and meets up with a group of a couple other guys and the secretary of the police station. He and she go off into town, do very little, and ultimately ending up at the same house as the man in story 1.
=== Story 3 ===
The town's preacher is attacked by a zombie in his church and is forced to kill the zombie while sustaining a bite wound on his hand. A worried woman asks him to give an impromptu sermon later in the day to comfort the people of the town. The preacher then goes and looks for some alcohol to dull the pain in his hand. However he lives in a dry county. The preacher is forced to steal some liquor from a party being hosted by a pushy woman who borrowed folding chairs from him earlier in the day. The woman tries to stop him but he bites her, and is then horrified by his newfound bloodlust. Later, he gives his flock the requested sermon in the form of an angry rant. He tells his flock that they should not expect the comfort and answers that they seek, when they can't even be bothered to attend regular services. Then he tells them that this is the end of the world, and he states he has no answers and shows them the wound on his hand. A zombie walks in and then the preacher kills the zombie, protecting his flock when, yet again, they show themselves to be incapable or unwilling to act for themselves. The preacher then asks God to forgive him and shoots himself in the head and splatters his blood on a woman of his congregation, and she screams. This ends the preacher story thread.
=== Story 4 ===
The scene opens on Chuck sleeping on the floor of his store, "Chuck's Super Video World". He is awakened by one of his customers banging on his front door trying to return a DVD because the drop-box has many anti-Hollywood pamphlets. The two men have a discussion about wide-screen vs. full-screen, and to make his customer happy, Chuck lets him have a free rental of the full-screen version of Citizen Kane.
Chuck then hears something in the back of his store and goes to investigate the noise. He finds nothing at first, but then a zombie grabs him and pulls him back into the store. The zombie and Chuck fight briefly, and Chuck knocks out the zombie with a VCR to the head. The VCR then ejects Chuck's missing copy of Night of the Living Dead.
Chuck attempts to contact the chief of police but he is out of town, and the secretary asks him to call back on Monday when the chief returns. Chuck then calls his mother and asks her how to get blood out of his T-shirt because he got blood on himself while fighting the zombie, and after she gives him a brief history of stain removal, she reveals that hydrogen peroxide works best. Chuck tells his mother what happened and makes plans to dispose of the corpse.
Chuck loads the zombie into his truck and takes it to the police station and leaves it there with a post it note on the head with his name and number on it and instructions for the police chief to contact him on Monday when he gets back.
Chuck leaves to go to breakfast and becomes aggravated when the restaurant he chooses doesn't have any Coke but offers him Pepsi instead. Chuck is next seen eating his breakfast as the character Chris sits down and starts talking to him about the corpse that Chuck left at the police station when Barbara, the secretary at the police station, calls looking for Chris.
The two men go to the cemetery to look for Barbara's car which was taken by the agent from the Dept of Homeland Defense. They get to the cemetery and find the agent and Michael, and give them both a ride back to the police station. Everyone decides to try to find Barbara's car while Chuck volunteers to stay behind in case someone calls the police station.
Chuck kills time by smoking some confiscated marijuana and waiting for the college football game to come on. Chuck watches TV while waiting for the game to come on and is upset when the game is preempted for a news report about the zombies in town. The newscaster then calls the police station and gets Chuck. The newscaster assumes that Chuck is a cop, but Chuck corrects him and then asks the newscaster to put the game back on, but the newscaster is persistent and gets Chuck to talk about the zombies. After telling what he knows about the zombies, Chuck again tries to get the newscaster to put the game back on; unfortunately it does not work, and the news broadcast continues.
Later Chuck finds out from a radio broadcast that the zombies are afraid of the dark and waits for night to fall before trying to make his escape.
Chuck is the last character seen alive and he is about to leave the police station to make a run for it, when he hears that the game is about to be broadcast. Chuck checks his watch and sees that he has enough time to watch the game, and sits down to watch as the movie ends and the credits roll.
|
violence
|
train
|
wikipedia
|
So if you're a stickler for a multi-million dollar budget and a film that takes itself too seriously, you may well want to avoid Hide and Creep.
On the other hand, if you're like most genre fans and enjoy the occasional humor with your Horror, you should get a kick out of this film.
If you like films along the lines of Bad Taste, Evil Dead 2, Evil Aliens and Slither then you'll probably understand this movie.Hide and Creep is both a parody and an homage to Romero and Raimi and Jackson.
Lots of bad makeup and iffy effects that some movies would expect the audience to believe as genuine.
I know I just want to see something that I have not seen a million times already and I believe with this movie there are some real fresh moments.
I would definitely recommend this movie not because it's perfect or wonderful, but because it's funny and has some new zombie moments in it.
I don't recall ever seeing that before in a zombie film and it actually makes some sense.
The quality isn't perfect so when you rent it do not expect top of the line Romero style Zombies, it's an Independent Film and it shows..
IF you enjoy low budget horror films, give this one a try.
As usual, the acting isn't great and blah blah blah, but if your renting a low budget movie you know what your getting into before you start to watch it.
I like these movies for many different reasons and that is a whole other topic altogether, perhaps in the forums...This movie starts out quite amusingly with Chuck (writer/director/producer/actor) in his movie rental shop in rural Alabama, chastising a person on the phone about ZOMBIE films.
If you are a casual fan of ZOMBIE films and like the new trend of horror films not taking themselves too seriously, then I can offer no better movie in that style than this.Camp, fun, charm and style, this flick has it all.
I have no idea about the national release of this film, but I recommend it to just about anyone with a sense of humor and looking for a horrific-ZOMBIEfied time!To answer questions, yeah, there is nudity, yeah they have to be shot in the head, yeah, there are a lot of inside jokes for Alabamaians that won't all be lost on everyone else, and yeah, Coke is better than Pepsi!.
"Hide and Creep" has the look of an undiscovered 80's zombie movie and the heart of one too.
Again if you haven't watched this then watch it but don't expect to be knocked out of your chair by effects (although done well on apparently a low budget) or blown away by the storyline (again a few good shots at zombie movies aside) Just watch it and have fun please!!!!!.
By the looks of things, this was an extremely low budget movie.
I turned this movie on knowing it was a zombie horror slash comedy.
"Hide And Creep" is a zombie comedy from a southern-fried point of view on a very low budget.
The film is directed by Chuck Hartsell and Chance Shirley, "Hide And Creep" actually forgets it is low budget horror and so did I.
Residents of small Southern town Thorsby, AL contend with bloodthirsty zombies, a mysterious flying saucer, and bad television reception."Hide And Creep"starts off right out with a pretty eye opening first scene that makes you realize you are about to watch a funny f*cking zombie movie.
I know it was a good flick because my boyfriend hates these funny zombie films and he watched it all the way through with a smile on his face!
Even the actors recruited for this projected committed completely to their characters and a few took it over-the-top enough to stand out as super f*cking funny!The special effects where really low budget-where talking back to Romero's original zombie film with the painted, ghoulish faces and few amp'd up zombies at all.
"Hide And Seek" is a true celebration of indie/low budget zombie movie making and as embraceable to the horror fan, zombie fan in particular, as "Night Of The Living Dead" and "Shaun Of The Dead".
No question "Hide and Creep" can rightfully take it's place on the low budget fun shelf, next to the likes of "Inbred Redneck Alien Abduction", and "Night Feeders".
If you look past the cheap effects, and latch onto the lighthearted idea of rednecks trying to outsmart zombies, you will be entertained.
The characters are funny and distinct, and the acting was actually quite good for a low budget independent film.
I'll say instead that if you don't like this film, then you simply haven't seen enough movies.
I have my Tivo set up to record ANYTHING zombie related and found that it picked up H&C on SciFi. My initial impression was that it might be TOO low budget for me to enjoy but after watching it for about 30 minutes I found myself being thoroughly entertained.
Sure, it's low budget, it pays homage to other B-movies and the acting isn't going to win any Oscars.
For all that, it does a decent job of entertaining with the premise of rednecks battling zombies.There isn't a lot of sleaze; only one scene with minor nudity, nor does the gore go over the top, so it isn't a schlockfest.
It looks like a movie that was fun to work on.Good enough for zombie fans?
They lurch, drool, bite and bleed like zombies should.This is a beer and chips movie, without doubt.
With that said, know that this is not about to be said to "defend my friends".I would estimate that there are a lot of people out there, some being those who have commented on this film, that are victims to the commercialization of the movie industry...and more importantly the effects that this commercialization has had on the ART of film MAKING.
Watching movies is far from being educated enough to critique the work of someone's film...
Some of you on the other hand seem to be informed somewhat as to what it actually takes (monetarily, time, sacrifice, TALENT, skill, etc.) To this latter group, I'm not speaking to you and I know that your comments are appreciated greatly.To the other group, and to anyone else who wants to see this film, it is a good product and I highly recommend it.
They do the work in their bedrooms on a Mac, have a few people come and work with them, and the rest is shear desire and talent that makes these films.I counted 7 of the comments as being absolutely worthless and void of any real educated critique.
I didn't have anything to do with this film as the credits show and I have seen maybe 3 people that had anything to do with it in the past...3 years or so.Personally, I love being around film-making and I think it's absolutely one of the most enjoyable things I've ever done.
Hide and Creep is by far one of the all time worst films ever made.
The folks that made Hide and Creep must have literally yanked some distributor to get this waste of good film stock into the rental stores.
Much of the humor in this film will probably play better to people who've lived in the South, but I think it has appeal for many genre fans."Hide and Creep" is a nice change from the usual crop of poor straight-to-video horror films that have been coming out of the South over the past few years.
Unlike some of the terrible works by rather talentless directors such as Jeff Thomas, et al., Hartsell and Shirley's film isn't heavy-handed and full of religious agenda (see "13 Seconds" if you'd like to see what I'm talking about).
I'd really like to see what they could do with a real budget and hopefully they've gotten one by now because these folks have a shot at doing something great in horror if they're given the chance.Considering that this was Hartsell & Shirley's first film, it's an excellent effort from two people who are obviously fellow horror fans.
My friends and I still quote lines from it and we still get together and watch it when we have our zombie movie get togethers.
The acting was OK, the plot was OK and the effects were a little on the cheap side but for a low budget movie and entertainment it really does get much better than this movie..
Keep in mind that it is a low budget cheap cheezy zombie movie.
The low budget is obvious but the filmmakers do a great job of stretching that budget and the final result is not a bad piece of work.The characters are surprisingly deep and the actors portraying them give them a realness and are believable.This type of film may not appeal to everyone but I suppose the only ones renting it will be the type who will enjoy it..
It was obviously made by folks who know and love horror movies--especially zombie flicks.
This is evidenced in the opening scene where Chuck, the video store guy, talks over the phone with a customer about zombie films (while "Plan Nine" plays on the TV, no less).
And it was worth a hundred of Hollywood's big-budget, CGI lovin', based-on-a-video-game, crappy zombie flicks.
Although not a great film, I did like a lot more of it than I thought I would.Hide and Creep jumps around a lot as it tells the tale of a small town besieged by the living dead, as well as government agents, and aliens.
The naked guy who was abducted, the ex-deputy and his ex-girlfriend, and the video shop owner all take up time for the basic, "survive" zombie plot.
With all these characters it would have made it more fun to have a siege style film like Feast...well with zombies instead of monsters.Still, Hide and Creep had its entertaining moments, mostly with the hunters, and their dialogue, but it didn't make up for long boring times with the other characters.
Although I didn't rate it super high, I would recommend this for low budget zombie fans.
My ex told me this movie was good and as a fan of zombie movies I expected to like it.
Some of the dialogue is good (namely the zombie movie phone convo and the coke vs.
Any good review of this film was done by someone that had a stake in the movie.
This waste of time is supposed to be an amusing spoof on low budget zombie movies.
Retail shops such as Hollywood Video and Blockbuster must be forced into taking movies like Hide and Creep with the promise of cheap fees or royalties.
The people behind Hide and Creep may think they're paying homage to greats like Night of the Living Dead and Evil Dead, but all they are really doing is creating a waste of time for any human being dumb enough to fall for the fake reviews on the DVD cover art.
I hope, no, I pray that these southern goof balls never touch a camera again and stick with what they're good at...watching movies, not making them..
I'll be the first to admit that I don't usually like or even understand zombie movies but this one is worse than most.I guess they are trying to be funny but they fail massively.The only time I laughed was when the guy at the police station told the TV guy to put the game back on.They keep trying to use the same joke about the one guy loving his car more than his girlfriend but it wasn't even funny the first time.I wasn't really expecting it to be funny but I was expecting some kind of plot and there wasn't any.There is literally no story or ending.Zombies show up and bite some people, end of movie.The worst part is that anyone who has a speaking part and gets bitten never transforms into a real zombie.They eat brains but just look human.This is definitely one of the worst movies I have ever seen..
Hide and creep.I like the title.I heard about this being on the sci-fi channel the other night.Let me say these guys have been watching shaun of the dead too much.No!I take that back.One can never watch Shaun of the dead too much.It is a funny ass zombie movie.H&C tries to be the same.It has some very funny jokes.Really.Most of the characters are likible.But it just suffers too much from its ultra-low-budget-trappings which drag it down.But hey my hat is totally off to the guys who made hide and creep.At least they got off they're butts and made a flick that actually received national distribution.Kudos guys.I hope they get a budget next time..
Imagine if a group of High School students decided to shoot a zombie movie for fun and use it on halloween for laughs.
I got my poor wife excited into watching a great, funny horror movie, "Better than Shaun of the Dead," which we loved, and after 45 minutes she got up and quietly walked away and left me to watch it alone.
I just fast forwarded it and didn't even bother watching the accompanying short movie.I feel like finding out who the reviewer on the CD cover was that said it's "Better than Shaun of the Dead." That's the reason I rented it.
I like zombie movies but this amateur effort has nothing going for it at all.
I don't really mind that the zombie makeup is pathetic or the lousy acting but there's very little story and absolutely zero laughs.When someone makes a really terrible amateurish film like this you always see comments like "so funny, buy the DVD!" - why would any normal viewer suggest that?
it's not as good as resident evil but it's still a 10 i did not even get scared when it came on sci channel last week long advertisement though but it was still awesome though that was the best movie i saw that had zombies cause it had a lot of light and the dude who wrote it if your on here good job dude.Shaun of the dead was good to.la.la.la.Ad.Ad.Ad.brass monkey junkie that monkey monkey.
awesome movie dude Freddy is better than zombies.i hope bub the chainsaw dude is dead it was never closed..........i live in Texas thats why...........it sucks bad-ass.i ate.eye.cool.mummy.ass.jackass.Darin.i hate comments.they suck like you-tube..
In the future, I'd like to see more with the actor who plays the bullet biting zombie in the police station--great scene..
This movie rocks: Southern style Zombie action..
Also, when the only person alive in the police station tells the TV reporter to turn the SEC football game back on, it made me realize this cast injected some real southern dialogue into a Zombie movie.Overall, this is a great movie, but you should know what to expect if you watch it.
This a hilarious zombie movie done on a limited budget, but I think there is some real talent in the crew.
Pretty funny zombie movie.
"Hide and Creep" is a pretty funny zombie/comedy.**SPOILERS**The town of Thornsbury, Alabama is a typical redneck town, and everyone loves it that way.
There's really no gags against the zombies, but from what the characters are doing in the film.
Everything is laid out pretty quickly, and that is a great thing for a film to be like, as a pace with lots of action is never really a bad thing.
And frankly, any movie that features a lesbian zombie scene isn't going down as a bad movie at all in any red-blooded males book.The Bad News: The one thing about the film is it's comedy.
The makeup was subpar, all the zombies looked like people that needed a good night's sleep.
This is a zombie movie comedy, it's not a horror film by any stretch of the imagination.
That movie was garbage.This film even shows a surprising amount of intelligence.
You'll never, EVER hear mention of such a thing in a Hollywood movie because they assume that the audience is way too stupid to know what a 64 1/2 Mustang is, and they would become confused and disoriented.The acting is really low-key, everyone just takes the zombies in stride, dealing with them much like they would a herd of cattle that got loose and began roaming around town.
When was the last time Hollywood poured $20 million into a film and actually produced a laugh?
And to make the whole thing more entertaining, they have the regular people in the town going about their lives while everything else is going on.The entire movie is filled with good one-liners, and comments that you get if you have ever hung out with gun nuts or rednecks for any length of time.
This isn't a brilliant movie, but it is vastly entertaining considering it was made for like ten bucks.
Rednecks *hate* zombies.Perhaps it's because I'm from the South, but I felt a special kinship with this movie.
One of my main criticisms of Romero's movies has been that slow moving zombies are no match for a guy with a gun.
I can forgive a couple of guys trying to cash in and ride on the coattails of a "funny" zombie movie like Shaun of the Dead and the Hartsells were heading in the right direction, but lack of money, lack of writing talent, and lack of any real directorial ability dooms them from the start.
HIDE AND CREEP takes place in a Southern redneck town, where a zombie plague has suddenly sprung up.
But I'll tell you what - put some more money into the project, some better writers for the dialogue, and a new director and an idea like HIDE AND CREEP has real funny possibilities..
HIDE AND CREEP is another indie horror flick based around redneck zombie mayhem.
|
tt0079540
|
Meatballs
|
Tripper Harrison is the head counselor of a group of new counselors-in-training (CITs) at Camp North Star, a cut-rate summer camp. Camp director Morty Melnick falls victim to Tripper's practical jokes mainly by being taken from his cabin in the middle of the night and relocated to an unusual place.
Rudy Gerner, a lonely boy who is sent to summer camp by his father, decides to run away from camp to a nearby bus station. Noticing Rudy is unable to fit in, Tripper takes him under his wing and each morning they go jogging and bond as friends. Tripper helps Rudy gain confidence while Rudy encourages Tripper to start a romance with Roxanne, the female head counselor. Love is also in the air for many of the CIT's; Candace "kidnaps" Crockett in a speedboat and confesses her feelings for him. Wheels, who had broken up with A.L. the year before, successfully rekindles their relationship during a dance. The nerdy Spaz develops a crush on Jackie.
A subplot deals with the camp's rivalry with the wealthy Camp Mohawk, located across the lake. During a basketball game, North Star is being beaten by Mohawk when they attempt their own perverse form of victory. This sets the stage for the yearly Olympiad held between the camps in which Mohawk carries a 12-0 record.
During the first day of competition, Mohawk dominates North Star, cheating in many cases to win. Crockett fails to clear the high jump bar, Hardware gets pummeled in boxing, and Jackie suffers a broken leg in field hockey, thanks to the dirty work of two Mohawk girls. The score at the end of Day One is: Mohawk 170, North Star 63. That evening at the North Star Lodge, Tripper gives a rousing speech, telling the demoralized campers that it doesn't matter whether they win or lose. In unison, Camp North Star begins to chant, "It just doesn't matter!" Day Two of the Olympiad belongs to newly inspired North Star as they win every event. Wheels outwrestles his opponent, Spaz defeats Rhino in a stacking contest with inspiration from Jackie and a thwarted Mohawk cheating attempt, and, after 12 years of North Star defeats, Fink finally beats "The Stomach" in the hot dog eating contest. North Star now trails by only 10 points with one event left, a four-mile cross country run for 20 points. Tripper steps forward and selects a surprised Rudy to compete against Horse, Mohawk's star runner. The many mornings Rudy spent jogging and training with Tripper pay off as he wins the race, giving North Star its first Olympiad victory by a score of 230–220.
Later that evening, Morty, Tripper, Roxanne, and the CITs sing around a campfire and say their final goodbyes as the camp prepares to close for the summer. Rudy has already decided to return to camp next year and Roxanne agrees to live with Tripper. The two ride off on Tripper's motorcycle, leading the buses out of camp and leaving Morty behind, in bed, on a raft in the middle of the lake.
|
prank
|
train
|
wikipedia
|
While some of the pranks that takes place in this movie, like carrying the camp director out in his bed and leaving him on the side of a road, strung up in the trees or out on a lake, are a bit over the top some of the other pranks are not.
(Especially during the camp social - while Bill Murray hams it up for the camera - just watch Spaz behind him dancing with the poor girl he picks to dance with!) By far, one of my very favorite comedies of all time!.
Those of us who got to go to camp will see many of the scenes as we remember or wish they could have been.Bill Murray plays senior boys counselor Tripper Harrison, who really runs the camp.
He drives the film with his one liners and ad-libs.Chris Makepeace plays Rudy, the loner camper who is taken under Tripper's wing and breaks out of his shell.The rest of the campers and staff in the film were excellent as well.The overall theme of the movie is the underdog overcoming obstacles to finally win.
From Rudy to Spaz to the Camp and even to Tripper himself, the underdogs of the film are the stars.
The cast look and act like real people.The comedy and heart draw you in to the point that at the end, just like at camp, you are sad to leave.In my summer camp experience we had underwear run up flag poles, mystery meat, trying to sneak a peek into the girls cabin, the lunatic-with-the hook stories around the camp fire, and moving sleeping people out of their cabins and putting them elsewhere.
Many people who went to summer camp as kids will see that it is presented here faithfully to the way it usually was, but with slapstick comedy mixed in.
Tripper has great one-liners throughout, usually broadcasting his jokes as pseudo-announcements over the camp's public-address system.Several great supporting actors played the campers and counselors to build a myriad of fun and interesting subplots, all the while sprinkled amongst the many incidents of camp hi-jinx.
For example, Tripper befriends a shy, lonely kid, Rudy(Chris Makepeace), and takes him under his wing.The story culminates with a sports competition against a rival camp.
But add in Bill Murray (already showing some dramatic as well as his usual comedic talent), a nice supporting cast, and an unexpected sweetness about growing up, and remembering those great, or not so great days at summer camp, and you get a heartwarming, funny, sleeper hit.It does get a little too smarmy for its own good, but that is also one of its charms.
When you hear the title "Meatballs", and see the poster, you expect a teenage sex romp, but what you get is a sentamental, yet sometimes sexy look back at those formative years at summer camp.
The only movie I've seen that comes close, is "Indian Summer", which I like almost as much as "Meatballs", and also stars Matt Craven.
I just finished watching it again, thanks to the 50+ movie channels satellite offers these days.Anyways, not only is Meatballs the excellent feel-good movie every young boy and 30 something should watch, it reminds me of the times I had in summer camp when was 7-10 years old.
Bill Murray really makes the movie, as does "Rudy." The movie really shows how boys and girls did act at summer camp.
Stripes, an army training camp comedy starring Bill Murray and directed by Ivan Reitman, is a favourite of mine.
Meatballs, a summer camp 'romp' starring Bill Murray and directed by Ivan Reitman, is a complete waste of time.
It takes a considerable effort for four screenwriters to produce a movie (the word 'comedy' infers a work with mirth aforethought) as witless, anaemic and boring as this.Murray evidently reached the same conclusion during filming, but his usually reliable powers of improvisation escape him and his flailing attempts to inject life into proceedings just add to the embarrassment - the "It really doesn't matter" chanting scene is excruciating.
It's a genial summer camp movie, so the jokes aren't mean minded in a lasting way that makes one character the permanent butt of ridicule.
The tone of the entire film has the same style as its leading man, established with a great opening scene showing the Murray way of getting ready for the day.
If you like Bill Murray, and you like good clean fun, you will probably like and enjoy this film very much.
Yes, the best summer camp movie ever is this here flick!
It's also clearly a film about the trials and tribulations of a bunch of youths whilst they're at a summer camp whilst they are being mentored by their crazy leader Tripper (Bill Murray).The problem with this film is that it has no definitive structure and no coherent plot line; it moves from scene to scene and from person to person but never in a way where it feels as though a story is being told - it felt like I was watching a series of goofball sketches lazily edited together rather than an actual story.
Up until about the 60 minute mark the film doesn't seem to have any kind of point (although to be fair it does establish one in its final third) but to be honest I found myself kind of bored; nearly all of the characters are boring clichés that unfortunately remain this way throughout the film - there never seems to be any revealing moments or irony with any of these characters making them feel rather dull and one-dimensional.There is one interesting aspect of the story (involving the bond between Rudy and Tripper) which is quite endearing, but it's never really given the attention that it deserves and sadly Reitman seems more interested in creating several chaotic and random moments which never seem to manifest themselves into any kind of story and many of these moments seemed to serve little purpose.When I looked at this film I was actually hoping that it would be similar to Animal House but the thing with Animal House is that it was silly but funny whereas Meatballs is silly without being funny and that's the key difference.
There were no big laughs on offer at all and very few small laughs (the only thing I found mildly amusing was the scene where they strap Monty to his bed and leave him outside strapped to the bed overnight).One thing that is great about this film is Bill Murray and he does bring this dreck to the life whenever he is on screen.
Granted he does overact occasionally, but in fairness he probably felt obliged to because nobody else seemed to be making much of an effort.The film has a nice feel good ending to it (albeit a predictable one), but truthfully Meatballs isn't a particularly fun film to sit through and its 'Are you ready for the summer' theme song is pretty annoying as well..
Hey man, I know, its Meatballs its a raunchy teen-sex comedy set at camp, I get it, and I had seen all the other Meatballs movies previous to this one so I knew beforehand what I was getting, but none of the other Meatballs movies has a sexual assault played for laughs.
A typical summer camp film with the prerequisite fat guy, nerd, hot girl and the corny but fun-spirited song is saved by Bill Murray as Tripper Harrison the head counselor, making this film humorously enjoyable, if not laugh out loud funny.
In camp, there's a eccentric counselor(Bill Murray) who knows how the boys and girls can have a good time.
Besides from some lame jokes, Murray led the way through the movie keeping it funny and entertaining.
Bill Murray tries his best to save this fitfully funny comedy, but the film still fails.
Later camp films lowered the bar.***** Meatballs (6/28/79) Ivan Reitman ~ Bill Murray, Chris Makepeace, Kate Lynch, Russ Banham.
Bill Murray (who was 28 during shooting) stars as an eccentrically droll camp counselor at Camp North Star who "trains" CITs, counselors-in-training, as they oversee the hordes of kids and face challenges with teams from preppy Camp Mohawk."Meatballs" (1979) is a fun and innocuous summer camp flick.
It's not great but it's entertaining enough, although if I'm going to view a summer camp film I prefer the Friday the 13th movies (practically any of them), mainly because they feature superior women.
This movie is a sloppy generic summer camp comedy that we've seen it a million times before.
This film also in a way is sort of like a journal as we watch it we can easily recall some of our past times when we gone to camp, from seeing some of these characters engage in a wild antic or two or even the games that camps engage in, just a lot of things that really bring you back.The only bad thing about the film is lack of a solid memorable ensemble which I felt the film could have benefited from even more.
Harvey Atkin as Morty whom sort of looks like Groucho Marx is always getting his authority undermined and Tripp and the rest of the colorful councilors they play some pranks on him to give him grief.To me the character that really stands out and I also feel really drives this film is Bill Murray as Tripp.
Like any good summer camp this is a film worth visiting.Rating: 3 and a half stars.
There are also some funny moments involving the counselors hitting on one another, but this is a PG rated film with little in the way of raunchiness.The film takes a serious note involving a shy camper named Rudy who is played by Chris Makepeace.
In other words, Murray might as well have said to Makepeace, "you must be that actor we hired to play the stereotypical lonely kid you see in most summer camp films who doesn't fit in." But before it's all over, Murray's performance makes this plot device more than bearable.
The quintessential "let's get ready for summer movie." It's dumb, goofy, and maybe a touch dated, but my kids just saw it and they laughed as hard as I did when I first saw it.
Sure, the script is predictably late 70's (like Little Darlings), but it's a fun movie, and I loved Rudy and Tripper.
I have to rent it, to see if It still makes me laugh out loud (I was only 15-16 years old when I last saw it, my since of humor might have changed), But I really remember it being on of Bill Murray's best..
Seen "The Original" 29 times (yes, I know, I need to get a life...)Bill Murray's finest (yes, better than Caddyshack, where he just had a bit part anyway) and all the supporting cast were great - good casting work.They definitely should have stopped after this one though....
I spent a summer at sleep away camp and I wish I had half the fun that Bill Murray and the crew have in Meatballs.
This movie has funny lines as well as funny characters.Bill Murray gets a lot of support from Spaz and Larry Finklestien who can't seem to master the art of Love at summer camp.Fink: You didn't do anything !
It also is the story of how one boy goes from outcast to hero after he is taken under the wing of a caring counselor.Sure there are jokes and highjinks, and a few teenage sexual references, but nothing over the top and they are all characteristic and true to form for summer camps.I love this movie.
it's a pretty weak film that everyone has seen a dozen times before, but if you like Bill Murray it is worth seeing.
Plus the kid who plays Rudy is great too.Unfortunately there isn't much else to this film - the laughs don't really hold up for the most part unless the jokes are Murray's, and the characters are all pretty lame and predictable.oh well.....
If anyone were to ask me if I recommend this film, I would say only see this for a pretty funny performance by Bill Murray, who portrays Tripper, the counselor more interested in cracking jokes than actual "counseling".
MEATBALLS (1979) ***1/2 Bill Murray is manic genius personified in his first big comedy smash during his "Saturday Night Live" salad day stint, as Camp North Star's summer camp for kids' counselor-at-large who firmly believes in the philosophy of having a good time all the time with some laugh-out loud hilarious hijinks.
The movie does have its moments, such as Murray's horror story and the basketball sequence, but the rest is all ho-hum and some scenes make the film look a bit too dated.
It's hard not to laugh at some of his morning announcements, the TV interview, and his big show stopping "It just doesn't matter!" speech.Murray plays Tripper, the head counselor at Camp North Star, a man with a wacky approach to life.
There's not much of a story here (screenplay credit goes to Len Blum, Daniel Goldberg, Janis Allen, and Harold Ramis), but among the antics are the pranks Tripper and his fellow counselors (among them, Jack Blum ("Happy Birthday to Me"), Keith Knight ("My Bloody Valentine"), and Matt Craven ("Crimson Tide")) play on camp director Morty (Harvey Atkin), Tripper reaching out to a shy and lonely young camper, Rudy (Chris Makepeace, "My Bodyguard") who just wants to make friends, and the final Olympiad where Camp North Star competes with the more macho and aggressive Camp Mohawk youngsters.It's not too hard to identify with many of these characters, especially during their more awkward moments.
The lovely Kristine De Bell also appears as one of the counselors.Best of all, director Ivan Reitman keeps the gags coming right through the end credits.Overall, this is good natured fun and something that I can't believe anybody would hate.Eight out of 10..
I do remember that I found it disappointing and quite dry, without many laughs at all and Murray--fresh off "SNL"--had not yet perfected the dry comedy in a mainstream movie that he would show much better in "Stripes" (1981) under the guidance of Ivan Reitman.
Meatballs also swerves unsteadily between cheap laughs and a ham-handed attempt to fashion some sympathy for a sad-sack loner kid (Chris Makepeace, in his feature film debut) befriended by Murray.
Forget this film, if your looking for a great summer camp movie try to find "Poison Ivy" a 1985 TV movie starring, Michael J.
It's hard to find and not that great anyway, but "Meatballs" makes it look like a Billy Wilder film!Final rating: 3/10 "A bad movie.
As it is, MB falls squarely into the "mildly fun to watch, but very rarely funny" category of comedies.If this movie gets you roaring with laughter, you're either 11 years old, or you're high on laughing gas.For those of you hoping for Porky's-like raunchiness, there is no toplessness.
Nostalgic and funny comedy has Bill Murray playing Tripper, a wacky summer camp counselor who, when he isn't trying to romance all the female counselors, is trying to help a sad boy(Chris Makepeace) who doesn't want to be there, and who isn't popular.
Then there is the rival summer camp where the rich kids go, and whom Tripper badly wants to show up.This could have been just another crass, predictable comedy, but this has a surprising amount of heart and empathy, and by the end, you may get just as misty eyed about it being over as the campers!
"Meatballs" is the "Citizen Kane" of cheesy summer camp comedies, and you can interpret that any way you want to.
The rebel camp counselor who's constantly playing pranks and for some reason always looks at least 10 years too old for the part: "Meatballs" did it first.
A year after John Belushi hit it big in the movies with Animal House, fellow SNLer Bill Murray would do the same with Meatballs with help from director Ivan Reitman-who was a producer on AH-and that film's co-writer Harold Ramis.
Not everything works but Meatballs is still-all these years later-a good comedy worth watching especially for the first starring role of Bill Murray.
Would set the tone for most summer camp movies to follow..
I liked this movie for the most part, but have to say had there been anyone else besides Bill Murray in the lead role it would not have been as good.
It's basically and hour and a half of complete silliness, with Murray as a counselor at a Canadian summer camp.
"Meatballs" comes across at times as an ensemble film, but Murray has all the good lines, all but Fink's earnest congratulations to Spaz ("you old make-out artist") after Spaz holds a girl's hand for a couple of minutes.
But "Meatballs" is funny, and it deserves extra credit for being such a nice introduction to Bill Murray the movie star.
it's one of the best camp comedies of all time.
It's a summer camp movie through and through which simply wants to entertain you.
This coming of age comedy explores all that, adding in the twist of some of the camp counselors being high school students and their efforts to get laid over the summer.Not quite leading the group is Bill Murray in his film debut, combining his trade work silliness and mentoring a pre-teen kid desperate to fit in.
The Original Summer Camp Comedy..........Classic Bill Murray!.
the underachievers competing for "bragging" rights in the typical camp contests, while the kids and consolers pursue pranks, sex, and "a good time!" "Are You Ready For The Summer?" Meatballs is the first (and best) summer camp movie for feel-good comedy.
The film works because of the wonderful comic timing and classic one-liners of Bill Murray.
The idea of having a racy comedy set in a kids' summer camp is not bad, but the great gags never really materialize.
|
tt0256858
|
Killers
|
The Killers is an adaptation of a short story by Ernest Hemingway. The story is divided into three scenes. The first and third scenes were directed by Beiku and Tarkovsky, the second by Gordon.
The first scene shows Nick Adams (Yuli Fait) observing two gangsters (Valentin Vinogradov and Boris Novikov) in black coats and black hats entering a small-town diner where Adams is eating. They tell the owner, George (Aleksandr Gordon), that they are searching for the boxer Ole Andreson and that they want to kill him. They tie up Nick Adams and the cook, and wait for Ole Andreson to appear. Three customers enter the restaurant and are sent away by George. One of the customers is played by Tarkovsky, who whistles Lullaby of Birdland.
The second scene shows Nick Adams visiting Ole Andreson (Vasiliy Shukshin) in his hide-out, a small room. He warns Andreson about the two gangsters, but Andreson is resigned to his fate and unwilling to flee.
The third scene shows Adams returning to the diner and informing the owner of Andreson's decision.
|
murder
|
train
|
wikipedia
| null |
tt0079754
|
The Prize Fighter
|
Set in the 1930s, Bags, an ex-boxer and Shake, his manager have bottomed out as fight trainers. Their latest fighter has lost and fired them. Without a home or even money for food. Bags tells Shake about getting back into the ring, despite Bags' record of 20 losses by knockout (out of 20 fights). One night, while at a carnival, Shake talks Bags into appearing at a $50 amateur fight. Unbeknownst to them, in the crowd is a local mobster known as Mr. Mike. Spotting opportunity, Mr. Mike arranges for Bags' opponent to take a dive in the round. Bags knocks the other boxer with a right hook, winning the money. Afterwards, Mr. Mike approaches Bags and Shake, introducing himself as a local businessman, and invites them to his mansion for dinner. During dinner, he explains that he would like to arrange Bags to get a shot at the Heavyweight title. His plan involves arranging Bags to fight the top three contenders for the title, then Bags will have a shot with the Heavyweight champ, known as the Butcher. Believing that Bags' right hook gives him a shot. Bags and Shake agree. What they don't know is that Mr. Mike is using both men as pawns in a plan to get his hands on a old boxing gym so he can tear it down for to build a new property over it.
|
depressing
|
train
|
wikipedia
|
The Prize-Fighter is a Champion.
It's not easy making a comedy about the fistic arts.
In the 1940s Danny Kay was successful in "The Kid From Brooklyn", playing a "fighting milkman".
It took almost 40 years for another boxing comedy to make an impact, and that was The Prize-Fighter.Tim Conway plays Depression Era boxer, Bags Collins.
Bags has a perfect fighting record; 20 fights, 20 knockouts.............all losses!
A perfect record!
Don Knotts plays Shake, the brainy(LOL!) manager of Bags Collins.
The movie manages to capture the times and is an interesting reflection of the Depression Era. Tim Conway is at his bumbling best when he is in the ring "knocking out" the top three contenders-Irish, Jake Folley and the Grader.
The Bags/Grader fight had me rolling in my seat.There's an impressive supporting cast and Robin Clarke as "Mike" the mob-boss gives an out-standing Brando impression.
The final championship match is well done too.
The Prize-Fighter is a championship of a comedy..
CONWAY & KNOTTS at their best.
Well, I don't know about other comments, but when I saw the movie in 1979 or 1980, I thought it was a very good little comedy with the shenanigans and slapstick of Knotts & Conway,As far as "Boxing" movies or documentaries, it was no "Raging Bull" or "Golden Boy", and it didn't have the real life sadness but redemption of "Ring of Fire - The Emile Griffith Story" or the excellence of "Somebody Up There Likes Me", but it wasn't a drama or true story.It was a comedy that was well acted and deserves a three star rating on the entertainment value.
Thanks to Tim, Don and the cast & crew for a slice of movie magic..
Conway and Knotts wasted in limp vehicle.
THE PRIZE FIGHTER hasn't garnered much attention since its initial release in 1979.
Watching this film, one understands why.
It's a drab mediocrity unworthy of the talents of Tim Conway and Don Knotts.
It's more distressing to learn that Conway co-wrote the screenplay.
He had a chance for creative control on this project but for whatever reason he couldn't take advantage of it.In this Depression-era setting, Conway's a clumsy boxer called Bags and Knotts is his smart-alecky manager, Shake.
They think they've struck gold when a powerful gangster named Mike (Robin Clarke) offers them a series of fights leading to a title bout.
Unknown to them, Mike's using them as pawns in a scheme.
He'll have Bags win some fixed fights and then get clobbered by the champion (Michael LaGuardia).
Mike'll force Pop Morgan (David Wayne), an insolvent old man who befriends Bags and Shake, to bet his entire gym on the challenger.The film's outcome is predictable but that wouldn't matter if THE PRIZE FIGHTER was entertaining.
It isn't.
As a comedy, it only gets by with scattered chuckles, due mostly to Conway and Knotts rather than the material.
Stale gags like an auto encounter with a truck of chickens are trotted out.
Worst of all, Conway's denied the opportunity to showcase his physical comedy gifts in the gym and ring; he's relegated to obvious stunts that any second-rate performer could do.The film also fails in the area of sentimentality.
Bags and Shake become surrogate fathers to an orphan boy, Timmy (George Nutting).
The scenes with the child, however, are handled perfunctorily.
Attempts at being heartwarming are further hampered by Nutting's wooden performance.THE PRIZE FIGHTER cannot be considered the low point in Conway and Knotts's careers.
They've done worse.
But they've done much better and that realization makes the film so dismaying..
...........and in this corner.
Tim Conway and Don Knotts team up for a 20s/30s period piece about the boxing
game.
Conway and Knotts are working as corner men when we first meet them
and making a holy hash out of it.
It was no better when Conway was the fighter
and Knotts the manager.
Conway had a perfect record as he points out.
Zero
wins, 20 loses and all 20 by knockout.Conway is the funniest boxer since Lou Costello stepped in the squared circle in
Abbott&Costello Meet The Invisible Man. Conway has one thing going for him if
you believe, a right hand with the power of Jack Dempsey.
He just never got a
chance to throw it.Anyway gangster Robin Clarke gets them involved in a scheme to take over
David Wayne's gym by giving Conway the Primo Carnera buildup until he gets
a crack at champ Michael LaGuardia's title.
Wayne is really stealing points from what Burgess Meredith did in the Rocky series.Conway and Knotts worked well together and as solo performers.
As a team
they were a lot like Laurel&Hardy with Conway the dumb one who knows it and Knotts the dumb one who thinks he's a genius.
This film is a great example of their team dynamic.I like them both separate and apart and fans of both will like The Prize Fighter..
Terribly unfunny boxing comedy.
Tim Conway was very funny on "The Carol Burnett Show", but outside of that show he came across as being very lame.
Not just with his "Dorf" videos, but also with his motion pictures.
My theory is that he had too much creative control when he was in movies, since often he also took on the role of the screenwriter, this movie being one just example.
I had a little hope that there might be some laughs, seeing that Conway's co-star was the great Don Knotts.
But Knotts' performance here is very subdued; it's clear that he knows he's in a real turkey.
The main problems with the movie are that the script is simply not that funny, and that director Michael Preece seems unable to inject any serious energy to what unfolds on the screen.
What results is gag after gag landing with a thud, made worse by a story that is obviously very padded out.
Though the movie only runs about 98 minutes long, it feels a lot longer, so much so that it's sometimes agonizing to sit through .
It doesn't help that the official DVD release of the movie more often than not has a transfer that resembles a rip of a VHS copy.
Hard to believe that this movie did reasonably good business for an independently made production..
Fun movie.
The Prize Fighter was originally out by the time the film Rocky 2 was out.
The first Rocky had been a hit a couple of years earlier.
The Prize Fighter was an attempt at comedy of a serious script...Rocky.
This film honors Rocky in the manner that Scary Movie does Scream.
Great comedians have had to wait in order to have their analytical talent recognized because of the fact that their analysis was way ahead of their era.
That was the case for these actors/writers.
It's not the only time this has been done.
Tom Hanks's and John Candy's The Volunteers did the same for other classic films such as Bridge on the River Kwai.
The era in which The Prize Fighter was filmed does not affect the content or message of the film even after thirty years.
I give it a seven on a scale of one to ten...
It's not a bad film.
|
tt0057225
|
Kings of the Sun
|
Balam (George Chakiris) is the son of the ruler of a Mayan tribe who use wooden swords (with obsidian edges). His father is killed in battle against metal-blade armed rivals led by Hunac Ceel (Leo Gordon). Balam succeeds to the throne, but is convinced by his advisers, including the head priest, to lead his followers away from the Yucatán, sail to the American Gulf Coast region, so they might regain their strength and fight again another day.
Balam's party comes to a coastal settlement with many boats. Balam wants the population of the settlement to join him with their boats. The settlement's chief agrees if Balam agrees to marry his daughter, Ixchel (Shirley Anne Field), and make her Queen. Balam agrees.
The new land they arrive in is a province occupied by a Native American tribe led by Black Eagle (Yul Brynner). They are none too pleased about these strange, uninvited immigrants. In a small raid to capture one of the Mayans, Black Eagle is wounded and taken captive to the Mayans' fortified settlement. Balam's love interest Ixchel tends to the Indian's wounds and gains an interested suitor, one who is more forthcoming with his love for her.
Balam is under pressure to resume their custom of human sacrifice by sacrificing Black Eagle. Balam has always been against the policy of human sacrifice and sets Black Eagle free.
Eventually, the two leaders agree to coexist in peace. However, they quarrel, and the Native Americans depart, just as Hunac Ceel finds Balam and his people. Hunac Ceel's army mounts a furious attack, but is eventually defeated by the united front of Indians and the transplanted Mayans. Black Eagle is killed in the fighting, resolving the love triangle.
|
romantic, murder
|
train
|
wikipedia
|
"Kings of the Sun" is the story of a civilization burst into full flower
In their profound desire to win favor from the deities, the Mayans made human sacrifice the keystone of their religion
Keeping the Buddhist monk hairstyle as his trademark, Brynner easily steals the show with his virile personality, distinctive look, speech and mannerism
He is Black Eagle, the barbarian chief who comes to the defense of the Mayans
George Chakiris plays Balam, the jaguar, king and son of kings to the ninth generation
Although in spite of being young and brave and untried, Chakiris lacks the heroic stature with which the role might have been satisfied
Shirley Anne Field is the delicate Ixchel who would never leave Black Eagle except if he ever used to tell her that he loved her
Richard Basehart is the high priest who tried to make the king understand that he cannot bring this new life to his people without giving a life
For a thousand years they've been bound by this law
The gods cannot be cheated
Leo Gordon is the tyrant Hunac Kell
His strength is a sword of metal and the Mayans are powerless against it
Filmed beautifully in Chichén Itzá, Yucatán Mexico, J.
Assembled for the cast are Yul Brynner as Chief Black Eagle, George Chakiris as a Mayan Chiefton, Richard Basehart as a Mayan Priest and Shirley Anne Field as Ixchel, a beautiful princess.
The film depicts the story of a Mayan people amid its cultural throes in which Chakiris, replaces their dying king, but is forced to flee by a deadly rival menacingly played by Leo Gordon.
Commandering an entire peaceful Mayan tribe on the hinterland of the Yucatan and sailing to the shores of America, Chakiris not only establishes a new beginning for his following, but collides culturally with Brenner and his Native American tribe.
He is terrific as Black Eagle, a heroic chief of the Indian tribe who, at first, is hostile towards the new invaders; consequently, he is to be sacrificed to the God of Waters, and finally, finds himself in the absolutely unexpected circumstances.
I admit that other cast do fine jobs, including George Chakiris as king Balam and Richard Basehart as priest Ah Min, but Brynner absolutely rocks.
What sort of sacrifice?" Yet, nothing draws your attention to profoundity or history - all is there around adventure goal, like in other films of the time, including THE VIKINGS (1958) by Richard Fleischer or THE LONG SHIPS (1964) by Jack Cardiff.
KINGS OF THE SUN, for entertainment's sake, is really a rousing adventure.The last interesting aspect of the movie I'd like to mention is its musical score which is really memorable, not very easy to tune but fits well to the scenes and the entire spirit of the movie.
When you do see it, in these old films, it now looks ludicrous and takes away from the seriousness of the movie.Yul Brynner, however, is one guy who could get away with it.
Barry Morse ("Ah Zok") will forever be typecast as "Lt. Girard" the man who harassed for years TV's "The Fugitive." Meanwhile, there is film-TV-tough guy Leo Gordon as "Hunac Kell" and Shirley Anne Field as "Ixchel." Field is beautiful and looks the part, but a British accent in Mayan territory?
It was filmed in the Yucatan, so the scenery is real - not some studio back lot.In the story, Balam's Mayans get pushed out of their area by a war-mongering neighbor, led by Kell.
This would be just an average studio movie but for a clever premise (Mayans flee across the Gulf of Mexico to establish a community in North America) and Yul Brynner's stunning screen presence.
When I first saw the movie, I loved the climactic battle scene but now I relish the human drama in Yul Brynner's character most.
I wish someone would put it on video or dvd because I would love to add it to my collection along with a lot of other Yul Brynner's movies that nobody seems to have wanted to cash in on.
I haven't seen the trailer for this movie, but I'm sure the words "Cast of Thousands" must have splashed across the screen in giant red letters."Kings of the Sun" is a costume melodrama with all the declaiming, strutting around, and general overacting characteristic of all the other costume melodramas produced in the late fifties and early sixties.
The setting in pre-Columbian America doesn't really do all that much to distinguish it from the biblical epics filmed in the same period, and Yul Brynner's portrayal of an Indian chief is pretty much the same as his portrayal of an Egyptian pharaoh.Neither George Chakiris as the Maya king nor love interest Shirley Ann Field bear any resemblance at all to Mayans, of course, but nobody in 1963 would have expected they would.
It describes the flight of the Mayans after military defeat at the hands of their Toltec enemies,and their settlement in what is now the Southwestern USA .They form an alliance with the Apaches ,headed by Yul Byrnner and together they unite to resist the pursuing Toltecs.This is despite the conflict between Brynner and the head of the Mayans ,played by George Chakiris ,over the favours of the Apache princess played by Shirley Ann Field .
Brynner lends his considerable presence to the role of the Apache chieftain and easily overshadows Chakiris in the acting stakes ,while Field is ridiculously miscast .Some attempt is made to give the characters modern resonance by having Chakiris make a stand against human sacrifice but neither characterisation nor script is really the issue here This is movie dominated by action and spectacle .The battle scenes are well staged and the sets are magnificent with some striking location photography ,shot in Chicen Itza ,Mazatlan and Yucatan ,being a definite bonus Low marks for intellect but its fun movie making and while cheesy its also enjoyable.
And yes, the final battle with the native indians coming to the aid of the Mayans (no place to run this time!)I now realize this movie is not on video, but does anyone have a copy of their own somehow, that would be willing to make other copies?
So, George Chakiris, fresh from his West Side Story triumph and Yul Brynner, known now from a number of hits, are pitched against each other in a sixty's version of a martial arts film.
Veteran character actors like Barry Morse (Gerard of The Fugitive), Brad Dexter, Richard Basehart and Ford Rainey are seen sprinkled among the good guys and classic Villain, Leo Gordon heads the bad guys.
The beautiful Shirley Anne Field offers the feminine interest in a departure from her roles in grade B movies and adds to the pageantry of the film.
This film broke new ground in its telling of culture clash in the New World many years before the arrival of the White Man. Made in 1963, the slowly changing face of race and minority relationships was just beginnng so for the first time in major motion picture history we have a "historical epic" between just the good old indians around with nary a cowboy in sight.
A few years ago my older brother brought up Kings of the Sun as we were talking about old movies.
Not since this movie came out in the theaters have I seen it,sixteen years old I stayed to see it twice.Being part of a basic downtown Oakland movie crowd the battle scenes went a long way to getting my thumbs up.After so many years of viewing Indians vs pioneers ,vs cavalry,vs davy crockett and old Betsy, vs etc.....here was a movie where all characters were Indians.Along with this different storyline and non-Indian actors I had to remind myself the first 1/3 of the movie"This is a movie about Indians vs Indians".Then to really make things different all the tribes seem to be situated south of El Paso.At the time I was aware there had been Aztecs in Mexico,it was much later that I heard of the Mayas,Toltecs,Olmecs,Mextecs and others.For that reason while viewing this movie I thought maybe Cortez and the Castillian hordes might come on the scene all of a sudden and go into their pillage and plunder act.Instead the enemy consisted of Leo Gordon and his hordes.The costumes,weapons and structures make this a movie about Indians.The movie is o.k. overall,the obvious non-Indian cast was a little difficult for me to take.Although Yul Brynner had a strong Olmec look his portrayal had some shortcomings.The most obvious one being when he has been captured.He's binded with long lengths of rope or leather ,the ends are being held by some guys about fifteen feet away.With a wild look on his face for every step he goes forward he lurches 3 or 4 sideways.More like he's a wild animal than a human being,maybe he got caught up in all the pounding drum beating,that'll do it every time.He also does his share of posing and posturing which all-in-all I think is his way of showing he's a proud savage warrior.Yul is a good guy and I've enjoyed him in other movies but watching him in this movie I can only think of one word-Ham.Despite that this movie is worth a look for being so different..
They travel to the Americas and at first, battle with a Native American tribe, led by Yul Brynner, who is at his usual flawless best, and when George Chakiris's rival follows him to the Americas, the final battle sequences are up there with other classics like ZULU and THE BUCCANEER.
So, I think it's time to call a spade a spade - bad movie, fondly remembered for all the wrong reasons by people who can't wait to come here and post that they loved it as a kid and why isn't it on DVD.
Kings of the Sun refers to the 2 Indian chiefs played by Chakiris and Brynner.
Intriguing side plots arise from the Mayan's tradition of human sacrifices, and a love triangle develop between the 2 chiefs and a Mayan princess.Brynner is just superb in this movie.
The movie is worth watching just to see him strut across the screen!Chakiris in comparison seems miscast as the Mayan chief.
That said, this movie offers some fascinating portrayal of early Mayan/Indian life, complete with realistic temple and village settings.
I really liked this movie and am interested in Mayan culture.
This is one of the few movies I have ever seen on the subject.I have not seen the Kings of the Sun in any video store and it has been several year since the movie was released on television.I was impressed by the casting of Yul Brynner and George Chakiris in the roles of Mayan leaders and feel it should be shown again as a classic movie.As I remember correctly (it's been a long time since 1963) the movie was well presented and the color was beautiful with the costumes and background showing Mayan temples and villages..
All this time I thought the movie title was "Kings under the sun"!
Yul Brynner as a chief of one tribe and the other actor (who portrayed the rival New York 50s era gang as a Puerto Rican that starred Natalie Wood in "The west side story") as the leader of another tribe.
This one is truly a poor motion picture, for all the reasons some reviewers have indicated: awful script and dialogs, inaccuracy of several sorts, corny costumes and settings, unbelievable hair styles, Caucasian actors playing natives of the American continent, and very bad acting, especially from Yul Brynner who overdid the macho number he created for the King of Siam, posing as if he were doing a photo shoot for "Tomorrow's Man" or any other male physique magazine of the 1960s
Today it seems worse, with everybody speaking the same language (English), but with different USA accents, except Shirley Anne Field who did her best British phrasing.
:-( Believe it or not, Yul Brynner makes a very believable Indian,given his heritage from central Asia, and the plot is very interesting in that it could have actually happened from the standpoint of the advanced state of the Maya at that time.
Have been searching for it for years - was told it was not released - can't believe that - great story line - great location - was so new and a fresh perspective on the "cowboy and Indian" theme - I think it was just to far ahead of it's time.....
Kings of The Sun. I saw this Movie on the big screen and several times over the years on TV, have always wanted it....I Loved it....Yul Brenner, carried out His Role as Black eagle, just the way A King would....He Strutted...His first appearance on the beach, jumping and leaning on the tree to see the strange boat on his beach was classic Brenner...the rest of The cast did great as well.
By the way i got a great copy on DVD, a Japanese release.......the Story...An ancient south American Culture, living peacefully is swallowed up by a Rampaging Conqueror, the King is Killed, Balin His Son must, lead His people....he decides to un and fight another day.To A fishing village and then to seas north and the unknown..they land and began building a new, not knowing they are bieng watched...the threat of war, friendship and Love ensue...And then an old Enemy finds them..a climatic battle ensues...Who Survives....the Good Guys of Course, but not without loss....
J. Lee Thompson making another adventure, working this time with a great gifted actor who was Yul Brynner and the extremely talented Richard Basehart of Fellini's "La Strada".
But if "La Strada" is probably the best movie of all time, this one it's just a show of hundreds of extras dressed in some costumes that should look like ancient Maya, fighting on a seashore.
"Kings of the Sun" is a highly fictionalized story about the Mayan civilization of central America.
It stars Yul Brynner, George Chakiris and Shirley Anne Field.
Photography is by Joseph Macdonald and the music scored by Elmer Bernstein.When the Mayan tribe are attacked by Hunac Ceel's (Leo Gordon) army, the King is killed and his son Balam (Chakiris) succeeds the throne.
They need to work it out one way or another because Hunac Ceel and his army are on their way to finish the Mayan's off for good.As with many other historical epics, Kings of the Sun is no history lesson.
Brynner is panther like in movements, and able to exude the raw emotion required for the role of Black Eagle.Other strong points in the film are Bernstein's score, which lands in the ears and rattles the brain with historical thunder, Macdonald's "Panavision" photography around the exotic Mexico locations, and the battle sequence for the big finale.
I liked this film very much for the following reasons: Number 1) Yul Brynner.
Bearing that in mind, Chakiris flees to fight another day.The new hybrid tribe sets up further along the coast and they meet up with Yul Brynner's tribe.
They look more like American Indians than the Chakiris crowd of Mayans do.
That threatens to rip up a new friendship, especially when Leo Gordon and his crowd comes a calling.Though Kings Of The Sun is an impressive looking film and the players all perform well, I've a feeling it was intended to be far more ambitious than what eventually came out.
Kings of The Sun was more than about one actor Yule Brynner, although he did a terrific job, this movie was about a people a culture that history had proved existed.
Kings of The Sun portrayed Mayan human sacrifice as a noble thing.
Yul Brynner offers excellent charisma in the role of Chief Black Eagle however for me the real show stealer has to be George Chakiris as king Balam , young and handsome with great charisma and great hair he suits the role of the king perfectly and Shirley Anne Field as his beloved also gives a shining performance.
The Indian chief of a resident tribe named Black Eagle ( extraordinary physique presence of Yul Brynner who personifies the romantic myth of the noble savage ) is captured by the newcomers to his land and there is dissension in the community as to whether the should be sacrificed in the ordinary way demanded by high priest (Richard Basehart) , then Balam eventually forbids sacrifice in the new land and the two peoples try a agreement with some friction .
Yul Brynner, for example, plays the chief of an unnamed Gulf Coast tribe.
Happily, some dramatic tension is restored, due to Brynner and Chakiris's rivalry over the film's only major babe, and it looks like there will be a war after all.
King George's old Maya nemesis shows up in an armada (though how the hell they could have found Chakiris's people across the Caribbean is one of the film's many mysteries).
Now there really is a war, but Brynner's people come to King George's aid and beat the bejeezus out of the invaders' forces.SPOILER!I hope it won't ruin the film for you if I reveal that Brynner is mortally wounded while fighting to protect Chakiris.
And George Chakiris is not only miscast but so bland and spiritless that it's impossible to believe that he could go mano-a-mano with Yul. Otherwise I did enjoy Kings of the Sun!
Kings of the Sun is one of the great movies of all times!!.
Kings of the Sun was also a late night TV movie years ago.
George Chakiris plays a Mayan Noble named Balam who inherits a kingdom from his father at a time when his people are being overwhelmed militarily by a rival king known as Hunac Kell, played malevolently by Leo Gordon.
I particularly liked the scene where Balam comes up with a novel Mayan way to water the crops in this new land.
|
tt0044741
|
Ikiru
|
Kanji Watanabe is a middle-aged man who has worked in the same monotonous bureaucratic position for thirty years. His wife is dead and his son and daughter-in-law, who live with him, seem to care mainly about Watanabe's pension and their future inheritance. At work, he sees constant inaction, including a group of parents who are referred to one department after another when they want a cesspool cleared out and replaced by a playground. After learning he has stomach cancer and less than a year to live, Watanabe attempts to come to terms with his impending death. He plans to tell his son about the cancer, but decides against it when his son does not pay attention to him. He then tries to find escape in the pleasures of Tokyo's nightlife, guided by an eccentric novelist whom he just met. In a nightclub, Watanabe requests a song from the piano player, and sings "Gondola no Uta" with great sadness. His singing greatly affects those watching him. After one night submerged in the nightlife, he realizes this is not the solution.
The following day, Watanabe encounters a young female subordinate, Toyo, who needs his signature on her resignation. He is attracted to her joyous love of life and enthusiasm and tries to spend as much time as possible with her. She eventually becomes suspicious of his intentions and grows weary of him. After convincing her to join him for the last time, he opens up and asks for the secret to her love of life. She says that she does not know, but that she found happiness in her new job making toys, which makes her feel like she is playing with all the children of Japan and that he should find a purpose in his own life. Inspired by her, Watanabe realizes that it is not too late for him and that he still can do something. Like Toyo, he wants to make something, but is unsure what he can make in the city bureaucracy until he remembers the lobbying for a playground. He surprises everyone by returning to work after a long absence, and begins pushing for a playground despite concerns he is intruding on the jurisdiction of other departments.
Watanabe dies, and at his wake, his former co-workers gather, after the opening of the playground, and try to figure out what caused such a dramatic change in his behavior. His transformation from listless bureaucrat to passionate advocate puzzles them. As the co-workers drink, they slowly realize that Watanabe must have known he was dying, even when his son denies this, as he was unaware of his father's condition. They also hear from a witness that in the last few moments in Watanabe's life, he sat on the swing at the park he built. As the snow fell, he sang "Gondola no Uta". The bureaucrats vow to live their lives with the same dedication and passion as he did. But back at work, they lack the courage of their newfound conviction.
|
romantic, philosophical, flashback
|
train
|
wikipedia
| null |
tt4167720
|
The Pack
|
The film opens with a farmer hearing sounds and going out to his barn to investigate. A short time later his wife awakens from her easy chair by the fireplace to see his cigarette burning in the ashtray but he is not in the house. She goes to find him and hears a noise in the barn. As she enters the barn, she is killed by an unknown creature.
The next morning a neighboring farmer, Adam (Jack Campbell) finds several of his sheep dead after having their throats ripped out by a creature in the night. Meanwhile, his wife Carla (Anna Lise Phillips) is working in her veterinary clinic and hears the report of the dead farmers on the radio. She snaps off the radio and sends her son Henry (Hamish Phillips) out to play. The daughter Sophie (Katie Moore) is on the roof of the vet clinic laying in a lounger talking to her boyfriend on the phone. Carla sits at her desk and picks up the overdue $435 phone bill and angrily calls her daughter Sophie, who ignores her prompting her mother to yank the cord out of the wall. Sophie storms into the clinic and argues with her mother about farm life being solitary confinement and how they should move into the city, Carla counters this by suggesting she help out around the farm or get a job to help pay the phone bill. Henry comes in to let his mother know the man is back. Carla sends the kids in the house and calls for her husband over the walkie talkie.
The man turns out to be a bank manager and during the course of conversation it is revealed that their payments are in arrears and the farm is being foreclosed despite Carla's clinic being a new source of income. The snide and sarcastic bank manager tells them they can take the reduced amount of $200,000 for their barn or be forced out in 48 hours, but Adam refuses to sell as the only reason they are unprofitable is because the sheep keep being attacked and stating that they will never have to leave. The manager drives off and stops on the side of the road to urinate, but before he can return to his car he is promptly attacked by a pack of wild dogs that viciously tear his flesh and drag him down the hill.
Later that night the family is having a quiet evening. Sophie, who is in the shower, does not notice the shadow of a dog in the hall. When Carla and Henry go into the basement to change a fuse and she jump-scares him and teases him about being afraid. Adam goes outside to start the generator, when he realizes the family dog is missing. Calling for it, he walks to the edge of the forest and sees a few sets of yellow eyes staring back at him. He backs away from the forest as howling begins and large shadows start to pursue him, and rushes back into the house just ahead of the dogs who try to get into the house.
When he goes to get his rifle he notices that there are only two bullets and questions Carla about it who tells them that they have been going missing, although it was revealed earlier in the film to be Henry who is taking them, Carla calls the police and tells them there is a break-in while Adam trains his rifle on the door and shoots through it hitting the dog. He opens the door to see if it is dead and is attacked by it, and accidentally fires off his other round before dropping his rifle which skids out the door. Carla grabs a weapon and begins to beat the dog. A police officer arrives at the farmhouse to investigate and attempts to radio in to the police precinct. He gets out of his vehicle and as he approaches the house the pack viciously attacks him before dragging his body into the woods. Adam goes out to his pick-up truck and lets the family know it is safe to come out so they can escape in the truck. Just then a dog leaps through his window breaking the glass and biting him. He hits the gas and his trucks leaps forward plowing into the police car totaling both vehicles.
Carla hides Sophie and Henry in the pantry while an injured Adam goes out to the vet clinic to get additional ammo as Carla began storing the ammo in her office to stop them going missing. Adam gets into the clinic and finds there are only a few shells left. He hears a noise in the other room and creeps over to find a wild dog eating the animals in cages. Sophie begins calling him over the walkie talkie which alerts the dog to his presence and it attacks Adam who fights it off with the rifle. Meanwhile, another wild dog is trying to get into the closet and attack the kids but Carla stabs it with a kitchen knife and it runs off. They make an alternate plan to climb up onto the roof of the vet clinic. Adam goes first to snipe the dogs while the kids stealthily go through the interior dog run. Henry stops to collect some unused rifle shells he has hidden there. Carla has been making firebombs from flammable liquid she had in the house to throw at the dogs while the kids run across the last patch of lawn to the ladder. The leader of the pack sees Carla and runs toward her. As she runs back for the house she sees it closing in on her. She goes to the pick-up truck instead and climbs through the back window to get the tire iron and beat it. She fights it off long enough to get the truck door open. As it leaps through the window and she slams the door, closing the dog inside. She hides under the truck but is soon dragged out by the dog. As she sits at the side of the truck with the crowbar still in hand, the lead dog approaches her slowly snarling and showing his teeth. As he is about to attack, Adam appears on the roof of the truck, and shoots him in the head.
As day breaks the bloodied exhausted parents lead the children back to the house and the family dog comes bounding out of nowhere to join them. The camera pans above the house and through the forest before a close up of a dark cave entrance. A pair of yellow eyes like the ones earlier in the film, peer out from the darkness before the end credits begin.
|
violence
|
train
|
wikipedia
| null |
tt0050209
|
Boyhood Daze
|
The cartoon starts with a baseball going through a window, breaking it, and Ralph exclaiming: "Ohhh nooo!" His mother sends him up to his bedroom until his father gets home.
Up in his room, he broods over his mistake and tries to imagine himself as a hero, first by imagining himself as a famous explorer in Africa to rescue his parents from a native tribe, then tells his father to go to his room for playing in Africa and tells his mother his insurance will cover the window and to buy a catchers mitt with the rest.
He is then seen making paper airplanes, and wishing he was a "jet ace or something". He then is imagining himself as an Air Force pilot who thwarts a Martian invasion and is a national hero.
His third dream occurs after he hears his dad come home and can hear the distant talking of both of his parents. His imagines himself as a convict in a jail cell. A whispering voice repeats: "They're coming to get'cha, Phillips." He steps down, crushes out a cigarette he was apparently smoking, and faces the door like a man. The cell door opens and a silhouetted person with a booming voice says: "You're gonna have to pay for this, Ralph Phillips!"
Back to reality, it turns out to be his rather gentle-demeaning father who informs Ralph that the window repair was coming out of his allowance, then lets him go outside to play.
As he runs back outside with a baseball bat and glove, he stops when he sees a cherry tree in the yard, then notices a hatchet. Next scene he is walking towards the tree with the hatchet, and he turns into a young George Washington as the cartoon irises out.
|
psychedelic
|
train
|
wikipedia
|
Someday they'll all be sorry.
Here we have yet another rarely-seen and under-appreciated cartoon classic by Chuck Jones.
Ralph Phillips' three fantasies after he gets sent to his room for breaking a window are exactly the the sort of thing that any imaginative nine-year-old would think of, and the script is chock full of screwy lines like "My insurance will pay for the the window and use whatever is left over to buy yourself a catcher's mitt" and "You are being pursued by Martians who all got "A"s in Arithmetic" -- just the sort of vengeful daymares that every child who is regularly laughed at by his classmates would dream.
It was so good that Jones managed one and a half sequels.
Keep an eye out for this one..
Ralphie Phillips vs.
Ralphie Parker: Is it real or is it Memorex?.
Perhaps it's just me and I wouldn't want to point fingers, but does anyone notice a remarkable resemblance between Ralphie Phillips and his daydreams in the old WB cartoons, and the Jean Shepherd character, Ralphie Parker, in the 1983 Bob Clark holiday pic, A Christmas Story?
Seems to me that the daydream sequences in A Christmas Story may have been suggested or inspired by the cartoon...
or was Chuck Jones influenced by Shepherd's writing?
What came first?I was glad to see that the old cartoons had not been lost to the mists of time: I'd almost started to believe that I had concocted these cartoons and amalgamated them with the daydream aspects of Christmas Story..
Best cartoon ever!.
I remember sitting and waiting for hours on end on a Saturday morning just hoping this cartoon would come on.
There is something innocent and sweet about all of it, even if some of the language would seem a bit sinister by today's standard.
This is exactly what every kid feels when he is sent to his room.
I wonder if Watterson got his inspiration for Calvin and Hobbes from this show?Com Ralph to HQ, Com Ralph to HQ, over...Ralphie rules!Ralphie makes one previous appearance in 1954's "From A to Z-z-z-z".
"I hated to have to kill them all, but they had to be taught a lesson.".
Chuck Jones brings back his wonderful Ralphie Phillips character (voiced by Dick Beals) in this funny short.
Ralphie previously in the classic From A to Z-Z-Z-Z, where he daydreamed in class about various heroic adventures.
This time he breaks a window and is sent to his room, where his imagination once again takes over.
A fun cartoon from one of the masters.
Everything about this clicks.
The writing is smart and funny, with a protagonist anyone who was ever a kid can relate to (sadly that doesn't cover everyone; some people were born old and miserable).
The music accompanies the action perfectly.
The voice work is flawless.
The animation is crisp, colorful, and creative.
Jones would use Ralphie again in the Adventures of Road Runner TV pilot.
This is a beautiful classic, from both artistic and entertainment perspectives.
Chuck Jones is my favorite of the Golden Age animation greats and cartoons like this are why..
Yet another great Ralph Phillips cartoon!.
I love the three Ralph Phillips cartoons that Looney Toons made.
The first two (FROM A to Z-Z-Z-Z and BOYHOOD DAZE) are roughly the same format while the final film consists of Ralph and a friend watching Wiley Coyote and the Roadrunner and making commentary about the film.
The character is quite charming and likable and seeing this little boy's daydreams come to life is really a pleasure.
In A to Z-Z-Z-Z, these dreams all occur when Ralph is supposed to be listening in class.
In BOYHOOD DAZE, Ralph is sent to his room after breaking a window and imagines all kinds of crazy consequences--including a fight with cannibals and a flight in an experimental fighter plane pursued by Martians!
In the end, however, the confrontation with Dad isn't so bad after all and we see that Ralph has learned his lesson....or has he?!
Highly imaginative and fun, these cartoons represent some of the best Looney Toons had to offer even if they are rather obscure films today.
My only quibble, and it's very, very minor, is that the animation style is over-simplified and modern and isn't as highly detailed as you'd see in earlier Looney Tunes cartoons.
But, this was the style of late 50s cartoons and this style was a lot cheaper to produce.FYI--George Washington NEVER cut down a cherry tree--that's a silly myth.
If you don't believe me, ask an American History teacher!.
childhood without fantasies is nothing.
Semi-sequel to Chuck Jones's earlier "From A to Z-z-z-z", about young daydreamer Ralph Phillips.
This time, he accidentally breaks a window, gets sent to his room and has a series of fantasies.While Ralph Phillips only appeared in these two cartoons (plus an educational cartoon in which he enlists in the army), his wild imagination shows childhood at its most innocent.
Who didn't, as a child, imagine himself/herself having all sorts of neat adventures?
In my opinion, the fine troika of fictional daydreaming characters is Ralph Phillips, Walter Mitty and Calvin (of "Calvin and Hobbes").
I certainly never would have thought up "Martians who got straight A's in arithmetic".
I recommend "Boyhood Daze"..
The opening of BOYHOOD DAZE makes it clear .
. that title reference character Ralph Phillips is generally confined to his family's DISAPPOINTMENTS ROOM.
Has he been bitten by a Zika Mosquito, and come down with Microencephaly?
No. Has Lon Chaney tried to cast him as Lon Chaney III by bathing his face in acid?
No. Was Mrs. Phillips knocked up by a Pachyderm, turning Ralphie into a budding ELEPHANT MAN?
Young Ralph is doomed to inhabit a metal cell in a turret because he cannot stop thinking like a Looney Tuner, envisioning the 21st Century Calamities, Cataclysms, Catastrophes and General Apocalypti in store for America.
First, BOYHOOD DAZE features an ISIS Guerilla Gang trying to serve up American Tourists as Cannibalistic Hors D'Oeuvres.
Then our Chinese nemesis attacks the U.S. with aircraft so advanced that they must be depicted as UFOs for 1950s theater audiences.
Finally, an adult Ralph is thrown into a Maximum Security Federal Pen (after he's implausibly outgrown his DISAPPOINTMENTS ROOM).
Wouldn't you want to chop down a few of the Trojan Horse-like Pearl Harbor cherry trees if all of this happened to YOU?
|
tt0039360
|
The Exile
|
In 1660, Charles Stuart (Douglas Fairbanks, Jr.), deposed as king of England by Oliver Cromwell and the Roundheads, is in exile in the Netherlands with a few loyalists, awaiting the right opportunity to return. Whilst bartering in a local marketplace, he meets Katie (Rita Corday), a Dutch farm owner and flower seller.
When unrest in England presents both opportunity and danger, Charles's chief advisor, Sir Edward Hyde (Nigel Bruce), recommends he hide somewhere, neither too close for Roundhead assassins to find him, nor too far for news to reach him of further developments. Charles, without revealing his royal identity, persuades Katie to take him on as a farm hand. The two soon fall in love.
During his stay, Charles encounters an actor named Dick Pinner (Robert Coote) who is posing as him; the imposter stays at Katie's inn. Shortly afterward, there arrives another guest, Countess Anbella de Courteuil (María Montez), an old lover of Charles's and an emissary from King Louis of France. She presents Charles with a gift from Louis, a music box. Knowing that Katie owes 3000 guilders to her cousin, Jan (Otto Waldis), Charles has the music box sold and pays off the debt without her knowledge. Katie becomes jealous of Anbella and dismisses Charles. However, when she learns of his generosity from a gracious, departing Anbella, she takes him back.
Meanwhile, English Colonel Ingram (Henry Daniell) has been given the mission of assassinating the king. He tracks Charles to his hiding place. Charles escapes from Ingram's men, but they follow Katie and trap him in a windmill. After a sword fight, he kills Ingram, and his followers come to the rescue. Sir Edward informs him that Parliament has offered him back his throne. To take the crown, however, Charles has to leave Katie; Charles resists the idea, but Sir Edward reminds him of his duty, and Katie of what he can do for his people, and the two star-crossed lovers sadly part.
The film's original ending, preferred by Ophüls, was a bit longer than the one shown in the United States. The shorter version ends with Charles leaving for England, while the longer has a further scene in which two courtiers casually discuss a plaque that is erected to his stay.
|
action
|
train
|
wikipedia
|
Making Dad Proud.
When Douglas Fairbanks, Jr. started his career in silent screen he did not go for the swashbuckling roles that his famous father did.
My guess is he wanted to be judged on his own as a player.
In fact it was his mother who when Fairbanks, Sr. was slow with the child support who got him into film in the first place, hoping to capitalize on the name.
Later as he got older and was established in his own right, Fairbanks made claim to the legacy of his father in such films as The Exile.In fact Fairbanks both wrote the screenplay and produced this film and got European director Max Ophuls for the piloting.
He plays a most famous exile, Charles Stuart, Charles II of Great Britain who is exiled in the Netherlands and poised to reclaim his own in 1660.The story is based on a historical novel by British writer Cosmo Hamilton and it tells of that brief interregnum in British history between the sudden death of Oliver Cromwell and the restoration of Charles II.
Charles Stuart had narrowly escaped from his country after the Puritan takeover and was living in exile in somewhat humble circumstances wherever in Europe he could find shelter.
In 1660 it was the Netherlands.Historians have debated long about the collapse of the military dictatorship of Lord Protector Oliver Cromwell.
He had things pretty much his own way and when he died his son Richard wasn't up to the job he inherited.
It was a close run thing that the United Kingdom did not break apart into civil war again at this time.By 1660 just about everybody except the most committed of Puritans felt that only a Stuart Restoration would keep the country united.
But some of those most committed Puritans had a big vested interest in seeing that the Restoration did not occur.
Therein lies the tale of this film.Douglas Fairbanks, Jr. is a perfect Charles Stuart, in fact he looks quite a bit like him.
As in real life sharing his exile is Lord Clarendon who is played here by Nigel Bruce.
When Charles reclaimed his throne, Lord Clarendon became his first minister.
In the film as in life Clarendon was constantly reminding him of his duty and not to spend all his time on frivolity and chasing skirts.
In real life after the action of this film, Charles got rid of Clarendon, but with a decent pension for loyalty and services rendered.As petitions come from various folks over in Great Britain to resume the monarchy, Charles plays coy all the time dodging Puritan agents.
Several have come to the town where he's staying and Charles has a bit of sport with them by just pretending he's a penniless exile.
He even takes a job as a laborer on Paula Corday's farm.
He even falls for her as he did with MANY women.But a most cunning and ruthless Puritan in the person of Henry Daniell arrives to take over the hunt and kill the king before he can set sail back to his realm.
This is one of Daniell's finest performances on screen, you can believe he's one cold and merciless killer and a true believer in the Puritan Revolution.
Fairbanks and Daniell have a duel in a Dutch mill that's the equal of the one Errol Flynn and Basil Rathbone had in Robin Hood.As per her contract Maria Montez got top billing as a French countess who finds Charles Stuart as a farm hand and delivers a message of support from his cousin Louis XIV of France.
Robert Coote has a very funny part as an unemployed actor who is passing himself off as Charles Stuart and who the Puritans nearly kill for such a good performance.
Fairbanks uses Coote to his own end to further his deception, but steps in when Daniell's about to run him through.The Exile is one of Douglas Fairbanks, Jr.'s finest films and he really does the part in a way that would have made Dad proud..
Swashbuckler meets visually artistic director in this sweeping, poetic and romantic -- but sadly forgotten gem..
In one of his BEST acting roles, Douglas Fairbanks, Jr.'s second stint as a movie producer--and his first as a writer--is an ambitious attempt to dramatize the tale of the restoration of Charles II to the throne of England.
An avowed Anglophile, Fairbanks has a strong sense of the history of his adoptive land.
(He was born in New York City.) Fortunately, the drama and excitement of the pursuit of Charles Stuart (Fairbanks) after his return from self-imposed exile in Holland by Oliver Cromwell's Puritans is lushly displayed by the producer-author-star's insistence on a deliberate, poetic pace for the story.
Much of the film is concerned with Fairbanks' trysting with the luscious Croset--later Paula Corday--in her first starring role, as a Royalist who conceals the fugitive king on her estate.
Despite a strong supporting cast and an interesting concept, the film is a forgotten charmer!.
Sublime!.
This is probably the least appreciated of the series of masterpieces Max Ophüls made in his too-short stay in Hollywood.
Superficially it is a fairly silly, light-hearted historical romp, and it is enjoyable enough on that level.
But this only throws into sharper relief the expressive mastery of Ophüls' style - by the end of the movie a single elegant camera move is enough to turn the mood to high tragedy.
This is sublime filmmaking..
Lost Film Treasures - Not Necessarily.
I remember seeing the preview of THE EXILE when I was 9 years old, but never actually saw the film till last night.
Reminded of this rare and all-but-forgotten picture via this website, I sought it out on the internet and purchased it for a modest price.
No disappointment.
A romantic adventure film set in 1660 combines real history with highly entertaining story.
Douglas Fairbanks Jr. was a great leading man and he plays this role with ease and vigor.
The re-creation of the era was perfect and the film has not a trace of today's annoying Attention Deficit Disorder editing.
They didn't make any good movies in 2005, as evidenced by the trashy 5 lefty-spin pictures nominated as Best Picture.
If you want to see a classic, don't give up on it.
Seek it out and with tenacity you can find it and see it.
I've only failed once, but still looking for that rarity..
Some bizarre costuming.
The costuming for this film must bring a smile to the face of anyone familiar with fashions of the 17th century.
The film's action occurs in 1660, but Fairbanks and his colleagues wear jerkins fitted to the waist, stylish about 1620-1630, but apparently considered more dashing than the loose smocks and petticoat breeches of 1660.
Then Maria Montez arrives, wearing a gown clearly from the 1880 Wild West costume rack in the Wardrobe Department.
To atone, her second frock is only a century out of kilter, something from about 1750.
I found the sound-stage exteriors very claustrophobic and phony, and I noted only 3 instances when I felt the "Ophüls touch," for example when the shutter blew open and closed, alternately revealing and concealing the lovers as they approach their first kiss.
I'm also puzzled why Max Ophüls is listed as "Opuls" in the credits, but perhaps that is a phonetic rendering to eliminate the umlaut?.
Cavaliers v Roundheads.
Maria Montez plays a French Countess in this film and headlines the show.
She's barely in the film, for goodness sake!
Her role could have been completely written out - it has no relevance to the story whatsoever.
She must have been very important.
Can someone explain?The story is set in Holland during the exile of England's King Charles II in 1660.
Douglas Fairbanks Jr. plays the king and spends the film wooing farm girl Rita Corday (Katie).
He, of course, is undercover.
An interesting sub-plot is introduced when Robert Coote shows up at the farm claiming to be King Charles II and demanding food and lodgings.
Cue humour.
Unfortunately, there is too much humour in this film - it exists in nearly every scene which is not what I was wanting.
I hoped for some actual historical fact so if you expect any truth you will be disappointed.
It's basically a love story with some sword fighting.
It could be set anywhere.
However, I am glad that the Cavaliers won.
I am a Cavalier as defined by my boys school changing-room etiquette.
You showed your willy and that put you in either the Roundhead or Cavalier camp.
We were only 5 years old and there were no teachers involved!.
Douglas Fairbanks Jr cultivating tulips together with a lovely peasant girl as a romantic king in exile in Holland.
Max Ophüls is one of the greatest directors of all times, he started as assistant director to Anatole Litvak and learned very much from him, which you can see and feel in his films: they had a unique great efficiency of direction in common, but Ophüls added to his supreme mastery also a knack for moving cameras.
You see that almost hallucinatory camera-work in every one of his films.
His Jewish origin (his real name was Maximilian Oppenheimer) gave him problems with the German Nazi regime although he was an established leading director, so he changed his name and went to France - Ophüls is an old German aristocratic name, which he felt suited his image.
He made no films between 1940 and 1947, being practically exiled but working in France and Italy and even America but returned to the screen in 1947 to make this flashing virtuoso film of exuberant romantic intrigue - the exiled king of England in constant fear of his life by the wicked roundheads escapes to a farm in Holland where he cultivates tulips with a charming country girl, with whom he naturally falls in love.
Another exiled Englishman, an errant actor out of work, exuberantly played by Robert Coote, poses to be the exiled king to be treated thereafter but is visited by a French countess who knew the real king, which complicates matters, which are further complicated as the farm is invaded by roundheads who come to root out the king dead or alive.
The film is actually written and produced by Douglas Fairbanks Jr, so it's really very much his film, and he makes the best of it in superb classical Fairbanks style with dashing duels and much kissing in between - especially impressive is the great hullabaloo with all the roundheads falling over each other in the desperate chase for the king in the windmill.
There are great windmill acrobatics here.
In brief, the film is a feast to the eyes, the story is mounting in intensity and interest all the way, the music is perfectly suited to illustrate the moods, the idylls, the drama, the tension and the high romance, it's in most ways the perfect adventure film where nothing is missing, and Max Ophüls' supreme direction and marvellous use of details crowds the film with opulent excellence from beginning to end.
In brief, after seven years' absence Ophüls was back on the screen, and his next film would be the masterpiece "Letter from an Unknown Woman"..
When the time comes....
It was the second time Ophüls had broached an historical subject .In France 1939, he filmed the tragic love story of Franz Ferdinand and Countess Sophie Chotek ,of course a misalliance,hence a Morganatic marriage.As it did not happen as Charles Stuart was concerned ,the lovers are left with memories ("I'll visit you in your dreams").If it weren't for the last minutes ,the film would not be a real Max Ophüls (spelled "Opuls") movie.The last third is a bit Curtizesque ,Douglas Faibanks Jr recalling Erroll Flynn.This is certainly a good film ,but it cannot be included in the director's best works such as "Liebelei" "La Signora Di Tutti" "Letters from an unknown woman" or "Madame De" .This is fictionalized history -whereas "De Mayerling A Sarajevo" depicted real events- where the round heads (the Puritans) ,dressed in black nicely play the parts of the villains against a noble hero dressed in white .There are good lines ;I particularly like this one "If I ever come home,I shall belong to no party" .Another good moment: "He lives in luxury and idleness" say the Puritans (a picture shows the "farm worker" plowing;"He must be ready to kill" (the man and his girl see the new-born chicks ) Maria Montez is the "star" of the film but her appearance does not exceed ten/fifteen minutes .It's Holland as we imagine it: windmills (with an impressive duel ),tulips ,canals,fair-haired girls ....
1660 and King Charles has been removed from the throne by the tyrant Cromwell,vi who never appears as a character in the film.
The closest is Henry Danielle, in his usual villainous demeanor.
His voice sounded like Richard Burton.The film gets bogged down with Douglas Fairbanks finding refuge in the house of a flower girl and farmer, with true love resulting.There was a guy, an actor pretending to be king, who really confuses things at certain points.The ending reminded me of "The Student Prince," where lovers must part for the king to pursue his responsibility..
Atavism..
Enoyable sketch of biography and adventure.
It's Max Ophul's first American movie and Douglas Fairbanks, Jr., was recently returned from honorable service in the U.S. Navy.It's well written, acted, and directed.
It's about the exiled King Charles II, Fairbanks, and his temporary refuge in Holland before being restored to the throne of England.Let me see if I've got this straight.
I don't want to have to dig it up in Wikipedia.
It's the early 1600s.
The Roundheads, under Oliver Cromwell, have taken over England lopped off the head of Charles I, Fairbanks' father, and routed Fairbacks himself.
This Cromwell had lots of passion and warts.
He cleaned things up his own way, disenfranchising the Cavaliers who supported the King.Cromwell died and, as often happens when a charismatic figure disappears, there were great arguments over what would happen next, who was the next ruler of England.
The true test of a government's viability comes not when one man or party is in power, but when that power must be passed on.
The Sunni and Shi'ite still haven't figured it out.The Cavaliers are generally thought of as adventurous, honorable, militaristic, individual aristocrats.
There were several kinds of Roundheads, ranging from the oppressive and punitive Pilgrims to the pacifistic, egalitarian and humble Quakers.
The Cavaliers believed in personal achievement, the Roundheads in the community.
The Roundheads settled New England (Plymouth was the last port they'd touched in England), while the Cavaliers settled the South (see Charleston or the Carolinas, named after the King).In this movie, Fairbanks' Charles II is the honorable hero who finds satisfaction as a bus boy in a Dutch Inn.
(Holland was a commercial and cultural force to be reckoned with at the time.) He falls for the pretty blond who hires him knowing nothing of his background.But the Roundheads are hunting for him and they're led by Henry Daniell at his most villainous -- flat black hat, black clothes, black cape, all symbols of their difference with the more colorful and flamboyant garb of the Cavaliers.
Boy, is Daniell menacing.He and the other Roundheads, bent on eliminating the throne once and for all, want to lop off Fairbanks' head too, despite his fairness and his popularity back home.
They fail.
There is a spectacular sword fight in and around a Dutch windmill -- exciting but not nearly as well done as those in, say, "The Mark of Zorro" or "Scaramouche." Fairbanks must give up his fair-haired Dutch girl friend when he becomes king.
He loves her and wants to marry her, but she has her responsibilities back in Holland.
Who will take care of her tulip garden?
(The viewer is permitted a slight chuckle here.) "I will treat these memories as roses," murmurs Fairbanks, "and put them in a box.
I will come to you in dreams." It sounds better in Fairbanks' reading than it looks in print.Not bad, overall.
A throwback to the black-and-white studio-bound films of the 1930s, with Tyrone Power or Errol Flynn as the hero.
|
tt0376127
|
Anniyan
|
Ramanujam Iyengar alias Ambi is an orthodox Brahmin and a straightforward consumer protection advocate living in Triplicane, Chennai. He expects everyone to follow the law and prosecutes those who violate it. However, his efforts fail as circumstantial evidence always seems to favour the accused. He also fails to raise civic awareness due to pervasive corruption and a general lack of seriousness. Frustrated at his inability to bring about a change in society, his suppressed anger manifests itself in an alter-ego named Anniyan, a grim reaper-themed serial killer who punishes corrupt and indifferent people. Anniyan creates a website, compiles a list of wrongdoers from his site, and kills them using punishments described in the Garuda Puranam, one of the ancient Hindu scriptures.
Ambi is secretly in love with his neighbour Nandini, an aspiring carnatic singer, but never expresses his love due to his fear of rejection. When he proposes to her during the annual Tyagaraja Aradhana at Thiruvaiyaru, she rejects him as she cannot bear his strict adherence to rules. Distraught, Ambi attempts suicide, almost drowning himself before having second thoughts. Subsequently, he develops another personality named Remo, a fashion model. Nandini is smitten by Remo and falls in love with him. Their marriage is eventually fixed.
While purchasing a plot of land for her dowry, Nandini decides to undervalue the property to evade stamp duty. Ambi, who accompanies her as she registered the property, refuses to help her. Later, when Nandini and Remo are on a date, Remo transforms into Anniyan and attempts to punish her for her corrupt act. As he is about to kill her, Nandini calls out for Ambi. Anniyan then reverts to Ambi, who collapses and loses consciousness. Nandini takes Ambi to NIMHANS where he is diagnosed with multiple personality disorder. Through recovered-memory therapy, the chief psychiatrist of the hospital uncovers Ambi's past. It is revealed that, when Ambi was fourteen years old, he witnessed the accidental death of his younger sister Vidya due to civic apathy. The incident left a deep emotional scar, which is the reason for his lofty ideals. It is also discovered that while Anniyan and Remo are aware of Ambi as a separate person, Ambi is oblivious to their existence within him. The psychiatrist declares that Remo will cease to exist if Nandini accepts Ambi's love, but Anniyan will cease to exist only when the society reforms. Nandini accepts Ambi's love and Remo disappears.
Meanwhile, DCP Prabhakar and Sub-inspector Chari, who is Ambi's friend, investigate the murders committed by Anniyan. In disguises, they discover clues left behind by Anniyan, which are the names of the punishments he meted out to his victims. Prabhakar is determined to bring Anniyan to justice as one of Anniyan's victims, Chockalingam, an errant catering contractor with the Indian Railways, was his elder brother. In a dramatic publicity stunt, Anniyan admits to the murders he committed when he appears amidst the public and the press at the Nehru Stadium. He explains the rationale behind them and says that only when every Indian is responsible and sincere will the country prosper on a par with developed nations. His methods draw both praise and criticism. Prabhakar tries to catch Anniyan, but he escapes.
On investigating the recorded footage, Prabhakar discovers that Anniyan is Ambi and arrests him. Ambi is brutally interrogated and almost killed, triggering Anniyan's reappearance. Ambi's personality alternates between Ambi and Anniyan, resulting in ambiguity. He subdues Prabhakar as Anniyan, but begs for mercy as Ambi. Using CCTV, Chari secretly records the interrogation and uses it as evidence of Ambi's condition during his trial. Ambi is sentenced to psychotherapy in a mental hospital and will be eligible for release when cured.
When Ambi is released two years later, his rigid adherence to protocol has diminished. He marries Nandini. While travelling on a train during their honeymoon, he notices a man (an electrician who was indirectly responsible for his sister's death several years ago) drinking amidst fellow passengers. Suffering a relapse, he transforms into Anniyan and throws the man off the train, killing him. However, he hides the incident from Nandini, indicating that he has successfully blended his personalities into one instead of eradicating them.
|
violence
|
train
|
wikipedia
| null |
tt0077355
|
Coma
|
Dr. Susan Wheeler (Geneviève Bujold) is a surgical resident at Boston Memorial Hospital. Wheeler is devastated when a patient, who happens to be her best friend, is pronounced brain dead and ends up in a coma after minor surgery at the hospital.
Looking at the records, Susan finds that over the previous year a number of other fit young people have ended up the same way. She comes across two similarities to the cases: they all took place in the same operating theatre (operating room eight), and all the comatose bodies were moved to a remote facility called the Jefferson Institute. She continues to investigate, increasingly alone, starting to wonder if she can trust even her own boyfriend, Dr. Mark Bellows (Michael Douglas).
Eventually she discovers that the Jefferson Institute is a front for black-market organ sales, where the patients' organs are sold to the highest bidder. Boston Memorial is in on this, purposely inducing comas in patients whose organs match those of potential buyers. The patients are rendered brain dead via covert carbon monoxide poisoning, through a pipe that leads from the basement to the OR.
Susan's investigation then reveals the mastermind behind all of it - Dr. George Harris (Richard Widmark), Chief of Surgery, whom she has been confiding in all along. Dr. Harris tries to stop Susan from exposing the truth, and attempts to render her brain-dead with carbon monoxide in operating room eight, under the pretext of performing an appendectomy. However, Mark, now having realized the truth as well, manages to find and disconnect the pipe before it can poison Susan.
Susan, now awake, is wheeled out of the operating room holding Mark's hand. Meanwhile, Dr. Harris stands defeated in the operating room, as two police officers wait outside to arrest him.
|
suspenseful, neo noir, murder
|
train
|
wikipedia
|
As a squirrelly doctor at a Boston hospital who smells a rat when her best friend mysteriously goes into an anesthesia-related coma during a routine operation, Genevieve Bujold proves once again what a dynamic presence she is on the screen.
As a mystery-thriller that is so filled with continuity errors, gaps in logic and a final act that gives the audience the satisfying release it needs but at the risk of all credibility, "Coma" shouldn't work (and, indeed, many fans of Robin Cook's wordy book didn't think it did).
The main character who played Dr. Susan Wheeler was perfect as the stern, and cold Doctor who's best friend goes in for a routine operation and then is rendered into a mysterious brain dead Coma.
Michael Douglas is even great, although only in it as a supporting character, as Dr. Wheeler's Doctor boyfriend who she tries to convince something terrible is going on within the hospital.
The other actors did swell, especially Widmark, Torn and Ashley.Bujold gives an energetic performance and is utterly believable as the paranoid yet justifiably suspicious doctor seeking the answer to the question: "There have been 12 cases of unexplained coma in young healthy patients the last year; don't you find that surprising?" And everybody replies: "No." And there's of course the priceless Jefferson Institute.
Yes, I just discovered the picture and enjoyed my 2 hours in company of Geneviève Bujold.The film is set in a Hospital which feels and looks just like the real one, what verisimilitude!
Based on Robin Cook's novel, the story goes that Dr. Susan Wheeler (Genevieve Bujold) a resident in the Boston Memorial Hospital suspects something is wrong when too many patients come out in a coma after minor surgery.
When nobody takes her seriously she starts an investigation of her own and then realizes she is on dangerous ground for someone is trying to stop her even if she has to die.Michael Crichton takes the most from Cook's book and assembles a most enjoyable thriller with tension all along, intrigue and an impacting ending too.
Among the shocking and powerful sequences this movie offers there's the chasing of Wheeler by a hired killer that lasts in the hospital's morgue full with dead bodies hanging from the ceiling in transparent plastic bags in a sort of subrealistic scene; her visit to the mysterious Jefferson Institute where coma patients are held; the "accidental" death by electrocution of a cleaning employee of the hospital that knows to much; and the final discovery by Wheeler of how things are and who is behind them.Genevieve Bujold gives a fine performance as the stubborn Wheeler and Michael Duoglas is alright too as her work partner and lover (not a very demanding role anyway).
And there's finally Richard Widmark very convincing as the Medical Center's Director who shows sympathy for Wheeler although he believes she's just a trouble maker that could ruin the Hospital's reputation.A great thriller that constantly improves as the film goes on.
"Coma" is an overlooked 1978 film that stars Canadian actress Genevieve Bujold ("Anne of the Thousand Days", "Tightrope") and Michael Douglas, with surprise appearances from Ed Harris and Tom Selleck.
Although some may be disappointed by the weak resolution at the end of the film, an effectively frightening score and edge-of-your-seat suspense make this one of the best thrillers in history, and the film proves that modern special effects and superhuman stunts and action are not necessary to make a movie of this genre a winner.
A few years after directing "Westworld" and a few years before writing "Jurassic Park", Michael Crichton directed this eerie adaptation of Robin Cook's "Coma", depicting sinister occurrences in a Boston hospital.
The general feel set throughout the movie by the directing is similar to Roman Polanski's 'Frantic', where you can feel the tight edge to the film without the help of acting or music.Secondly, the script, also by Michael Crichton, is superb.
Michael Douglas is also brilliant as Dr. mark Bellows, Susan's boyfriend who never completely believes her story until the end.Finally, without the score by Jerry Goldsmith the movie wouldn't be nearly as suspenseful as it is.
Genevieve Bujold plays a young female doctor at fictitious Boston Memorial hospital who loses her best friend in a routine surgical procedure that goes suddenly wrong and leaves her suspended in an irreversible coma.
Genevieve Bujold is excellent as a doctor who feels that something sinister is behind a series of operations whose recipients have emerged comatose.A coma is the last thing that the audience is in danger of succumbing to as Ms Bujold is pursued by the agents of whoever is behind the conspiracy to turn hospital patients into organ fodder for the futuristic and scary Jefferson Institute.One of the things I hate in movies is the cheap suspense creation trick of filming everything in partial darkness or bad light ('Alien' and 'Seven' being notorious exponents of this ploy) to hide the stalker or some disturbing sight from the viewer.
This leads to more sensational aspects that I leave to you to uncover.By her side, either for her or against her (you can't tell after awhile) are two huge Hollywood names, an aging Richard Widmark as the head of the hospital and a young Michael Douglas as another up and coming surgeon (and Bujold's lover).
Dr. Susan Wheeler (Geneviève Bujold) and Dr. Mark Bellows (Michael Douglas) are resident surgeons in Boston Memorial Hospital and are living together.
Susan discovers that all the comas come from one operating room and the patients get transferred to Jefferson Institute for long term care.Michael Crichton directs and adapts the novel by Robin Cook.
When a young female doctor (Geneviève Bujold) notices an unnatural amount of comas occurring in her hospital she uncovers a horrible conspiracy.Maybe I am just too young, but I think of Michael Crichton as really blossoming in the 1990s.
Excellent chemistry between Michael Douglas and Genevieve Bujold, Elizabeth Ashley is cool, and nobody plays a better bad guy than Richard Widmark.
A young doctor at a hospital, Susan Wheeler (played by Genevieve Bujold), starts noticing a pattern of strange occurrences with patients.
Susan Wheeler is a young doctor, whose best friend falls into a coma, and later dies.She discovers that many relatively healthy patients of that hospital have the same faith.She also finds out that those patients are taken to Jefferson Institute, where their bodies are hanging.She realizes she can't trust anyone, maybe not even her boyfriend.Michael Crichton is the director of Coma (1978).Hospital was a familiar environment to Crichton, who sadly passed away last year to throat cancer.Not only was he an author or a director, he worked as a physician.Coma is based on fellow author Robin Cook's novel.Geneviéve Bujold does a great job in the lead.The young Michael Douglas as her boyfriend Mark is great.A magnificent thriller..
It is a cover-up thriller about Dr Wheeler (G.Bujold), who after her best friend falls into a coma, discovers similar cases at the Boston hospital where she works.
As another reviewer has pointed out, many thrillers make use of dark, claustrophobic settings, so it must have been a challenge to the ingenuity of writer/director Michael Crichton, himself a former doctor, to conjure up an atmosphere of suspense in a cold, clinical, brightly lit hospital.
Some of the suspense sequences in "Coma" have a particularly macabre quality to them, especially the scene where Susan is menaced by a villain in a refrigerator filled with corpses in body-bags.Michael Douglas (in one of his earliest starring roles as Mark) is adequate but seldom more than that.
Genevieve Bujold, however, is rather better as Susan, making her an attractively determined heroine, and there are good supporting performances from Richard Widmark as Dr Harris, Susan's paternalistic boss who may not be all he seems, and from Elizabeth Ashley as Mrs Emerson, the weird, zombie-like nurse (a sort of Stepford Wife of the medical world) at the sinister Jefferson Institute where the coma patients are taken.
One can also spot a few stars of the future in minor roles, such as Tom Selleck, Ed Harris and Bond-Girl-to-be Lois Chiles as Nancy.There are (as others have pointed out) a number of holes in the plot- I could not, for example, understand why the medical establishment of the hospital were so complacent about the number of patients they were losing to coma.
The film's plot follows the mysterious goings on at a hospital after several patients slip into comas.
Director / screenplay writer, Michael Crichton's "Coma" is a glum medical thriller with a very scary idea and builds suspense and intrigue up like Hitchcock flick.
It is a Suspenseful Movie with Realistic Medical Procedures (that may send sensitive souls to the bathroom) with some Dark Upper Corridors and Dark Implications of Rich and Powerful People Playing Fast and Loose with Morally Questionable Control of Body Parts.It seems Folks aren't Dying Fast Enough Naturally for the Needed Transplants so the Doctors Assist Surgery Patients Along the Natural Life Cycle and are Used for Spare Parts for those Wealthy Enough to Write Enormous Checks for Maintenance.Genevieve Bujold and Michael Douglas Star and the Social Commentary is Heavy, not only with the Ethics and Criminal Behavior of the Medical Community but has a Distinctive and sometimes Over the Top Script about a Woman's Need for Liberation.The Domestic and Personal Relationship Dialog is "In Your Face" and Corny at times.
Early On during a Lover's Spat Douglas Calls Her Honey and She Replies with a Stern Scorn and says "Don't call me honey!" Later in the Movie He Calls Her "Honey" so many times You Lose Count and the Aforementioned Scolding is Abandoned for more Dangerous Concerns.The Women's Lib Commentary is more Subtle and Effective Regarding Professional Inequality.Overall a Superior Entry in the Conspiratorial Films of the Seventies that Pay Homage to the Previously Unmentionable "Truths" Uncovered by Real Life Investigators of the Abuse of Power from the JFK Assassination to the Flying Saucer Coverups..
Genevieve Bujold plays a young doctor who comes to realize that healthy people in her hospital have a high incidence of coma.
A surgical resident in a large Boston hospital, Dr. Susan Wheeler (Genevieve Bujold), becomes suspicious when she investigates why her best friend, a healthy young woman, becomes brain dead after minor surgery.
She must also wonder about her boyfriend Mark Bellows (Michael Douglas), a fellow doctor, and how much she can trust him.Crichton knows how to craft an engaging thriller, one that moves along so steadily one may hardly notice that it takes up the better part of two hours.
It's a good thing for her the Jefferson Institute can't boast the worlds' most efficient security staff.Scored effectively by Jerry Goldsmith (whose music supplements the movie without automatically calling attention to itself), "Coma" is thoroughly engaging.
Even though there's much medically-oriented dialogue that would go over the head of the layperson, Crichton still gets all of the salient points across.Douglas is good as the boyfriend, Rip Torn glowers superbly as a haughty anesthesiology expert, and Richard Widmark remains great value as Susans' superior, who tries to be supportive of her.
Bujold & Douglas are young residents in a respected Boston hospital who discover that many young, healthy patients who go in for routine operations, are coming out in ireversable comas for no reason.
After watching this film you will be able to recognise all the other films that are based on Robin Cook stories: they are pretty formulaic.The plot starts off slowly, and then gathers pace towards the end, which is just as well, or else we would notice the holes in the plot.Why does Susan Wheeler, a doctor, get hysterical about a refrigerated room full of corpses in body bags?
Michael Douglas does not have a very good part, but Bujold, Ashley and Widmark make the best of the script.This film is like a dish of rotting meat that is heavily spiced to disguise the bad taste..
i was somewhat disappointed in this medical thriller.for one thing,except for 2 or 3 scenes,i didn't find it all that thrilling.i also thought it sure took a long time to get where it was going.it wasn't boring.it was just interesting enough to keep watching.and i did like the dark look and tone of the movie.and the movie definitely had its creepy moments.there's even a scene that's reminiscent of The Stepford Wives,the original version,not the remake.however,i didn't like the ending.i just found it made the movie seem unfinished.there was no resolution.the acting was pretty good from all concerned.i thought Richard Widmark was the best of the bunch though.anyway,for me Coma is a 5.5/10.
The movie also has a very solid supporting cast, with lots of actors that later grew out to be big ones, such as of course Michael Douglas but also Rip Torn, Tom Selleck and Ed Harris, who portray some much smaller roles.Overall this still is one fine typical '70's thriller.
Based on Robin Cook's novel, adapted and directed by author Michael Crichton, this hospital thriller has Genevieve Bujold and Michael Douglas as doctors and intimates who become involved in an apparent conspiracy after a series of mysterious deaths plague their hospital.
Though Bujold tries to convince her boss(played by Richard Widmark) of her concerns, he just says that its all just unfortunate coincidences, though she remains unconvinced, and as it turns out, with good reason...High concept thriller about unethical surgery and the value of human life wrapped up in a vast conspiracy thriller fails to come off, though it has an interesting premise, there is little interest in Bujold's character, and the film remains an unconvincing potboiler.
A lady doctor discovers a series of inexplicable comas in the fame Boston Memorial Hospital and begins an investigation with macabre results.Based on a bestselling book; this cold, humourless, generally thrilling, often frightening medical thriller in the best Hitchcock style was definitely at the centre of fashion on its release and started a minor cult following.
Dr. Susan Wheeler (Genevieve Bujold) wants to know why much to the disappointment of her doctor boyfriend (Michael Douglas).
He's very much attuned to hospital politics and there's as much of that in the medical field as any other.Michael Crichton's novel is turned into one creepy movie that gets creepier by the minute as Bujold uncovers more and more of the story.
Bujold for instance, scared as she is, proves quite the match for Lance LeGault who's trying to kill her.Some others in the cast are Richard Widmark, head of the hospital medical staff where she works in Boston, Rip Torn the very well connected head of anesthesiology which seems to be where the problem lies and Lois Chiles whose case sparks Bujold's interest.Making early film bit appearances are Ed Harris and Tom Selleck.
There's a wonderful stalking sequence in which Bujold finds herself being chased by a murderous mystery man, which makes the best use of a hospital I've yet to see in a movie - forget the gory, boring HALLOWEEN 2, this is the real stuff and with not a drop of blood to be seen.
The story of Coma is about a hospital where something suspicious is going on, as discovered by our lead character – Dr. Susan Wheeler.The movie then shows how her suspicions prove to be right but she gradually discovers the complexity of the plot and is then faced with a dilemma as to who can be trusted and who cannot be trusted.
The suspense is highlighted by a typically brilliant Jerry Goldsmith score.Things To Look Out For - one of the doomed patients is a young Tom Selleck ( future 'Magnum P.I.' ).Film versions of books are often inferior, but 'Coma' does not dumb down the story.
Spunky and determined Dr. Susan Wheeler (a terrific performance by Genevieve Bujold) suspects that something is amiss at the hospital she works at after a large volume of healthy patients develop complications while undergoing routine operations that cause them to slip into comas.Writer/director Michael Crichton relates the gripping story at a constant pace, expertly crafts a considerable amount of nerve-wracking suspense that develops in a gradual, yet steady manner, and wisely puts a pronounced enhance on the story and characters over any fancy gimmicks or loud fireworks.
The two main characters, Michael Douglas(Dr. Mark Bellows) and Genevieve Bujold( Dr. Susan Wheeler).
Coma is set in Boston where Dr. Susan Wheeler (Genevieve Bujold) & her boyfriend the chief resident surgeon Dr Mark Bellows (Michael Douglas) work at the flagship Boston Memorial Hospital.
Susan's investigations take her to the Jefferson institute where the coma patients are taken & where she finds out the horrible truth...Written & directed by Michael Crichton this is a pretty decent thriller.
The character's are good, the dialogue is OK & the story is interesting but I just couldn't help but feel a little bored while watching it.Director Crichton is usually better known for his big budget screenplays like Jurassic Park (1993) but he turns in a relatively tight & taught thriller even if it's a little slow going at times.
The cast do a good job & the acting is fine, this was an early role for Michael Douglas & as such isn't the star while Tom Selleck has a small role & loses his kidneys.Coma is a decent thriller that entertains to an extent, there are some interesting ideas & notions but it's all just a little bit too slow going & unspectacular for my liking.
That was just the absolute worst stuff of horror one could imagine if you were somebody like Dr. Susan Wheeler (Genevieve Bujold) investigating the sudden 'deaths' of patients coming out of Operating Room #8.So with all the possible nightmare conspiracy thoughts going through Wheeler's head, I was rather surprised that the story reverted back to a 'keep it simple' strategy by the outlaw doctors running this little medical scam.
Plot : Geneviève Bujold investigates shady goings on in a Hospital and finds her life in danger.Acting : Serviceable, Richard Widmark was my fave performance, big fan of his movies from the 50's.
|
tt0322389
|
George of the Jungle 2
|
Five years after socialite Ursula Stanhope left civilization to marry George of the Jungle, George finds himself hard-pressed to fulfill the roles of jungle king, father, and husband. George's stress level increases when the "Mean Lion" challenges him for leadership of the jungle, and when Ursula's mother Beatrice teams up with Ursula's ex-fiancé, Lyle, in a plot to forcibly take away all that George holds most dear.
To do this, Beatrice invites Ursula, George, and George Junior to visit Las Vegas, which they accept. Throughout the visit, Beatrice and some of Ursula's fellow socialites try constantly to convince Ursula that George is unworthy of her affection. George, observing the threats but not his wife's resistance, begins to think himself unworthy of Ursula.
During the same time, George's mentor Ape has become a gambler and is in debt to several creditors, including Lyle. Upon discovering that Ape does not possess the exploitation rights of Ape Mountain, but George does, Lyle instead makes Ape work off his debts from the gambling for the next 17 years. He then engages Ape as a staged song performer and steals the deed to Ape Mountain from George's wardrobe. He thereafter sends two agents, Sally and Kowalski, to Ape Mountain, where they begin to demolish the jungle. The animals, terrified, turn to the Lion for guardianship.
Having failed to convince Ursula to divorce George, Beatrice hires a master of hypnosis to hypnotize Ursula into having no memory of having known George. The hypnotist brainwashes Ursula, giving her the idea that she had married Lyle. George, upon hearing from Beatrice that Ursula has left him, leaves his luck-charm with Ursula as she sleeps, then departs. He rescues Ape and leaves Las Vegas. Their departure triggers much commotion when the police force Bell 206 and the Animal Control Tranquilizer gun Agency join forces to recapture them.
In San Francisco, Lyle fails to persuade Ursula that he is worthy of her affection. Ursula's memory, meanwhile, is stimulated by events similar to those in which George had played a major part.
Later, George then tries to reconnect with Ursula and George Junior before leaving to rescue the jungle. He has trouble convincing her that he is her husband. Knocking her unconscious, George continues his journey back home with her, Ape, George Junior, and Rocky the kangaroo. In the jungle, George overthrows the Mean Lion and tries to convince the other animals to join him in stopping the diggers, but fails in gaining their lost trust in him until the diggers become an immediate threat. George defeats the bulldozers with the help of George Junior, Ape, Shep, Rocky and Tookie Bird.
Lyle's agents Sally and Kowalski come to destroy the tree house, only to be defeated by George and Rocky. George is unable to defeat the digging machine until his son joins the fray. Lyle and Beatrice arrive to pick up Ursula and George Junior. George manages to defeat both of them by hanging Lyle in a tree and Beatrice is kissed by Ape. Lyle is angered by his defeat and insults the narrator voice, who replies by pulling him from the story's world. George kisses Ursula, restoring her full memory of him. After reviving Ursula's friends in a similar fashion (for they had been hypnotized into forgetting George also), they subsequently renew their wedding vows and learn to find balance among George's duties.
|
violence, comic
|
train
|
wikipedia
| null |
tt0090424
|
Edge of Darkness
|
=== One: Compassionate Leave ===
Yorkshire police officer Ronald Craven (Bob Peck) is returning home with his daughter Emma (Joanne Whalley) having picked her up from a meeting of an environmental organisation at her university campus. On the doorstep of their home Emma is shot dead. The police concentrate their effort on the theory that her murder was a botched attempt on Craven's life by a criminal he had been responsible for convicting. However, as Craven goes through Emma's belongings, he discovers a geiger counter and a gun. He also learns that Emma's body and her possessions are radioactive. Travelling to London to assist with the inquiry, he is contacted by Pendleton (Charles Kay), a polished official “attached to the Prime Minister's office”, who informs him that Emma was known to them as a terrorist and that it may have been her, not Craven, who was the gunman's target.
=== Two: Into The Shadows ===
As he continues his investigations, Craven is visited by Emma's ghost. The fingerprints on the getaway car used by Emma's killer match that of Lowe, a man Craven arrested ten years previously. Meanwhile, Pendleton takes Craven to meet his colleague, Harcourt (Ian McNeice), who informs him that Emma was a member of a subversive anti-nuclear group called GAIA. A team of six GAIA members, led by Emma, had broken into a low level radioactive waste facility at Northmoor; all are now either dead or missing. After Craven makes a televised appeal for information about Emma's killer, he is contacted by CIA agent Darius Jedburgh (Joe Don Baker), an associate of Harcourt and Pendleton. Jedburgh shows Craven the CIA's file on Emma's activities: GAIA had become suspicious of Northmoor when a nearby reservoir had become contaminated with radioactive material, an occurrence that had also alerted the CIA, leading them to believe Northmoor was illegally storing plutonium. Jedburgh is played as a hard-bitten professional with a wry sense of humour and a passion for ballroom dancing. Along with Harcourt and Pendleton, he is keen to find the source and purpose of the plutonium.
=== Three: Burden Of Proof ===
The police close in on their suspect, Lowe (Roy Heather), who is severely injured in a fall while trying to escape. Dying, he tells Craven he was working with McCroon, a terrorist Craven had had convicted in Northern Ireland. Emma's boyfriend, Terry Shields (Tim McInnerny), tells Craven that she was investigating a hot cell in Northmoor; he is later killed. Craven meets Harcourt and Pendleton at the House of Commons where an inquiry is taking place into the sale of International Irradiated Fuels (IIF) – Northmoor's owners – to the Fusion Corporation of Kansas, owned by Jerry Grogan (Kenneth Nelson). Pendleton tells Craven that he believes Grogan was behind Emma's death. Returning to Yorkshire for Emma's funeral, Craven is refused permission to seek a warrant to enter Northmoor. Returning home, he is observed by McCroon (Sean Caffrey).
=== Four: Breakthrough ===
McCroon breaks into Craven's house intent on killing him. Craven demands McCroon tell him who he is working for but McCroon is shot by a police marksman before he can say anything. Through a contact of Mac (Struan Roger), a colleague from his time in Northern Ireland, Craven gains access to a terminal connected to the MI5 computer. He checks the MI5 records for GAIA, Northmoor and Emma and learns that McCroon was acting on the orders of Northmoor Security. He also obtains a three-dimensional map of Northmoor from the computer. Craven contacts Jedburgh and asks him to accompany him inside Northmoor.
=== Five: Northmoor ===
Craven and Jedburgh penetrate Northmoor and discover the hot cell which has been sealed off following an explosion - a consequence of GAIA's attempted break-in. Jedburgh, under orders from the CIA, enters the hot cell and steals the plutonium. At the House of Commons inquiry, IIF chief executive Robert Bennett (Hugh Fraser) is forced to admit the presence of plutonium at Northmoor and the deaths of the GAIA team.
=== Six: Fusion ===
Craven and Jedburgh escape Northmoor but both are dying from radiation poisoning. Jedburgh makes for the Gleneagles Hotel in Scotland, which is hosting a NATO conference on directed energy weapons. Also present at the conference is Grogan who announces that the British government has approved the purchase of IIF and speaks with cold passion of harnessing the power of the atom to conquer the galaxy. The audience of military and civilian officials applauds but Jedburgh in U.S. uniform takes the dais to denounce nuclear proliferation and a vainglorious crusade amongst the stars. He finishes by bringing together two bars of plutonium he has removed from Northmoor, causing a criticality accident and irradiating himself and the nearby Grogan.
Emma's ghost appears to Craven and tells him of a time when black flowers grew, warming the Earth and preventing life from becoming extinct. She tells him that the black flowers have returned and will melt the polar icecaps, destroying mankind so that life can continue. Craven goes to dissuade Jedburgh from the next step in his plan, which is to cause a nuclear explosion in Scotland with the rest of the plutonium. He succeeds, though the secret service follow him and kill Jedburgh. Craven, like Jedburgh and Grogan fatally exposed to radiation, wanders into the mountains to die, calling Emma's name. On the mountains, as Emma predicted, the black flowers are growing, foreshadowing the planet's war against humanity.
|
revenge, murder
|
train
|
wikipedia
| null |
tt0349166
|
Supernatural
|
Roma Courtenay (Carole Lombard) is approached by phony psychic Paul Bavian (Alan Dinehart) who claims to have a message from Courtenay's recently deceased brother. After attending a staged seance, Roma suddenly becomes possessed by the malevolent spirit of the executed murderess Ruth Rogen (Vivienne Osborne), who has unfinished business, including killing Bavian, her one-time lover. Fearing that Roma is actually under the charlatan's control, her fiancé (Randolph Scott) tries to rescue her.
H.B. Warner plays a scientist who is a friend of the Courtenay family. At the film's beginning he visits the warden of the penitentiary where Rogen is incarcerated. He tells the warden that violent crime always increases following the execution of a murderer, and he believes this is because some kind of malevolent spiritual influence is released after the killer dies. The warden agrees to give him Rogen's body after the execution so that he can attempt to contain the evil force.
Roma becomes possessed by Ruth Rogen's spirit when she walks into the scientist's laboratory while he is experimenting with her body. Just as she enters the room the corpse receives a jolt of electricity and the eyes flick open and make contact with Roma.
|
paranormal
|
train
|
wikipedia
| null |
tt0176097
|
Rocktober Blood
|
The film opens in a recording studio, where singer Billy "Eye" Harper (Tray Loren) is in a session working on a few tracks with his band and his girlfriend Lynn Starling (Donna Scoggins), also a back up singer. After he finishes the recording, Billy and the rest of the band leave. Despite trying to record her own vocal tracks, Lynn is left to go to the jacuzzi upstairs, after refusing Kevin (Kevin Eddy) the recording engineer's offer to join her.
Meanwhile, Billy returns to the studio, where he finds only Kevin and Mary (Mary Well), Kevin's assistant. In an enigmatic move, Billy kills Kevin by slitting his throat and impales Mary on a wall-mounted coat peg. When Lynn returns, she finds Billy smoking some drugs at the recording studio's control panel. Lynn is unaware that Billy has just killed both Kevin and Mary while she was gone. Once Lynn finds out, she is saved by some security guards.
After a brief intermission, it is two years later, where it is revealed that Billy was captured, tried and executed. It is now the "Rocktober Blood Tour Press Party", and Lynn and the remaining band members are touring as "Headmistress". A VJ who interviews Lynn, asks several questions about the band's tour, as well as Billy's fall from grace, to which Lynn responds by stating that identifying Billy was "the hardest thing she ever had to do." A mysterious figure then appears in a Halloween "death" mask, and tells Lynn to meet with Chris (Nigel Benjamin), the band's manager, in the office. When she arrives in the office, she is cornered by Billy, in the same death mask, who leaves her curled up, and crying on the floor. After that, Billy persistently stalks Lynn, killing people involved with her along the way, but hiding their bodies, to make others think she is crazy by claiming that Billy is after her.
Eventually Honey (Cana Cockrell) convinces Lynn to dig up Billy's grave. They find out that Billy is dead, and Lynn assumes that she is hallucinating. The next night, Lynn and the band are getting ready for the show, when Billy reappears and tells Lynn that he is really his Billy's twin brother, John Harper, and that she identified the wrong man. John tells Lynn that the people he killed valued Billy more than him, even though he wrote the renowned songs himself. Then John chloroforms Lynn, and the show begins. A prop coffin pops up on the stage, and Lynn is revealed inside. John tells her that his plan is to kill her as the show's grand finale. When John removes his mask, however security rushes in, attacking him with an electric guitar.
John manages to scream out the final lyrics to "I'm Back" before the credits roll.
|
cruelty, murder, violence, insanity, revenge, sadist
|
train
|
wikipedia
|
Full metal meets average slasher flick.
At the movie's best scene the killer is stabbing dancing girls on stage with a sword/mic stand.
The most unexciting and unoriginal moments include a series of phone calls with no one on the line and the obligatory digging up the killer's grave in the night to see if he lives.The rock music is great and full songs are played several times.
If the viewer does not go for power metal or 80's rock videos, they may not be wild about this flick.
In a creative scene, the hero is chased by an unseen menace while metal music is played backwards on the soundtrack.A great movie for metal fans with patience for mediocre horror..
Rocks hard, but sucks worse.
ROCKTOBER BLOOD, one of the myriad of glam metal horror flicks from the mid-to-late-'80s (BLACK ROSES, ROCK 'N' ROLL NIGHTMARE, HARD ROCK ZOMBIES, etc.), is possibly the worst out of all of them.
It's a D-level slasher with only one saving grace: the rockin' soundtrack.Basically, the set-up is the singer of a hair metal group goes nuts and kills some people (only two on-screen, but later on, they say 25??).
He gets sent to the electric chair, and the singer's ex-girlfriend starts the band back up again.
The acting is painfully bad, especially the mumbling, uncharismatic killer character.
45 minutes in the middle consist only of a woman swearing Billy "Eye" is back from the dead and people telling her she's crazy.
No other characters do anything the entire film, and the body count is surprisingly low.
The first 70 minutes are honestly really hard to get through.If you make it to the end, you're treated with a killer performance scene by Sorcery (better known for STUNT ROCK), some fun kills and some catchy hair metal tunes.
But ten good minutes out of ninety is not enough, and I would recommend all but the biggest '80s metal/horror fans give this one a hard pass.
Check out TRICK OR TREAT or ROCK 'N' ROLL NIGHTMARE to see this sub-genre done right..
Rocktober Blood Film Music.
This is just another horror film that is really no better or worse than most of them made in the 70's,and before.
What makes this film interesting is the MUSIC done in the "on stage concert scenes and in the recording studio scenes" and not the acting or dialog or the production value.
This is actually some of the best Horror film music I've heard,and I have heard a lot of it.
The soundtrack to this movie was hard to find, BUT..I did locate one on E-Bay and it was well worth it.
It's no surprise that the best part of the picture is the music done by professional players.
After all...most movie soundtracks are done by pro players.
Yes...The music on the LP does contain some movie filler tracks,but the concert scenes music in the picture are also included which makes this worth having.
I felt the songs "I'm Back", "Rainbow Eyes", "Killer on the Loose" and "Watching You" are really better than the picture.
ROCKTOBER BLOOD/The music made it!.
The best part of the picture is the music, played, in partby the rock band "Sorcery".
I recently saw an ROCKTOBER BLOOD lp(not vhs) available on e-bay that went for$89!!!
Great music, movie ok.......
Fast forward to the end to see the rock band Sorcery..
This film has one good thing about it, the rock band Sorcery did the sound track and appears at the end of the flick..
Billy "Eye" Harper is a hard rocker who killed 25 people and was later sentenced to death and executed.The only survivor of Billy's rampage is a part-time singer Lynn Starling.Two years ago Lynn wants to go with her new band Headmistress on Rocktober Blood tour.But Billy is not dead and he starts killing people around her..."Rocktober Blood" is one of the better heavy metal/slasher movies of 80's.There is a bit of tension and some lines are priceless for example ""I want your hot steaming pussy blood all over my face".The killings include eviscerations,a nasty impaling and a pretty good decapitation.The acting is terrible,but I must say that I enjoyed hard rocking soundtrack of "Rocktober Blood".7 out of 10..
Head banging horror fun..
Two years after heavy rock star Billy "Eye" Harper is executed for the murder of twenty five people, his ex-girlfriend Lynn Starling, now lead singer of Billy's old band, finds herself stalked by a man she believes to be the dead rocker.If you want a film that is the embodiment of cheesy '80s horror, look no further than Rocktober Blood, a silly slasher that couldn't be more '80s if it were wearing day-glo legwarmers and playing with a Rubik's cube.
From the opening scene, in which Billy "Eye" Harper (Tray Loren) belts out his new number 'I'm Back', to the ridiculous rock gig finalé, the film is a total hoot, a not-in-the-least-bit-frightening melange of gaudy fashion, body popping, break dancing, big-hair heavy metal, hokey gore, gratuitous nudity and sexy aerobics routines.The plot is pure nonsense, the direction lacks finesse, and the performances range from the mediocre to the downright awful, but it's almost impossible not to have a good time with a film that features not one but TWO nude scenes from its lead actress (in her one and only screen role, Donna Scoggins takes both a naked jacuzzi and a bubble bath), includes several half-decent songs in their entirety, incorporates a ridiculous twist into the story, and ends with a handful of grisly murders being performed on stage in front of a cheering crowd of rock fans unaware that the killings are real.6.5 out of 10, rounded up to 7 for the hilariously bad freeze-frame ending..
laughing makes the killer and the viewer happier.
A plot analysis (lol): Billy the rockstar decides making bad metal songs aren't enough so he kills off most of his friends, save his girlfriend who manages to escape (something I am glad I did not try to do from this film).
She gets poor Billy executed for the crime and starts over..
as the new front woman of his terrible band!
Of course, Billy boy returns from beyond the grave to kill again and laugh a bunch of times in a very ridiculous manner.
This is definitely a movie you need to take a few alcoholic beverages in with a few friends before hand to fully enjoy, but make no mistake about it, enjoy it you will!!!.
The over the top absurd kills (an iron held to the throat) with lots of nudity and even aerobics in leotards.
It doesn't get any better than this.If you watch the DVD version there is a part after the movie which shows how the director and his wife rescue Greyhounds now..
1984's Rocktober Blood starts with Billy "Eye" Harper singing "I'm Back" while his girlfriend and backup singer Lynn Starling watches.
Before he leaves, he tells her he wrote the song "Rainbow Eyes" for her.
Everyone in the band leaves except Lynn, who tries to record some of her own tracks before turning down the recording engineer's come on and going to the jacuzzi upstairs alone.Billy returns, only to kill the engineer while he's playing pinball by slicing his throat.
Then, he impales the engineer's assistant (he must have hated the mix) before smoking some drugs in a metal one hitter while looking like Larry Sweeney.
Lynn has no clue any of this has transpired, but she soon finds out that he's killed both of them.
Billy wants to make sure his message is coming through as he begins laughing like a villain.
Lynn discovers the assistant's body as Billy continues to laugh and menaces her with a knife, demanding that she sing.
A passing security guard saves her life and we cut to two years later and the Rocktober Blood Release party.Billy was captured, tried and executed while Lynn and the remaining band members changed their name to Headmistress.
VJ Rick Righteous stops by, does some coke and interviews Lynn about Billy's murder spree and having to finger Billy, which led to his conviction.Then, while the bands are playing and everyone is dancing and getting their faces painted and smoking cigarettes and break dancing, a mysterious figure appears and tells Lynn she needs to meet with her manager.
It's all a ruse, because it's Billy — back from the grave, just like he said he would be.
Lynn is left crying in the corner, emotionally decimated by whatever Billy said to her.I really have to note that there is way too much break dancing for a heavy metal movie.
In my experience, these worlds never played well together.Lynn goes away to a cabin, but Billy's music follows her everywhere she runs, so she tries to aerobic exorcise Billy away.
The phone keeps ringing, leading to an insane prank phone call (sampled on Acid Witch's "Midnite Movies" EP) that has the caller begging for "hot steaming pussy blood all over my face." The phone just keeps ringing and ringing, even when its off the hook, but look out!
Filmmaking couple Ferd and Beverly Sebastian tap into the then-hot idea of combining heavy metal and horror, with fair results.
Tray Loren stars as "Billy Eye" Harper, leader of a band who goes on an insane killing spree.
The testimony of his lover / backup singer Lynn Starling (Donna Scoggins) helps get him convicted and executed.
Two years later, she's now the leader of his band, and she believes that he's returned from the grave to kill all of his former associates.
Naturally, nobody believes HER, thinking that it's time for her to return to psychiatric care."Rocktober Blood" has a good title, but it's basically adequate at best.
The acting is passable right across the board, although some of the sexy ladies do get undressed for the camera, and Loren does look like he's having fun as the psycho antagonist.
The ending is not terribly satisfying.On the plus side, the songs are actually pretty good.
If you're a fan of the metal genre, you may catch yourself banging your head in appreciation.This is not one I would recommend you go out of your way to see, but it yields okay entertainment for any slasher completist.Six out of 10..
Rocktober Blood.
If this film looks more than a little familiar, think "A Nightmare On Elm Street" etc, or simply slasher.
A year after his execution, a serial killer rock musician returns from the dead to continue where he left off.
There is a slight twist on the usual non-plot in that he decides to haunt rather than murder one of his former associates, and she decides to prove he is not really dead by digging up his body.
She tries to persuade others to help her, but they think it is all in her head, so she decides to do it on her own.
As she opens his casket, Billy Harper opens his eyes and lunges for her, but she is the only one who sees this, the other two see only a rotted corpse; at this point the viewer might begin to wonder if it really is all in her head.
No, it is not, but is this really a supernatural killer or a terrestrial one putting on an act?So what does "Rocktober Blood" have to offer?
And the soundtrack is not bad, although if you think you recognise two of its titles: "Killer Without A Cause" and Rainbow Eyes", they are probably not the songs you were thinking of.There is a fair amount of gore, but it is difficult to credit this was actually banned..
Rock Legends supply the music.
This movie was bad in the beginning, awful during the tedious middle and then AMAZING for most of the last 17 minutes before finally coming to a clunky and unsatisfying finish (and no it was not a biopic of my sex life).
Oh the promise contained in those last seventeen minutes of the film...oh how that promising concept was squandered.
The female lead singer (Lynn) is the only one that knows that there is a "Killer On The Loose"!
The band is playing through a metal/gore concert not knowing that someone is actually killing the cast on stage.
Lynn is singing her trademark "Rainbow Eyes" while a disguised Billy Eye stalks her across the stage with a real sword mic stand.
- - But then, as much as I wanted to, I could no longer suspend disbelief once Billy/John takes off his mask and NOBODY reacted appropriately or even realistically.
This reaction to the revealed John/Billy ruined the very promising concept of a horror rock show with a real killer.
Why in the hell would the band start playing "I'm Back" instead of trying to rescue their lead singer, Lynn.Overall the music was the best part of this movie.
The band Sorcery played the instrumentals and the actor, Nigel Benjamin, was the dubbed over singing voice of Billy Eye. Nigel Benjamin played the manager (Chris Keane) but Nigel is also a legitimate hard rock/metal singer.
Nigel Benjamin, was, at one time, the lead singer for Mott the Hoople which famously performed the song "All the Young Dudes".
Later, in 1980, Nigel Benjamin was shortly the front-man/lead singer of the LA club band London.
Two very famous metal musicians were also in the band London with Nigel Benjamin for short periods of time: Nikki Sixx the bassist for Motley Crue and Izzy Stradlin, the rhythm guitarist for Guns N Roses.
The director of Rocktober Blood is Beverly Sebastian and she has a real knack for making movies a family affair.
Her husband, Ferd Sebastian was the Producer/Camera man/ utility manager for the movie.
Her oldest son, Ben Sebastian, played the effeminate Head of Security.
Her youngest son, under the stage name, Tray Loren, played Billy Eye and John Eye. Beverly Sebastian made a few low budget horror movies in the 1970s (Gator Bait) and each one prominently displayed the efforts of her family.Why all of the Lens Flare?
Every ten minutes there was an intentional star shaped lens flare effect..
Gloriously ludicrous 80's heavy metal horror trash.
Deranged rock singer Billy "Eye" Harper gets executed for killing twenty-five people.
Two years later Billy returns from the dead to commit a new series of murders.Boy, does this enjoyably absurd howler completely nail the sleazy decadence and outrageous excesses of the 1980's hard rock scene: We've got hideously massive overpermed hairdos, skintight leather pants, herky jerky break dancing, sweaty aerobics, coke snorting, lots of gnarly head-banging hard rock songs blaring away on the soundtrack, and, best of all, an uproariously ridiculous climatic concert which degenerates into a crazed bloodbath.
The slack (non)direction by Beverly Sebastian, gaudy cinematography, extremely variable acting, a silly story complete with a groan-inducing surprise twist, and tacky gore all further enhance this flick's considerable deliciously cheesy charm.
And I'm taking you to hell with me."That's actually a pretty cool line - thing is, it's delivered by a guy with halloween paint on his face.
They maybe spent 2 minutes making him the reincarnated guy or whatever.
As others have pointed out, there are some bad 80s glam rock horror movies out there and this is down there with the worst of them.
I'd actually like to take a minute here just to mention that "Shock 'Em Dead" is, definitively, the worst of all of them.
Every time I watch one of these horror musical movies I think "Oh hey this one looks cool" even though I know they're all super cheesy.
However, the last scene is hilarious and it's worth watching for the last 10 minutes or so..
A must see for fans of the dead rock star genre.
I decided to check it out because it had a similar premise: Rock star dies and returns to seek revenge.
Although it is nowhere near as good as Trick Or Treat (an overlooked masterpiece of the 80s), it is still quite funny and entertaining.
(Spoilers ahead) You will no doubt notice that Billy Eye's girl does not have a scar where she was stabbed 2 years earlier.
And the scene at the end where he appears to throw one of the dancer's heads in the audience could just be a wig.
All the previous posts were correct in noting that the end is the best part of the movie.
There is an interesting similarity between this scene and the scene in Trick or Treat where Sammi Curr appears on stage at his old High School during the dance.
In both cases the crowd is surprised and pleased that the Dead Rock Star has come back to perform.
Billy Eye is determined to put on a good show and he insists on hitting the last high note of the song even after being struck with an electric guitar..
The music is the only good thing in the movie(spoiler warning).
That song keeps humming in my head.
This movie is about a lead singer who "supposebly" gets killed while being accused of murders as he stalks his girlfriend who sings backup vocals in his band.
The lead singer whos name is Billy "Eye" (yeah, right) is dead after two years and his band comes back for a concert only the backup vocalist is the lead singer this time.
Billy stalks her and eventually goes around killing all these people and terrifying the girl and makeing people around her think theres something wrong with her and that shes imagining things.
During the end of the movie we find out the reason behind all of this, Billy has a brother named John (right again) and John admits that he was jealous of his brother and that he killed all those people to get back at him and place the blame on his brother and then take his girlfriend and terrorize her because she called him crazy.
I watch it for the song.
|
tt0354766
|
Never Die Alone
|
Hardened criminal and drug dealer King David (DMX) returns to his unidentified East Coast city, where he can find redemption by settling an old score with drug lord Moon (Clifton Powell). He keeps tape-recorded journals about his life and is always talking about a woman named Edna. Upon David's return, he meets up with Jasper (Luenell), a barkeep who expresses a strong dislike towards him. She contacts Moon to inform him of his return and willingness to pay his debt, as well as momentarily passing by Paul (David Arquette), a struggling writer.
Mike (Michael Ealy), one of Moon's henchmen, is assigned to collect his boss's money from David, appearing to be very interested in him for some reason. Prior to the deal, he is warned to not sabotage the deal in order to avert police attention. He, his friend Blue (Antwon Tanner) and his sister Ella (Drew Sidora) go to David and collect the money. Mike is very tense upon arriving at the location of the pickup, prompting Blue to authorize it for him. After a brief but tense transaction between Blue and David, the latter is set up for an ambush. Mike angrily demands if David recognizes him, and proceeds to stab him multiple times in the abdomen after receiving several taunts. A weakened David stabs Blue in the eye with an ice pick before they abandon him in a gutter. Paul, who passes by at that moment, drives David, a total stranger, to the hospital.
Paul is informed that King has died and has left him all his personal possessions. The items include jewelry, his car (which is a rare Stutz Blackhawk), and a collection of his audio tapes. Meanwhile, Moon is unnerved by Mike botching the deal by using violence against David and becomes paranoid of police attention. After being informed of Blue's injury, he tells the two to wait in a parking garage for a car to come and drive them to the hospital. Instead, he sets them up as two henchmen shoot and kill Blue and Ella, to Mike's horror. Just before Mike can be killed himself, he gains gravity of the situation and guns down the henchmen, but is unable to retain his sister's life as she dies in his arms. He then vows revenge against Moon for the double-cross.
As Paul listens to the journal, the story of David's life is told: after a particularly bad drug experience in the east, David relocated to the west in search of a second chance. He finds assistance with the Vietnamese and even a new girlfriend, Janet (Jennifer Sky), whom he abuses. A television star, she turns to David's heroin and becomes sick and detached in the process. David abandons her as she presumably turns to selling his drugs to pay the bills and for her drug habit.
In the present, Moon sends out a duo of henchmen to kill Mike. Additionally, Moon learns of Paul's involvement in the situation from bystanders as his role of David's driver to the hospital, and requests for his murder, as well. Paul, meanwhile, continues to listen to the tapes; after he abandons Janet, David moves on to Juanita (Reagan Gomez-Preston), a college student that he meets in an upscale bar. Their relationship goes well as David starts to make a lot of money, but then Juanita tries his drugs. She doesn't get addicted, but she does turn out to be very selfish by refusing to move in with David, insisting that $250,000 isn't enough on which to retire. Angry, David secretly switches her cocaine with heroin, getting her addicted.
Paul realizes that the money David talked about might be in David's trunk. It is, but at the same time, Moon's henchmen are sprawling all over the city in search of him. Mike follows Moon's limo via cab to a secluded back-alley, at which he follows him into a bathhouse and proceeds to kill him.
Paul listens to the last tape; David leaves Juanita, but she soon comes back, addicted and begging for help. He agrees to help her out, providing her a drug fix in exchange for sex. The humiliation and disgrace shatters her dreams and causes her severe emotional distress, thus making her addictions even stronger. After a while, she demands that he pay for her entrance to rehabilitation or else she'll call the police. Enraged, David decides to do the same thing he did to Edna: mix her heroin with car battery acid, resulting in a fatal seizure for her. Through a flashback, it is revealed that David is the biological father of Mike, who is also Edna's child, and that David brutally hit him before poisoning Edna (which explains the scar on his face). The tape ends with David speculating on how his return to the East Coast will bring about his redemption with Moon and tie the loose end with Edna's child, who he is completely unaware of as Mike in their second encounter.
Paul is found by Moon's henchmen, who hold him at gunpoint, but Mike arrives just on time and kills them. Paul tells Mike that King is his father, which greatly haunts the latter. As the police converge on the scene, the two make good their escape as Paul flees on foot and Michael takes David's car. Shortly afterward, Paul writes a story based on that night, titled "Never Die Alone," which is turned down by a publishing magazine as the agent believes it to be a fictionalized story. David is cremated soon after. His narration focuses on the end of his life and how fate had such a powerful effect on not only his life but also on the lives of Paul, Mike, Edna, Juanita, Moon, and everyone else. Meanwhile, Mike drives through a tunnel and escapes without capture.
|
revenge, murder
|
train
|
wikipedia
|
When the unemployed white journalist Paul (David Arquette), who lives in a ghetto, accidentally witness the execution of the Afro-American King David (DMX), he takes the wounded man to the hospital trying to save his life.
Paul finds some cassette tapes in the car, and while listening to them, he becomes aware that David was a hideous drug dealer.When I decided to buy this DVD, I had no information about this movie.
DMX, David Arquette and Michael Ealy have excellent performances, but I found the character of Moon too much clichés of the powerful Afro-American drug lord.
The scene of Mike leaving the tunnel in the end of the movie is another clichés that works perfectly, indicating the possible redemption of this character.
"Never Die Alone" is a surprisingly good, violent and very real movie, which does not spare the characters addicted on drugs, showing the consequence of their vicious and their destiny.
This is the case with "Never Die Alone," an urban crime drama with a plot just loopy enough to keep us interested and just goofy enough to make us believe it.David Arquette plays a white reporter who hangs around in a predominantly black section of the city soaking up the "atmosphere" for articles and books he hopes to write.
One night, he attempts to save the life of a black drug kingpin (played by DMX) by driving the man to the hospital after he's been left for dead in a revenge killing.
Immediately before his death, the man, who goes by the name "King David," bequeaths his car and other earthly possessions to this inner city Good Samaritan.
Thus, as Paul listens to these recordings, a full picture of the kind of man David was soon emerges.The best thing about "Never Die Alone" is that it doesn't flinch from displaying the ugly, harsh realities of its blood-splattered world.
And it does not attempt to sugarcoat "King David," for despite all his comments about redemption and making up for the evil he's done, David is one hell of an amoral bastard who does some pretty horrible things to some truly undeserving people - and the film does not shy away from depicting that reality.Although, on the surface, the film seems like just another in a long line of sordid crime dramas involving crack heads, dope fiends and armed-to-the-teeth ghetto gangstas, "Never Die Alone," perhaps because it is willing to hold nothing back in what it chooses to show us, has a certain ring of truth about it.
Never Die Alone opens up with a scene that full blown gives away a pivotal event in the film, where we see the main character, King David, lying in a casket, eyes closed, hands on his chest.
It's no big secret that he's dead, to me, this movie isn't about the events, but simply about the story and the characters, and that's really all that matters.
I don't think this movie is about the ending, but it's simply about King David and his monstrous nature/personality.
Again, the movie opens up with King David in a casket, obviously dead.
During this beginning scene, we actually start to feel sympathy for King David, as he pleads to Paul to `Not let him die alone.' This line is somewhat sad, but at this point we have no idea what kind of person David is.
Then the real story begins.Through these audio tapes, we realize that David probably never wanted redemption and had no apology for the monstrous acts he's done.
We at first feel sorry for his character, and not want him to die, but as the movie chronicles the last ten years, all of that care and sympathy that we had the character disappears as we see King David for who he really is: A monstrous man who has no compassion for anyone.
He is able define his character in the most monstrous way possible, and even though this character is monstrous and evil in the movie, DMX cloaks this evil vindictive side, and is able to appear normal, and I think this is the dynamic force of the character, he knows he's evil, he knows he's a horrible person, but he acts as if it's all just an everyday activity to ruin people's lives, and DMX pulls this characteristic off amazingly well.
David Arquette plays an aspiring reporter, who, like I mentioned earlier, finds King David's audio diaries and discovers the truth about the man he just met.
Arquette's character isn't onscreen very much, and he only interacts a few times with other people, with the exception of King David.
Before he listens to the cassettes, he obviously doesn't know who King David is, but he probably thinks that David isn't that bad of a person, just like the audience.
Each time this character was onscreen, I sat there wanting the movie to go back to King David's `adventure', mainly because Arquette's character wasn't interesting, and the movie tended to slow down every time they showed him.
The locations are perfectly fitting for the dark and depressing tone that the movie tries to set, and the lighting most of the time is perfect, because it maintains a depressing look that has lots of style.
With DMX's name printed above the title, and with DMX on the front cover with two handguns at hand, most people will think this movie is another mindless action film in the tradition of Exit Wounds and Cradle 2 The Grave.
I thought that it was an action film at first, but I had no idea that it was a serious movie dealing with serious characters and serious situations.
These cool, good-looking black men dress very fine, have lots of money and spend their lives snorting drugs, having sex, killing people and MF'ing everything in sight.
The movie starts with King David in a casket.Then he starts telling us about his life.
Interestingly, Paul was living the life of a black man, while Nancy seemed to have rejected her culture (I'm basing this on one scene, but we never got to know her) and disapproved of his living in that world, but Paul felt he had to in order to write what he wanted.Paul finds out from a hospital worker that David had rewarded him by leaving him everything--lots of cash, jewelry, and a nice car.
DMX truly shows the King as an evil and god-awful person and by the end of the movie, it is quite satisfying to connect it to the beginning.
Interesting attempt to adapt a Donald Goines novel for the big screen, Never Die Alone is reminiscent of early blaxploitation classics like BLACK CAESAR, with both the pluses and minuses that entails.DMX stars as drug dealer King David.
The first movie, which lasts for the first half-hour or so, is an excellent, gritty crime drama, as good as anything I've seen recently on the big screen.
The third one deals with David Arquette, an aspiring writer who fetishizes the gangster lifestyle exemplified by King.These three movies sit awkwardly together.
This movie surprised me in many ways starting from King David ( played by DMX) King is not the type of character people will fall for like Scarface who was an Anti-hero with remorse.
David arquette might seem overshadowed by the other actors,but he also plays an important part of this movie.
Overall, I think this is one of the best films I've seen and for those who like gangster movies, you won't be disappointed..
DMX plays King David a drug king pin that has came back home to set things strait.
He had such a short life and not enough time to set things right like he planned.Overall, it was a good film!
Maybe in the next movie King- David'sson should be living on his life as well as his Father's.
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All Costs Drug kingpin King David (DMX) returns to his hometown to settle some old scores.However,when an exchange goes wrong,he finds his life coming to a premature end.An intrepid reporter (David Arquette) discovers some tapes where he tells the story of his life up to the point of his death and decides to use them to compile a report.However,as a witness to the crime,he is also being head-hunted by those responsible for David's death...Former rap star turned actor DMX's career up to this point has mostly consisted of co-starring roles in action movies such as Exit Wounds and Cradle 2 the Grave.So at first glance of this little caper,it's hard not to approach it as a similar such film,only with him in the lead.The front cover has him pointing two guns down at the floor in the style of an action film.Even the title sounds like the latest James Bond movie!But nothing could in fact be further from the truth.This is a thoughtful,well-written,and,in it's own way,rather sensitive tale of retribution,responsibility and redemption.You could say it was a bit under-long,but it's actually rather admirable that such an involving story with it's tough themes is skillfully crammed into such a short running time.DMX is a much better than you might have thought and carries what must be his most prominent film to date with an engaging raw sensitivity and power that is most impressive.Another recommendable quality of the film is the grainy noir style it is shot in,adding a Channel 4 art-house kind of feel to it that would set it apart from any other film of it's kind.It obviously didn't have the star power that it thought it had to arrive in theatres on this side of the Atlantic,but it's a recommendable film none-the-less,shaky,raw,powerful and,of course,with a hollering,growling soundtrack from the Darkman himself.See it.****.
He definitely brings a strong visual integrity to Never Die Alone.DMX turns in a believable performance as King David a New York drug dealer who legs it to LA when he steals his bosses stash.
Before the night is over Arquette pieces together his life and an awful past full of heinous crimes is unleashed, but it's not over yet and Arquette becomes marked for death by King David's still very angry boss.In a mere 88 minutes Never Die Alone tells an intriguing story in non-chronological order and sets up a remarkable array of complexly interwoven characters.
But this is definitely a movie for fans of (the initially unrecognisable) DMX, just don't expect one of those nice but bad characters he played in Exit Wounds or Cradle 2 the Grave.
Yeah, there's gangstas, there's killings, there's dope, there's even a DMX track or two within, but this ain't no action movie.
I know very little about DMX, his life, his career, but I couldn't help but wonder where the character began and he ended.
DMX can be commended in all the right-is-wrong ways, but the movie on a fundamental level is flawed.The story, the cast of characters, ride the line between adequate and embarrassing.
Michael Ealy's character and his connection to both King David and his drug boss employer is mix of lame poorly executed ideas and unsatisfying conclusions and the whole theme of the movie is obvious from frame one.
DMX's character, King David is one of the few movie character's besides, Al Pacino's Tony Montana, that actually portrays how a man with a gangster mentality is, with no sugar coating.
King David is not a gangster with a heart of gold, but a man who is in a life style where he has to be a wolf in order to survive.
King David is not a character to fall for, unlike Tony Montana in "Scarface".
David is one of the most evil characters in film history and DMX brings the evil out.
DMX plays King David a man who returns after 10 years, only to die.
When I first rented this movie, I was expecting some good action scenes mixed with a decent story and a great soundtrack...I was disappointed on ALL accounts.
The music chosen was Jazz, good for the slums of New York I guess, but in a DMX film you would have expected him to do at LEAST one song for it (if they did, it might have been when I fell asleep.) As for the action scenes, where are they?
"King" David(DMX, who's...
King David has only returned to his home for a short time when his attempts to even up with crime boss Moon sees him killed.
Gomez-Preston is good as Juanita delivering a harrowing character really well.Never Die Alone is the story of a cruel and callous man who lived in crime and died because of it.
Actually I had never even heard of this movie before I watched it.It stars DMX as a drug dealer named "King David" and the movie starts out with him in a coffin.
The film is based on the novel by Donald Goines(one of my favorite authors) and stars DMX(Belly, Exit Wounds), Michael Ealy(Barbershop series) and David Arquette(Scream series) with very good direction by Ernest R.
I'll start by saying that Bones really could've been a good movie but even Dickerson's hard work didn't pay off in the lackluster horror film but he comes back with a bang with the uncompromising Never Die Alone.
DMX, who also served as producer, turns in a great performance as King David an introverted, callous drug dealer who is killed when he returns to his hometown after burning many of his bridges - very reminiscent to Belly's Tommy Buns, however you see the lives that he's destroyed in this movie.
David Arquette plays a jewish journalist caught in the middle of a turf war after witnessing King David get killed on a city strip - his performance as the naive writer isn't too shabby neither but Michael Ealy, the true hero of the movie, was the one who shined the brightest alongside DMX.
At first glance of the film's movie poster, many viewers, before seeing Ernest Dickerson's Never Die Alone (2004), will assume it is an action picture like Scarface (1983) and New Jack City (1991).
This isn't an action picture, but a drama, although it does deserve comparison to the latter movies.Never Die Alone is the story of a viscous, cold blooded, and evil man known as King David.
As the movie opens, King David (DMX) is laying dead in a coffin.
This movie isn't about the events that occur, but about the story and the characters.As the film opens, King David has returned from Los Angeles to New York to repay a debt to a drug dealer known as Moon (Clifton Powell).
Moon sends his boy, Mike (Michael Ealy), and another man to collect the money.But then the pickup turns violent against Moon's request, and King David ends up getting stabbed in the process.
What's monstrous is when he decides to give them a little "test." DMX, as King David, is hard and cold.
Through flashbacks and events, we realize that King David is a man who shows no apologies for the evil things he's done, and he makes them look like an everyday activity.The film also seems to suggest that there is some sort of connection between both Mike and King David.DMX has done some terrible films in the past, such as Romeo Must Die (2000), Exit Wounds (2001), and Cradle 2 the Grave (2003), which were all mindless action pictures meant to entertain, but in Never Die Alone, he gives his best performance up to date.Never Die Alone is a good movie, but I felt that David Arquette's character was poorly developed, but he gives a good performance, anyway.
In the end we never know whether he has shown remorse for King David or felt that he deserved to die for what he's done.
Half the time, he doesn't realize how much danger he's putting his life in, such as when he drives around in King David's car.Cinematographer-turned-director Ernest Dickerson creates a dark atmosphere and he keeps the film dark to the very end.
By the end, the movie asks Paul, the journalist, and even the viewer, do you think King David really deserved to die?.
King David is a despicable sociopath, and watching him ruin the lives of everyone else in the movie is not an easy thing.It's a powerful story, but there are some problems.
Well, in some ways it is – there are a ton of bloody shoot-outs and it partly follows the classic revenge drama formula – but in other ways, NEVER DIE ALONE surprises, exploring DMX's character in some detail and taking a downbeat look at the life of a drug dealer.
DMX takes a role a little heavier than he's used to, and he's very good in the part, a really hateful character that you can nevertheless understand.
The movie begins with King David's death (literally the first image of DMXs character, King David, is when hes already in a coffin).
But, there is much more to this film then King david's life since the white writer has problems of his own and Mike, a lowly thug whos vengeance on David comes with a price, is trying to kill before being killed himself.
Even though King David is the movies focus, the more interesting character is Mike, King david's assasin.
However, he does have his own problems and ends up not feeling sorry for King David after listening to the tapes.
However, the big thing on his mind are the King David's tapes and making a story out of them.
The film is symblically ironic since King David's life might have appeared to be glamourous but realy, it was an ugly life to live, as is Mike's, and the white writer got cuaght up in the ugly life of drugs and murder.SPOILER: This movie also hgas a message about vengeance.
The story picks up because when he was killed a reporter( David Arquette) was at the scene and tried to help him.
|
tt0119547
|
Little Boy Blue
|
Living in the backwoods of Texas is the dysfunctional and apparently incestuous West family: a psychotic war veteran father, Ray (John Savage), a compliant wife, Kate (Nastassja Kinski), and a 19-year-old son, Jimmy (Ryan Phillippe); who is relegated to a warehouse outside the family home. Ray and Kate seem to be a normal couple running their bar, raising their two sons (around 3 and 5 year-old), but as they return home from work Ray turns violent and abusive. At his insistence Kate and Jimmy were having a shocking and strong sexual relationship. Ray goes even so far as to call Jimmy "Little boy blue" and to shout that 'he knows' Jimmy likes it.
As it turns out, during Jimmy's conversation with his girlfriend, Traci, (Jenny Lewis), he rejects a full scholarship for college. He cannot leave his brothers with his father. He explains that if he is not there Ray will take all his rage onto his little brothers, which he finds not tenable. Traci can understand that, but she cannot give up her own future, and so they eventually break up. The movie ends with their probable re-engagement.
In the course of the events it becomes clear that Ray harbors a secret he cannot share with anyone. When a stranger appears in his bar and wants to befriend Ray, the latter gets suspicious and in and attempts to knock down the man. He kills someone who appears to be a private detective. Jimmy starts becoming suspicious about his father being a murderer and one night when Kate visits him in the warehouse he asks her to take the boys and leave Ray for good. She declines for reason of panic.
Kate explains that she cannot imagine what she can do in such a frightening place, unbeknownst to her. Ray enters the warehouse and upon seeing Kate in Jimmy's arms he generates' a ruckus, and insists that Kate and he should tell Jimmy the truth. Kate manages to calm him down, but Jimmy is still too frustrated and the next morning he goes to Traci's place to talk to her and to say his final goodbye. She listens to his shocking story about Ray's abusive behavior and is startled when Jimmy says that he cannot leave his own sons with such a Vietnam-traumatised monster. He leaves her house and goes back to his place. On his way he is stopped by Ray who takes advantage of the absence of Kate and the boys and tells Jimmy that he needs to know who he really is and why he keeps on calling Jimmy "Little boy blue". Figuring out where Ray is going Jimmy wants to stop him and a fight is started for which Ray is obviously ready and has been expecting it all along.
A few days after that Jimmy is nowhere to be seen (with everyone except Traci assuming that he has left the town) a mysterious woman (Shirley Knight) appears in town looking for her private detective. As the police interrogate her the secret unfolds about Ray, Jimmy and herself. Years ago she had met Ray when she, her husband and their newborn baby where driving their family minivan and Ray needed a ride. While Ray had complemented them on their beautiful baby-boy and conducted a cheerful, friendly conversation, she was reading a book to her son (the same "little boy blue" book Ray had been keeping among his personal things and which Jimmy had taken from his elder son earlier to prevent Ray from punishing the boy for stealing), without any hint of what was coming. Hours after they had picked up Ray, she was tied to a tree, beaten severely, her partner killed and watching as Ray walked away with her son, got into the minivan and drove away. As she breaks into tears while telling the story, she does not forget to mention that "it was 19 years ago and that nobody helped her then and did not find her son."
The police send her to her motel room and guard her so she will not do anything "stupid" before they get an order to interrogate Ray, but she slips away at night and goes directly to Ray's house. With the boys out at the lake and Kate out in the warehouse to find a hint where Jimmy might have gone, Ray wakes up to find her pointing a gun to his head. While he starts mumbling that she has got the wrong person, that he has not done anything bad to her, she shoots him several times and heads to the warehouse where Kate is hiding near Jimmy's bed. As the woman starts looking around the place, she finds the "Little boy blue" book lying on the table and breaks into tears. Right then she hears Kate crying, too, and without any remorse shoots her dead as well. The boys, who had been hiding under the house, run towards the warehouse, but are stopped by a police officer, who had come to find the woman. She comes out of the warehouse waving her gun at the officer and as she is about to shoot, she is shot dead by the policeman. The boys spend the night in the police car, and in the morning the elder brother remembers that their father had been recently working a lot around their minivan. The policeman sets everyone to work and as the minivan and the soil under it are removed they find doors in the ground. As the doors are opened, the viewer gets an inside look at unconscious Jimmy tied up to the wooden shelves like on a cross, all bloody and bruised. As the ambulance is cutting the ropes and placing him in the ambulance car, Jimmy has a vision of his future. There he is a policeman, married to Traci, playing with his sons and his newborn baby in the park. As he slowly wakes up from his dreams, he hears his sons calling his name and assuring them that everything's okay and that he is never going to leave them, Jimmy smiles. The final scene shows the ambulance car drive away as the credits start to roll..
|
murder, violence, sadist, flashback, revenge, storytelling
|
train
|
wikipedia
| null |
tt0086739
|
The Jewel in the Crown
|
The serial opens in the 1940s during World War II in the fictional Indian city of Mayapore, against the backdrop of the last years of the British Raj and the Indian independence movement. Hari Kumar (Art Malik) is a young Indian man who was educated at 'Chillingborough', a British public school (the British term for an elite private school); he identifies as English rather than Indian. The bankruptcy of his father, a formerly successful businessman, forces him to return to India to live with his aunt.
Working as a journalist, Kumar sees that his position is lower in India, where he is discriminated against by many British colonists and held in some suspicion by Indian independence activists. He becomes involved with a British woman, Daphne Manners (Susan Wooldridge), who does not share the prejudices of most of her people. One night, after Hari and Daphne make love in the public Bibighar Gardens, at the same time that violent anti-British demonstrations are taking place elsewhere in the city, the couple are attacked by a group of unknown Indian men. Hari is beaten and Daphne is raped showing that not only the British opposed relationships across ethnic boundaries.
The local Indian Police superintendent is Ronald Merrick (Tim Pigott-Smith), a young Englishman who is intelligent, hardworking, and from a lower-class background. He had made advances to Daphne during her first months in India and been politely but firmly rebuffed. He arrests Hari for her rape, holding him in the local jail, where he beats and sexually humiliates him. Merrick resents Hari's privileged education and he resents Daphne's preferring the young Indian to him. Because Daphne refuses to cooperate with the investigation, the police do not prosecute Hari for rape but Merrick arrests Kumar and a group of young, educated Indians, sending them to prison for detention without trial under the security regulations adopted to deal with suppressing the Indian independence movement. Word that Hari was tortured causes outrage in the Indian community. Merrick is transferred from Mayapore to a smaller and less important town in the province.
Daphne learns she is pregnant. She chooses to believe the father is Hari, though she cannot know whether it is he or one of the rapists who is the father. She dies in childbirth. The mixed-race child, a girl, is taken in by Daphne's aunt, Lady Manners, widow of a former provincial governor. While Lady Manners takes the infant to the resort area of Srinagar, she meets Sarah Layton, a young British woman on vacation with her mother and her sister Susan. Sarah and Susan's father is the colonel of the Indian Army regiment in Pankot, a hill station near Mayapore. He is being held as a prisoner of war in Germany, where his unit was captured. Susan and their mother prefer to stay away from Lady Manners due to the scandal of her great-niece's illegitimate birth, but Sarah pays a call on Lady Manners and the two women become friendly.
Sarah and her family soon encounter Merrick, who has left the police and procured a commission in the Indian Army. Teddie Bingham (Nicholas Farrell), an Indian Army officer and the fiancé of Sarah's sister Susan, is stationed in the nearby princely state of Mirat; Merrick, also assigned there, happens to share quarters with him. Because the unit is soon to leave for the border with Burma, Teddie and Susan have to marry in Mirat. When Teddie's best man for the ceremony becomes ill, he asks Merrick to step in. Merrick, seeing a relationship with the upper-class Teddie and the Laytons as a means to career advancement, is pleased to help. While Merrick and Teddie are driving to the ceremony a stone is thrown at their car, slightly injuring Teddie. Merrick understands that he was the target of the attack, as this is one of a series of incidents suggesting he is being harassed because of his treatment of Kumar and the other suspects in the Manners case in Mayapore.
Soon after the wedding Teddie and Merrick leave for the Burma front with their unit. Teddie is soon killed in an ambush by soldiers of the Japanese-sponsored Indian National Army (INA). Merrick is badly wounded trying to get Teddie to safety and is evacuated to a hospital in Calcutta. When Sarah visits him (at Susan's request) to thank him, she learns that his arm is to be amputated and that his face will be permanently disfigured by burn scars. Merrick reveals to Sarah that Teddie was ambushed because of him. Teddie had left their unit to try to persuade two Indian soldiers of his regiment, who had been captured by the Japanese and joined the INA, to surrender and come in. Merrick believes Teddie took this risk to prove to him that the Indian soldiers, even after becoming turncoats, would resume their loyalty to the British if given the chance. Faced with losing his arm and being left permanently disfigured, Merrick's hostility against Indians has increased.
Lady Manners presses to gain a formal inquiry into the arrest and detention of Hari Kumar. It is conducted by Nigel Rowan (Nicholas Le Prevost) an aide to the governor of the province. Only during the interview does Hari learn that Daphne is dead. After Rowan establishes that Hari was tortured by Merrick and there is no evidence of any wrongdoing by him, he arranges the young man's release from prison. No action is taken against Merrick, however.
After his convalescence, Merrick is promoted and assigned to intelligence activities concerning the INA and Indian soldiers who collaborated with the enemy. He comes across the Laytons again in Bombay, where Sarah is reunited with her father, Colonel Layton, just released from a German POW camp following Germany's surrender. Merrick is there to interrogate an Indian soldier who had served under Colonel Layton and assisted the Germans after Layton's unit was captured, and who has been deported to India. Merrick gains assistance from Sergeant Guy Perron (Charles Dance), a young Cambridge graduate and Indian history scholar, who was serving with an Intelligence Corps Field Security unit; he speaks fluent Urdu and is asked to observe the interrogation. Merrick learns that Perron also attended Chillingborough, and happened to know Hari Kumar when they were students.
After the interrogation, Perron runs into Merrick and Sarah Layton by chance at a party. He accompanies them to the apartment of Layton's aunt, where Sarah and her father are staying temporarily. Sarah and Perron are attracted to each other. Merrick decides to have Perron assigned to assist him in further investigations of Indian soldiers who became collaborators. Perron and Sarah both find Merrick distasteful, but Perron has no choice but to work with him.
After the death of her husband Teddie and the difficult birth of their son, the young widow Susan Layton Bingham suffers a mental breakdown and is treated in a hospital in Pankot. When Merrick returns to the Pankot area while working on his inquiry into collaborators, he starts to court Susan and ultimately marries her. Perron later learns that Merrick blackmailed a young British hospital clerk into giving him access to Susan's medical records, apparently to learn about her mental state and use this material to persuade her to marry him. Her sister Sarah dislikes Merrick and is opposed to the marriage, but she is unable to stop it.
With the surrender of Japan in August 1945, the war in the East is ended, and the days of British rule in India are clearly numbered. Perron arranges a quick exit from the Army and returns to Cambridge and his academic career. Due to his imminent departure, he and Sarah must suspend their relationship. The Layton parents plan to return to England. Merrick intends to stay on, having gotten a contract from the government of Mirat to reorganize their police force.
In 1947, with the transition to Indian independence under way, Perron returns to India as an historian to observe the process. Visiting Mirat at the invitation of its Chief Minister, Count Bronowsky, whom he met briefly on his last trip to Bombay, Perron learns that Merrick has died, apparently as a result of a riding accident. The situation in Mirat is tense due to conflict between Hindus and Muslims related to independence. Bronowsky tells Perron the real story behind Merrick's death. He relates that Merrick died in the course of a sexual rendezvous with a young Indian man who was probably employed by independent activists and who was believed to have let in an assassin who killed Merrick. The authorities cover up the details of Merrick's death, fearing reprisals from the Indians in this time of political uncertainty regarding British departure. The two discuss their view that, in leaving India, the British are opening up "Pandora's Box," releasing the ancient competition for power between the Hindus and Muslims, who had earlier conquered and ruled the country. Some confrontations had been restrained by the power of the British as rulers.
Sarah, Susan and their aunt attend Merrick's funeral in Mirat. Perron decides to accompany them on the train back to Pankot. Joining them is Ahmed Kasim, the educated son of a prominent Muslim politician who has been working for Bronowsky in Mirat for the past few years. En route to Pankot, the train is stopped by a gang of Hindus, who attack Muslim passengers in retaliation for recent attacks on Hindus in Mirat. The attackers demand that Kasim be turned over to them. Before his fellow passengers can react, Kasim voluntarily leaves the train car and surrenders himself to the attackers, who murder him. Perron, Sarah and the other English passengers are unharmed, but are horrified by the slaughter of Kasim and other passengers.
Before leaving India again, Perron visits Hari Kumar, now living in a poor neighborhood and supporting himself by tutoring Indian students in English. He leaves his card as Kumar is out. Perron reflects on how Kumar was caught in an impossible position, between England and India.
|
revenge, murder, flashback
|
train
|
wikipedia
|
I loved The Jewel In The Crown and highly recommend it!
I think it's a very skillful and successful adaptation for TV from fiction.My own views about this series have changed -- from good to better.
I realize now that I watched it then very literally, very matter-of-fact, and saw it mostly as a straightforward series of events in the lives of these people trying to cope with the turmoil of the last days of the British in India.
I viewed it mostly as a sort of soap opera.Recently I read all four of the books from which this story was taken, and what an illumination!
There are scenes in this movie that I'll never forget, in the same way the characters are haunted by them.Instead of a meandering and random soap opera, I saw how event built upon event, how characters affected one another, how chance meetings changed lives, how it all slouched inexorably towards the climax -- or anticlimax -- of the devastating conclusion.I am amazed at the skillfulness of the screenplay -- to compress those four novels and all their layers of complexity into this TV series.
(If you like pat answers, steer clear of this one.)I loved this series, I intend to buy the videos, and I highly recommend it..
There's a small scene in the first 2 hour episode of Jewel in the Crown about 80 minutes in.
The obsessional loving care and artistry that is evident in just this single minute tell you everything you need to know about the quality of Jewel in the Crown.
The set and the lighting on the sleeping figure momentarily transforms the character who will later be known, pejoratively as "that Manners girl" into the Diana-like beauty she always imagined she would become.
A great piece of acting by Wooldridge, never surpassed or even approached by all the other actors and actresses who have had to play this popular little scene, present in so many other movies.
I've watched it a number of times and I never want it to end.It really is the best drama series ever made..
Those who have said that the British characters were too reserved and meandering are quite correct - it is how British people were and definitely how they were portrayed in Paul Scotts original book.
Tim Pigott Smith was just beautiful with his sadistic menacing Ronald Merrick who definitely goes top on my list of all time favourites.
The whole piece when watched one after the other definitely gives the sense of time and place which - living in modern times it is often easy to lose sight of.
Thumbs up to all the cast I feel that the acting from all members was superb.As the show progresses the viewer gets gradually enveloped and involved in the lives of these people the thing to remember about this piece is that it is not necessarily the action which enhances the show but more importantly the psychological development of every single character ( maybe with the exception on Aunt Fenny - funny but was only there for convenience - to introduce Sarah to Jimmy the soldier).
The wonderful way in which strands of plot are woven throughout the series in new and interesting ways, the eternally memorable characters, the fascinating background of historical events, the series' sympathy to people of every age, social and economic background, the charm of many of the protagonists.Even the more minor characters are just drawn so well.
Thus, one of my favorite characters in all of television is that of Nigel Rowan - who is wonderfully portrayed by Nicholas LePrevost; one of my least favorite is the major to whom Sarah is introduced by her aunt and uncle.Such historical episodes as the decision by the princely states of India whether to accede to the newly independent India - or the creation of an Axis army by Indians who had been taken captive by Germans or Japanese -- these stories are engrossing and not so well known among those of us in the United States not well versed in recent Indian history.The series is spellbinding - one cares greatly about these people and what happens to them is very interesting indeed.
The symbolism in the series deepens one's sense of the mood of the time, of the tragedy, of the ocean in which these characters swim.I can't imagine a better series adapted from more wonderful books..
The acting is magnificent, the story is fascinating and the characters are so real that one thinks that one is actually watching a documentary about the final days of the Raj. It is a marvelous adaptation, not a spare scene and it is beautifully directed.
Given the current vapid and stupid landscape of American and British television, "The Jewel in the Crown" is THE exemplar of the height of drama..
There are many fine performances in this piece including Susan Wooldridge (Daphne Manners), Art Malik (Hari Kumar), Tim Pigott-Smith (Merrick), Geraldine James (Sarah Layton), Judy Parfitt (Mildred Layton), Dame Peggy Ashcroft (Barbie Bachelor), and Charles Dance (Guy Peron).
It is these performances which keep the piece moving in the "less interesting" parts.In fact, I think it is the persona of Sarah Layton played by Geraldine James that makes the middle part of the series really go.
The world was well painted as full of turmoil for the British Raj whose rule in India was ending during the chaos of WWII.Definitely worth watching.
With a powerfully moving script, it tells the story of the complex relationship between the British and Indian people at the end of British rule of the subcontinent.
Yes, it does tend to drag during the first three or four episodes but anyone who's read 'The Raj Quartet' would realize that the book is just so - several seemingly unrelated events taking place in a larger political context.
The series was definitely better than the books and effectively recreated the political milieu of the time.
The haunting story of Paul Scott's THE RAJ QUARTET brought to the screen with flawless acting and character interpretation.
While the story is not a pleasant one, the screenplay captures the scope of the problems created by nearly 300 years of British presence in India.
Peggy Ashcroft, Fabia Drake, Judy Parfitt, Art Malik and above all Tim Pigott-Smith, to mention but a very few of the cast, create memorable characters that come alive on the screen and will live on in your memories.
I think I've seen the whole series about 7 or 8 times, and I see something new each time.The Jewel in the Crown tells the story of individual people trying to live their lives in a world in the process of changing beyond recognition.
You really believe that these people lived in this extraordinary time, the beginning of the end of the British Empire.
I actually think that the series is better than the sum of the books, but nothing beats the first book in the series (The Jewel in the Crown) as a stand-alone novel.
Similar to the film Rashomon (or Courage Under Fire), the novel Jewel in the Crown tells a story from every point of view except one.
Maybe today this theory doesn't stand up too well but The Jewel in the Crown is one of the most beautifully written and performed pieces of work that the current generations could hope for.
It was brave of Yorkshire Television to take on a filmed adaptation of Paul Scott's massive novel 'The Jewel in the Crown'.
The jarring complexities of "old" India rubbing up against the modernizing influences of the British Raj is vividly conveyed, mostly in the smaller, quieter moments, as when Harry Kumar takes Daphne Manners to visit his aunt and the behavior of the servants and the Rajput princess with whom Daphne is living.It's true that there is a great deal of dialog, in a soap opera-ish sense.
There are times in some of the later episodes when I thought I was watching some bit of trash on TV on a Wednesday afternoon, but then I'd focus in on what the characters were saying and realize that it was deep and important stuff.
His character makes me wish for a great film of the true story of the White Russians who had to flee the Bolsheviks in the first two decades of the 20th century, for such disparate places as India, Paris and Manchuria.
The plot (greatly simplified here!) revolves about a number of English expatriots living in India at the time of the Raj and during the difficult struggle for independence.
The acting is superb, particularly Peggy Ashcroft; and as in so many British productions, great care is taken to cast brilliant actors in even the smallest of roles.The many characters' lives intersect in the most surprising ways, there are regular dollops of action and violence--this is riveting television!
I remember receiving only a sound broadcast for one episode--no picture--and I sat by the screen for the full hour in rapt attention.There is much to learn about human nature, both the dark and the joyful, and about the politics of imperialism, and about an awe-inspiring country and culture, from this beautifully crafted series.
The Jewel in the Crown is in my opinion one of the best series ever.
The acting is superb and contrary to many comments here, quite genuine, certain British people WERE like that.
What is hilarious, however, is reading some comments posted here as if all stories should follow a strictly "physical-action-sequence" of A kills B and jealous C falls in love with D, but in the end all marry and are happy ever after.
Thanks to BBC, Granada and others, there are series and films that make us interpret, feel and think beyond what we see on the screen or else we'll all end up left watching "Th Incredible Hulk".
This mammoth series does a beautiful job of bringing Paul Scott's novels 'The Raj Quartet' to the screen.The scene is the period of time at the end of the British Raj, the characters are well drawn and believable (particularly Tim Pigott-Smith as the racist and intolerant Captain Merrick, a complex character, and Art Malik as the intellectual Indian Hari Kumar).
Scott's novel was an engrossing read and 'Jewel' does it proud.One of those series which goes in all sorts of different directions before it comes to its moving and surprising conclusion.
Did these people really watch the series??
(True that Ronald Merrick is stereotyped, but this is how he is in Paul Scott's Raj Quartet, the books on which the series is based -- well worth reading.) The love story of Daphne Manners and Hari Kumar is poignant and lovely, and it is an interesting foil for the other "love stories" that follow (Susan and her husband, Sarah and the soldier, Sarah and Guy, Mildred and the colonel) -- all pale considerably.
This very well written adaptation of Paul Scott's "The Raj Quartet" demonstrates the quality of British TV Drama.
Saw the TV series first and then read all 4 books of the Raj Quartet.
I recommend the books and the series highly to anyone interested in history.
The line "there's nothing I can do" appears over and over again to portray the impossibility of standing in the way of the change about to come over India.Scott did a superb job of portraying the Raj, the Muslims, the Hindus, the English air of superiority and the class system of the English, all the while depicting the end of the Raj and the beginning of the new India.It is also a feast for the eyes, showing many beautiful locations in India and depicting the railroad travel of the day in a fascinating way..
If any fault at all, the characters could have been even more developed than this mini-series did them, and there could have been more explaination of some of the traditions of the Indian people.
(like the Sutee scene.) Over all I enjoyed this series and rewatch and pick up new things every couple of years..
We get only hints at the fate of Hari Kumar, and it's very frustrating that Merrick is not exposed and Sarah never learns the truth about him.It's hard to keep track of the countless new characters that wander in and out for no apparent reason, mumbling meaningless dialogue that adds nothing to the storyline.
Nobody behaves the way people behave in real life, even if you account for the time period.The problem with watching this on DVD is no subtitles so I couldn't make out about 20% of the dialogue.
I had long heard of this program (never read any reviews) and had also always liked period pieces set in India, so I gave it a shot.
This movie is supposed to be about a British family living in India.
Based on the book "The Raj Quartet." Mini series is way too long.
You definitely see a lack of the British intervening with Indians; ironically, British are ruling in India at this time, yet they don't know how to live in it.
You notice Mrs.Layton cannot even take care of her own two girls; if they don't know how to be parents to their own families, how prepared are they to actually rule India?Many themes/symbolisms are pointed out within the movie.
To add insult to injury, the new DVD reissue comes without closed captions for the hearing impaired and for Americans, like me, who can't follow the low decibel mumbling of most contemporary British actors.I recently stumbled on a tape of an episode that I must have accidentally recorded off of TV almost 20 years ago.
That episode was of some interest because it starred Charles Dance, who played a World War II Sargent caught in interesting soap opera like situations.
I did not know that the first episode starring Charles Dance starts approximately 500 minutes into the movie.
Other than the capable portrayal of a powerful, evil character by Timothy Pigott-Smith, very little of interest happens before Mr. Dance appears.
At first it seems that Mr. Pigott will portray the main character, however he gets limited screen time during the middle half of the movie, a poor decision.Seemingly endless segments are taken up with boring dialogue between a group of arrogant, self centered, passive dependent British women with politically powerful connections.
TV is not the same as a novel: faithfulness just cheapens both.The revered action is stiff, unreal, theatrical, terrible (Charles Dance, Art Malik and Susan Woodbridge are honourable exceptons), or amusingly daft (Tim Piggot-Smith - could anyone like Merrick possibly have existed?) The first and last episodes are misleadingly excellent, because they break with the rules of the series by concentrating on action, rather than character, which in this series is a joke, because every character is a ludicrous stereotype.As is usual in colonial dramas from the colonisers' viewpoint, the politics, however well-meaning, are compromised - non-white characters are marginalised unless they went to public school.
Listening to Alistair Cooke describing the effects of the Granada production on the British television audience at the time, however, didn't help me overcome my almost immediate and subsequent thirteen-week-long disappointment.
Forty years after the demise of the Raj, the series perhaps evoked a nostalgia for the lost empire to British audiences.
Not knowing anything about the book, I was expecting this celebrated PBS series to be somewhat like a longer variation of the excellent David Lean movie Passage to India.
While it did give me valuable glimpses into the British Raj, the class tensions between the British and the Indians (and between the British themselves), and the history of the period, the overall effect on me when the series ended was depression.And I did not enjoy the portrayals of rape, brutality, torture, insanity, homosexuality, etc.
After watching Jewel in the Crown, I now realize the decline had began much earlier - at least as early as 1984, when this series was broadcast..
A crowning jewel of a series....one to see before it is too late.
How will over "three hundred years" of British rule in India end?
If you have any interest whatsoever in the history of the world, or in the basic struggle of the human race, you should make time for this monumental series, as soon as possible.
Arguably the best television series ever made, it captures perfectly the spirit of the novel and the time in which it takes place, a time in which the British were slowly losing India without properly realizing it till it was too late.
Especially the first episode with the tender love scene between Susan Wooldridge and Art Malik (both utterly fantastic) is superb and not until much much later does the horrid truth about what happened that night occur to us.
I really wanted to love this series, and at first, It drew me in for the first few episodes, but then after that and by the ending, I was left with a feeling of lack of tying in of the story.
We begin the story with a set of characters that then changes.
New characters are introduced, such as miss manners aunt, but then later on, there is really no tie in at the end.
I didn't read the novels, so I have no idea how true to the novels the series is, but I was completely let down by the second half and feel I wasted hours of my life watching it..
Excellent Depiction of the Last Days of British India.
You do not see series like this anymore.The Plot is superb, the actors are fantastic, and the "Last Days of the Empire atmosphere" is actually very good.If you are looking for some action, this is not your TV serial.
Funny enough, the British torturer is a repressed homosexual who enjoys inflicting pain and gets relief having sex with young Indian guys "Bazaar Style".Terry Porter as the Russian Count is by far the best character of the whole series.
|
tt3507142
|
Noah
|
As a young boy, Noah witnesses his father, Lamech, killed by a young Tubal-cain. Many years later, an adult Noah is living with his wife Naameh and their sons Shem, Ham, and Japheth. After seeing a flower grow instantly from the ground and being haunted by dreams of a great flood, Noah takes them to visit his grandfather Methuselah.
They encounter a group of people recently killed and take in and adopt the lone survivor, a girl named Ila as their daughter. Noah and his family are chased by the murderers and seek refuge with the fallen angels known as the "Watchers", confined on Earth as stone golems for helping humans banished from the Garden of Eden. Methuselah gives Noah a seed from Eden and tells Noah that he was chosen for a reason. Returning to his tent that night, Noah plants the seed in the ground. The Watchers arrive the next morning and debate whether they should help Noah until they see water spout from the spot where Noah planted the seed. Once a forest grows instantly, the Watchers agree to help Noah and his family build an ark.
After birds fly to the ark, Tubal-cain arrives with his followers and confronts Noah. Noah defies Tubal-cain and remarks that there is no escape for the line of Cain. Tubal-cain retreats and decides to build weapons to defeat the Watchers and take the ark. As the ark nears completion, animals of various species enter the ark and are put to sleep with incense.
With Ila having become enamored of Shem, Noah goes to a nearby settlement to find wives for Ham and Japheth, but upon witnessing the settlers' exchanging their daughters for food, he abandons his effort and begins believing that the Creator wants all of humanity dead. Back at the ark, he tells his family that he will not seek wives for his younger sons. After the flood, they will be the last humans and there will be no new human generations.
Devastated that he will be alone his entire life, Ham runs into the forest. Naameh begs Noah to reconsider but, when he will not, she goes to Methuselah for help. Later, in the forest, Ila encounters Methuselah who cures her infertility. Meanwhile, Ham, searching for a wife on his own, befriends the refugee Na'el.
After it starts raining, Tubal-cain becomes angry that he was not chosen to be saved and incites his followers to make a run for the ark. Noah finds Ham in the forest and forces Ham to save himself, but leaves Na'el to die when she is caught in an animal trap one of the sinners set. Noah's family enter the ark except for Methuselah, who remains in the forest and is swept away by the rushing waters just after he has found berries to eat. The Watchers hold off Tubal-cain and his followers as long as possible, sacrificing themselves to protect the ark from the mob before ascending to heaven. As the flood drowns the remaining humans, an injured Tubal-cain climbs onto the ark and solicits Ham, playing on anger toward Noah for allowing Na'el to die.
Ila discovers that she is pregnant as the rains stop and begs the Creator to let the child live. Noah interprets the ending of the rain to mean he must ensure the extinction of humans and, against his wife's protests, resolves that, if the child is a girl, he will kill her. Months pass, and Ila and Shem build a raft to escape Noah's resolve, but Noah discovers and burns it. Ila then starts feeling labor pains and gives birth to twin girls. In the meantime Ham has called Noah telling him the beasts are awake and eating each other. Tubal-cain emerges and attempts to hit Noah. Noah and Tubal-cain engage in combat. Shem promises Ila that Noah will not harm their daughters and goes to stop him. He attacks Noah as Tubal-cain falls to the ground only to be knocked out. Tubal-cain eventually forces Noah to the edge of the raft, but Ham kills him with a dagger before he can shove Noah in the ocean. Noah picks himself up and immediately goes to find Ila and the babies. He is confronted by his wife who lies and tells him it was a boy but he does not believe her. He goes to find Ila on top of the ark, she cries and tells him to wait to kill them until she can calm them down as she doesn't want them to die crying. Noah prepares to stab Ila's twins, but he spares them upon looking at his granddaughters and only feeling love.
Upon exiting the ark on the new land, a shameful Noah goes into isolation in a nearby cave, making wine in which to drown his sorrows. Ham expresses disappointment for his father's current state of unseemly drunkenness and nakedness before leaving his kin to live alone. Having reconciled at the behest of Ila, Noah blesses the family as the beginning of a new human race and all witness an immense rainbow.
|
christian film
|
train
|
wikipedia
|
Investigative, insightful and intelligent - Comfort gets uncomfortable and keeps asking more significant questions. "Noah" is an American half-hour documentary film from 2014, so this one will have its 5th anniversary next year and this was written and directed by Ray Comfort and you also hear and see him in here as he is the man asking questions to his interviewees and perhaps provoking a change in their minds. Most of the interviewees are atheists, some Christians too, but none of them were really strict in terms of religion except Comfort who gets his point across very well and definitely knows his stuff. I enjoyed watching this one just like I enjoyed watching other Comfort works, but I am not surprised about the low rating here on imdb as I am sure many just don't like the subject and vote the film down without having seen it only from knowing the very basic contents or the protagonist. This is definitely a shame as the contents here give a lot of room for thinking and reconsidering your own position. Of course, you can force nobody to think if his position is really the right one. But at least you should be open to other ideas and this is what Comfort is as well as we see at the end of each interview. He does not shove his perception into anybody's faces and is ready to listen to each and every single interviewee. Just like the way it should be and even I as somebody who has not been to church in decades can see the quality in this little documentary. I give it a thumbs-up and you should check it out to broaden your horizon. A positive recommendation here without a doubt. Ohy eah and don't think this is just about Noah and the Ark, but about a lot more.
|
tt1274586
|
Dying of the Light
|
The novel takes place on the planet of Worlorn, a world which is dying. It is a rogue planet whose erratic course is taking it irreversibly far from its neighboring stars into a region of cold and dark space where no life will survive. Worlorn's 14 cities, built during a brief window when the world passed close enough to a red giant star to permit life to thrive, are dying, too. Built to celebrate the diverse cultures of 14 planetary systems, they have largely been abandoned, allowing their systems and maintenance to fail.
The cast is a group of characters who are also flirting with death. Dirk t'Larien, the protagonist, finds life empty and of little attraction after his girlfriend Gwen Delvano leaves him. Most poignant of all, the Kavalar race, into which she has "married," is dying culturally. Their home planet has survived numerous attacks in a planetary war, and in response they have evolved social institutions and human relationship patterns to cope with the depredation of the war. Yet now that the war is long past, they find themselves trapped between those who would recognize that the old ways need to be reviewed for the current day and those who believe that any dilution of the old ways spells the end of Kavalar culture.
The battles, then, of all these varying actors are played out beneath the dying light falling on Worlorn. By the novel's end, many of the characters have died, though the author leaves some endings deliberately ambiguous. Nonetheless, they have all faced their fears of death and of life.
|
revenge
|
train
|
wikipedia
|
I guess it's meant to provide an atmosphere that parallels what is happening in Evan Lake's (Nicolas Cage) mind, and the murky atmosphere is one of the few things Dying of the Light has going for it.
Nicolas Cage carries this movie on his shoulders because his character is really the only semi-developed part about it.
Granted, one interesting character is not nearly enough to save this gloomy mess of a film.I can't blame writer/director Paul Schrader because he and the producers had some sort of fallout and the producers ended up changing a bunch of stuff in post-production, so I blame the producers.
It plays it relatively safe and straightforward despite having an interesting premise and an empathetic protagonist.Now, Nicolas Cage can definitely pull off the salt-and-pepper look.
Nicolas Cage is Evan Lake, a dedicated veteran CIA agent in the last stages of his career.
The most elevating moments are the motivational speeches he is asked to do for the new CIA agents in training.When the trail of an old enemy, presumed dead for decades, surfaces and coincides with Lake being diagnosed with a terminal form of dementia, the choice is easy.
The big story associated with this film is that its director, Paul Schrader, was locked out of the editing room and denied final cut.
Nicolas Cage gives a decent performance as Evan Lake, a veteran CIA agent with recently diagnosed dementia.
From what I saw, Nicolas Cage put in some good character work, and even gets to "rage" a little bit, but he was still hampered by an editing job that seemed to be going for a more streamlined thriller.
A nice, although dark thematically, thriller about a CIA veteran agent who has the opportunity to settle his differences with a long time enemy.This film was taken away from director Paul Schrader in post-production and re-edited by the producers.
So it could be better if the director has the chance to present it the way he intended.Anyway, Nicolas Cage is sufficient as the CIA veteran who struggles with serious health issues and against the willing of his Agency to catch a terrorist who is presumed dead.
His mousy baby face is suited to neither of those roles and he doesn't manage to pull off the innocent-looking tough guy act; in fact it seems never to have occurred to him to try.As for Nick Cage, he takes his usual gawky, brooding, bipolar demeanor to its logical conclusion and totally loses it, both as the character he plays and the way he plays him.
This isn't Cage's best film, but his performance was good, and it was different in that he depicted a superannuated CIA agent with an illness and who was still obsessed with taking down a terrorist before his time is up.
I've always been a fan of Nicolas Cage's enthusiastic patriotism & the sense of justice he portrays in his films & this movie is no exception, he embodies the virtuous CIA agent that won't take compromise as an option.
I'm sure if your a fan of espionage films you won't be disappointed.I don't normally write reviews, but due to the recent events with the CIA this film really hit home for me, it was a beautiful reminder that there are still people in our government that still stand for the values the country was originally built upon."you've got your head so far up Obama's a$$, all you can see is the $h!t!" -Nicholas Cage.
The Movie may not be Appreciated for what it is, as Opposed to what it Could Have Been, it is still Worth Catching, as is all of Their Work, both Schrader and Cage are Interesting, No Matter the Product..
I did not watch the trailer, but I usually like Nicolas Cage's movies.What a mistake...
There were so many ways to turn the movie into a decent one, but I believe that neither the actors nor the director tried their best to make it work.Terrible plot.
If you like Nicolas Cage, do yourself a favor and don't watch this movie.
Like most Nicolas Cage flicks, the movie lies somewhere on the boarder line of very good and very bad.
Although, unlike most action movies this guy gets to live a pretty awesome two days before retirement scenario, but it may have been a better movie if we did not have to rely so much on the Nick Cage school of bad acting.
The movie is not great, but is a decent film with good production values (other than distracting and excessive use of Steadicam shots).
"Seeking Justice" and "Dying To The Light" are our two favorite Nicolas Cage movies of the past few years.
We rent every movie Nicolas Cage makes and have enjoyed all of them because he is a great, underrated, totally believable actor in every film.
I stopped watching when the terrorist at the meet looks across at Cage and Yeltchin, playing two highly experienced CIA agents, sees them staring at him and, strangely enough, takes off!Yeltchin, at this point, shouts "Damn he's seen us!" Of course, he saw you.
The weird thing is that neither Paul Schrader or Nic Cage wants you to see this movie.
At the end of the film, something happens which I found exceptionally impactful and powerful and could have been a great ending, but the next scene completely stabs us in the back and reverses that decision.The editing is unpleasantly sloppy in places which is most apparent during a brief action sequence halfway through the movie.
The main character is also fascinating and while Nicolas Cage does a great job, he just isn't explored enough.There is a great film here but it just doesn't make it's way to the surface.
Action Movies Dying of the Light is about Evan Lake (Nicolas Cage), a veteran CIA agent in retirement process.
However, in the entire period, one of her buddy Milton Schultz (Anton Yelchin) found evidence of Lake 's Nemesis of a terrorist named Muhammad Banir(Alexander Karim) which have a long disappeared but now suddenly reappears.
Old history with Muhammad Banir make Lake ignored about retirement then led a mission to defeat international terrorist groups and mostly Muhammad buttresses.Film Dying of the Light was originally to be directed by Nicolas Winding Refn and led by Harrison Ford, but Ford and Refn has a different version.
Finally Paul Schrader directed this film with major stars Nicolas Cage and Anton Yelchin .
In the film Dying of the Light, Nicolas Cage plays as an intelligence agent who wants to do something to keep in mind....
A film which will always be best known for the fact that towards the end of 2014 it's director/writer Paul Schrader (writer of such classics as Raging Bull and Taxi Driver), producer Nicolas Winding Refn and stars Nicolas Cage and Anton Yelchin campaigned against its very release due to what they felt was a severe case of studio interference in their product, Dying of the Light is an incredibly "random" film that has moments of utter madness in an other wise unspectacular plot that creates a film that could've benefited from allowing it's zanier elements to take hold to ward off the feeling that this is in fact, an incredible boring thriller.You get the sense that at it's very core Light wanted to be a much more kookier tale, a vision no doubt concocted by the unique minds of Schrader and Winding Refn, but whatever Light was intended to be the studio clearly got spooked by what is was seeing.
This generic nature of the tale is the predominant feature of the film but we get slight moments of madness and downright bizarre dialogue that will be source of long standing joy for Cage fans, that makes Light a must see for fans of the wild eyed maniac.With a prosthetic ear and typically noteworthy hair, Cage's performance as dogged CIA agent turned rouge revenge seeker Evan Lake is often a joy to behold.
It's in Cage's off kilter performance that Light could've been something truly special in an off the chart way but it's not hard to see why the studio could sense that it may have just been too much for the world to handle.With a seen a million times before revenge tale of CIA agent vs.
the big bad (here a sick, chair bound terrorist), Dying of the Light has been made to feel like a safe and uneventful thriller that so dearly wanted to be something let loose from the chain.
There are moments of pure madness that against better judgement one can recommend, but in the end this is a lesser "Crazy Cage" film that fans of his particular line of work would be better suited to watch a repeat viewing of Wicker Man for their kick of looney.1 and a half anti Obama rants out of 5.
As a fan of Nic's in the nineties (back when he actually made good movies) I've religiously given every film he's done since a try, just on the off-chance he's somehow been able to recapture that 'Leaving Las Vegas/The Rock' spirit (and, yes, I even watched the remake of 'The Wicker Man').
I would say, but the scenario, the movie sets, director, just awful.I am very disappointed, and I had some hard time to see it until the end.Cage used to be a top star in Hollywood, but somehow he is just falling and falling into B category.
Review: I really thought that Nicolas Cage had finished paying off his debts so he can start making some decent movies, but he obviously hasn't.
The storyline is about a CIA Agent (Cage), who gets brutally tortured by at the beginning of the movie and then it jumps to 2 decades later were he's working as a desktop clerk in the same agency, due to signs of dementia.
His fellow agent, played by Anton Yelchin, gets some Intel that points to Cages torturer, still being alive, due to the fact that he is getting medicine from a doctor for his fatal condition, so they end up on the hunt for this man whose in hiding.
The fact that his acting is still quite good, makes his films even worse because of the terrible scripts and poor story lines.
This is what made the movie unrealistic and I really didn't think it was that good.Budget: $5million Worldwide Gross: N/AI recommend this movie to people who are into their drama/thrillers about a ex CIA agent who sets out to capture the terrorist that damaged his life.
Evan Lake (Nicholas Cage) was a legend at the C.I.A., but after years in the game, and a particularly horrible experience at the hands of the Taliban, he was diagnosed with dementia, and forced into retirement.
This film is more interesting in the story of it's release than the film itself, it's director Paul Schrader (writer of such classics as Raging Bull and Taxi Driver), producer Nicolas Winding Refn and stars Nicolas Cage and Anton Yelchin campaigned against its very release due to what they felt was a severe case of studio interference in their product.
The story is unbelievable, Cage with terminal dementia hunts down the bloke who tortured him who also is dying, I think Nicholas Cage over acts so in this film it is Nicholas Cage as the dying CIA agent, mind you the laugh out loud moments is near the end when he turns his car into the lorry to kill himself, obviously the poor trucker driving back to see his wife and kids does not matter being African does not matter as only American life's count..
And should it turn out to be that particular movie that surprises, once in a blue moon, then it is that much more pleasant to watch.However, "Dying of the Light" is one of those types of movies that has potential to be interesting, but it was squandered at the hands of director Paul Schrader.
And while it was scripted, then the movie also progressed way too fast, which essentially made the movie seemed forced and shallow.You know what you are getting yourself into here if you take a minute to read the synopsis, and with the thought of it being another one of the assembly line produced Nicolas Cage movies.
Dying of the Light follows veteran, decorated CIA agent Evan Lake (Cage) who receives intel that Muhammad Banir (Alexader Karim), a former nemesis and terrorist, long believed to be dead, may actually still be alive.
So, along with eager and supportive younger agent Milton Schultz (Anton Yelchin), Lake heads overseas for the proverbial "one last job," to find Banir and take him out, before his disease consumes his brain.Dying of the Light is not an action film as the trailer may depicts.
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning CIA agent Evan Lake (Nicolas Cage) was, years ago, held captive by vicious terrorist Muhammed Benir (Alexander Karim), who inflicted some savagery on him.
But with the help of eager young recruit Milton Schultz (Anton Yelchin), he puts together his own private crusade to track down Benir and settle an old score.Arriving seemingly out of nowhere, this marks what seems like part of a downward direct to DVD spiral for Nicolas Cage, which he seems to have brought on himself with a lot of bad choices over the years.
The end result is something that's not that bad, but just could have been a lot better.He may have just been getting in to character, but it's hopeful Nicolas Cage isn't really looking that old these days.
Dying of the Light featuring Nicolas Cage, well that's the reason I chose to watch the movie.
I'm used to seeing Nicolas Cage typically play himself in every film and I'm typically sure of what to expect; so I didn't feel that watching this movie could be any different.
It's not a bad movie, though it is one of those films that is hard to hold your attention.Dying of the Light did have some really good potential it just didn't come through, great attempt..
Looking over Schrader's filmography, I think he would be wise to give up trying to both direct and write the same film.I will add that I had to laugh at one reviewer (and wouldn't be surprised if there are more I didn't see), who predicted this movie would irrevocably damage Cage's career.
Its intended message of patriotism is buried underneath weak script, missed chemistry and overwhelming lack of thrill for a crime drama.Evan Lake (Nicolas Cage) is a veteran agent of CIA, he is still vexed by the escape of one terrorist who tortured him decades ago.
22-years ago, CIA Agent Evan Lake (Nicolas Cage) was tortured by Muhammad Banir (Alexander Karim) who is believed dead.
I see they are swooning now.Truth be told, this is not a good Nicolas Cage movie.
Would have liked to see the bad guy killed by Cage, but I think it's due to the fact that he realized they were both gone anyway.What I find truly disgusting, is that this movie had poor reviews.
The story idea is interesting and Nicholas Cage played reasonably, so this could have been good.
I can't say I've ever seen a bad Nick Cage movie.
The ending did have a somewhat typical Hollywood drama associated with it, like Mike Myers rising after you think he's dead, but even with all that, I found the movie carried itself well, acting was very good and any plot holes were easily dismissed.
In future maybe just have a better contract before you take the King's shilling.....And so the story goes...Evan Lake (Cage, sporting his probably natural grey hair) is a seasoned CIA agent looking at a terminal illness that will rot his brain is suddenly given the chance to take down the terrorist that tortured him decades earlier.
It says "Evan Lake refuses to retire from his career in the CIA and goes rogue to hunt down his terrorist who tortured him during a mission gone awry years ago." What they left out is that he has dementia, is actually dying from it, and he is trying to find ways of dealing with the oncoming symptoms while searching for the terrorist.
I think the real terrorist in the movie was the storyline.If you want to watch this movie because you're a big fan of Cage's action adventure films, I do not recommend this movie.
Its Nicolas Cage and he's always fun and entertaining to watch n pretty much all his films next to that "literally" god forsaken "left behind" piece of #####################OTHER THAN THAT...
If you want a Nicholas Cage movie, go watch Lord of War.The whole premise was interesting, protagonist has a grudge for twenty years and shows symptoms of rapid onset dementia.
Nicolas Cage plays the CIA agent undergoing rapid brain degeneration, and he is pretty convincing.
The film was shot in Romania and features a slumming-it Nicolas Cage who plays a CIA agent haunted by memories of torture at the hands of an Arab terrorist in years past.
For Cage haters, this is your film as he gets beat up and tortured in the opening scene.
Cage plays decorated CIA agent Evan Lake, who now sits at a desk.
Unfortunately Lake has Frontotemporal Dementia and goes through all kind of mood swings and mental fits.Cage has two major speeches in this film.
A Light Not Worth Dying To See. Nicolas Cage plays a veteran CIA agent confined to a desk in "Dying for the Light" who refuses to let an Arab terrorist similar to Osama Bin Laden–get off the hook who tortured him 22 years ago.
Like any good 1980's character, our world-weary hero Evan Lake (Nicolas Cage) suffers from an incurable disease that will destroy him.
At one point, when he discussed Banir with the head of the CIA, Lake's superior acted as if he didn't want to pursue any leads and let the terrorists die in selection.
|
tt1546036
|
The Drawn Together Movie: The Movie!
|
In Bedrock, a drunken and pregnant Toot is informed that someone has come to see her. The visitor turns out to be her old housemate Foxxy Love, who tries to tell her that their lives are in danger. This then flashes back to six months prior. Foxxy discovers that she can swear without being censored. When she discovers the show's control room, she realizes that the TV show Drawn Together has been cancelled. The housemates check their TV listings and find out that their time slot had been taken over by a TV show called "The Suck My Taint Show". Foxxy calls the network to find out why they were cancelled. The Network Head, upon hearing from Foxxy, learns that the housemates are still alive and summons I.S.R.A.E.L. (Intelligent Smart Robot Animation Eraser Lady), a robot designed specifically to erase cartoon characters. The Jew Producer warns the housemates before I.S.R.A.E.L. shows up, but he manages to escape just in time inside Foxxy's van.
Once they escape from I.S.R.A.E.L., Foxxy insists that the way for them to survive is to get their TV show back on the air, and suggests that they can seek out the Suck My Taint Girl for help. Clara, refusing to believe that she is not a real princess, wants to return to her kingdom, claiming that her father can protect them. Captain Hero, Xandir, and Ling-Ling decide to go with Clara, while Spanky and Wooldoor decide to go with Foxxy to try to get their show back on the air. While the others are arguing, Toot steals the van and drives off alone.
Back at the network, the Jew Producer tells the Network Head that he cannot bring himself to have the housemates erased, having become attached to them. The Network Head then tells him he wants the housemates dead because, one day, as his wife was driving his daughter to school, they passed a billboard advertising Drawn Together that featured Foxxy and Clara's hot tub kiss (from the episode Hot Tub). This terrifies the daughter, thinking that Foxxy is eating Clara's face. As the mother tries to calm down the daughter, they drive off a cliff into a vat of alligators (in a vat of sulfuric acid), killing them. The Jew Producer states that, despite this revelation, he will not help the Network Head with his mission, but the Network Head reveals that he has kidnapped the Jew Producer's son as a threat. The Jew Producer reluctantly agrees to help, and he and I.S.R.A.E.L. take off in pursuit of the housemates once again. Clara, Hero, Molly (a corpse Hero believes to be his girlfriend), Xandir, and Ling-Ling arrive at Clara's kingdom, expecting to find refuge. However, nobody there seems to recognize Clara. She encounters the king of the land, who is not her father, and even more shockingly, she sees a woman who appears to be the "real" princess. The guards end up dismembering and eventually killing Clara, but the other three manage to escape.
Meanwhile, Foxxy, Spanky, and Wooldoor visit the set of The Suck My Taint Show and meet the Suck My Taint Girl, who reveals herself to be a fan of the housemates' show. She tells the group that they were cancelled because vulgar and offensive content is only acceptable when your show "makes a point", and that if they want to get Drawn Together back on the air, they will need to get a point, which they can do by making a visit to Make-A-Point Land. She tells Foxxy that if she will bring the rest of the Drawn Together gang to meet her, she will take them to Make-A-Point Land. After tracking down the others, the remaining group return to the set of The Suck My Taint Show. The Suck My Taint Girl agrees to take the rest of the group to Make-A-Point Land so they can get a point.
The wizard of Make-A-Point Land agrees to give the group a point, and presents them with a box containing said point. Spanky protests by claiming that they should not open the box; that he is happier being disgusting for no reason. Some others agree with Spanky. Wooldoor disagrees, determined to get back on the air. He opens the box to find out it contains an eraser bomb which erases him from existence. The wizard explains he was forced to give them the box with an eraser bomb. It is then that the Network Head, the Jew Producer, and I.S.R.A.E.L. show up to erase the remaining cast. Foxxy asks how they knew they were going to the palace, and the Suck My Taint Girl reveals that she blackmailed them and is the Network Head's wife.
I.S.R.A.E.L. prepares to kill the housemates, but the Jew Producer manages to convince I.S.R.A.E.L. that they have a right to exist as she does. She then impales the Network Head on a spike. The Network Head then opens his coat to reveal that he had enough explosive erasers strapped to his waist to destroy all of Make-A-Point Land. As the Network Head drops the remote to explode Make-A-Point Land, the Suck My Taint Girl tries to grab it, but the Jew Producer dives on top of her to stop her. The housemates then make a getaway. The Jew Producer and the Suck My Taint Girl struggle for possession of the detonator, in the process dropping it, erasing all of Make-A-Point Land, including themselves. The housemates make it out just in time with the help of The Giant Who Shits Into His Own Mouth, an aptly-named guard of the palace that saved the housemates after using Clara's arms to prevent him from defecating into his mouth earlier.
The housemates visit the remains of the erased Drawn Together house. The Jew Producer's son shows up to inform them that he might be able to help them by giving them a direct-to-DVD movie. Everyone happily laughs until Spanky accidentally steps on an eraser bomb caught in the ground, erasing them all from existence.
|
absurd, revenge, humor, satire, entertaining
|
train
|
wikipedia
|
but if you have a sense of a humor and aren't afraid to laugh at what many would consider morally repulsive then you will think watching this was worth your time.If anything, you'll be impressed by Hero's new fine-ass lady friend..
The series spoofs several other series and movies, while the movie mainly spoofs "Drawn Together" itself.The movie is a bad-taste-comedy, that for sure, and people who only laugh about intelligent humor won't find this film funny.
But the fans of DT will know the humor.I know some people think this movie should be rated NC-17, but i think it's an absolute R rating.
Actually i think this movie's BBFC rating would be rather 15 than 18.The animation style may is not as good as the series' animation style, but it is not as terrible as anyone says.The plot starts with a very good idea - but it gets really weird and strange around half of the movie.I think the movie is worth watching and i found it good, though i prefer the series..
Note: I am legally blind and cannot see 3-D, if you want to read about the 3-D aspects of this film you need to look elsewhere as I will not be commenting on them.I will begin this review by saying that if you don't know what Drawn Together is, you probably don't care much about this movie.
If you have a weak stomach, if you think that South Park is stupid or should be taken off the air, you should avoid this show like the plague.
What emerges is a post-modern mix of the real world, The Real World, the cartoon world and a mix of any other cultural reference you can possibly think of."So that's the series?" I hear you saying, "You're supposed to be reviewing the movie!" Well yes I am, and That brings me here.After Futurama showed that Direct to video movies could not only lend vitality to a canceled series but might actually have the ability to drag a show back on the air, it was natural that some of the other good shows that were canceled because of network bottom lines might make it back on the air as well.Enter Drawn Together: The Movie
The Movie, a perfect example, this series was rated number one on college campuses across the country and was canceled anyhow.
Along the way they have a number of interesting moments (including a moment when the cast listens to the DVD commentary to escape a bad situation) and meet some strange (I mean REALLY strange) characters such as a very strange little girl and a giant that craps into his own mouth.The only questions that really matter here are 1) Does the movie live up to the series 2) Can you sustain a show that usually has 22 minutes of content for an 80 minute movie.
The most important question to the fans is "Can this movie bring Drawn Together back on the air?" The answer to the first two questions is a qualified "Yes".
If you are a fan of this show you've probably watched Drawn Together episodes back to back on the DVDs, this just saves you from having to do that.
It needs to be said that the creators of Drawn Together were doing a movie for half the budget of one episode of the series and they did it fairly well.
This was obviously done by the network (a network too cheap to provide 3-D glasses for a 3-D movie) to destroy the show forever.I think they have, 80 minutes of writing on an 11 minute budget shows and the writers should not be blamed for it.To end on a positive (kinda) note though, fans DO get closure in this movie, there is an end.R.I.P. Drawn Together..
The movie was a big FU to comedy central.This show put South park to shame.
The point of the movie was how south park seems to get away with gross humor so long as they make a point.Similar to how south park criticizes Family guy for using cutaways.Drawn together criticizes south parks on it's manic pursuit of current events and politics.
Not being familiar with the "Drawn Together" stuff prior to this animated movie, I had no expectations.
It was rather funny, and good to see some spoof on cartoons (both old and new).The story is as expected of such a movie, straight forward and hilarious.Lots of really funny situations and dialogue in this animated movie.
Sure it was funny the first time around, but I don't see the potential of additional viewings.Not much of a brainer here, just in-your-face-and-over-the-edge animated comedy here.
Wow, it has been a long time since I heard of this series and apparently for good reason.
The film constantly jumps around from scene to scene in a relentless manner and the story keeps getting more and more drawn out (no pun intended) along the way.
These elements are from the show and only someone familiar with the show would be able to stomach the lame humor and fart jokes sprinkled through this movie.My final review score is a 2 out of 10.
But never buy it since it would only encourage the producers of this film to make another movie or revive the series.
I've never seen the TV series, and, after watching about half of this movie, I don't want to.
I thought, "Well, that could be funny." The problem is that it's not.I don't care if the show is anti-semitic, racist, homophobic, pornographic, misogynist and gross, as long as it has jokes that make me laugh.
I've also seen it done more offensively, so don't even try to complain that I was too offended or something.If this had actually been funny, I'd have given it a higher rating, but the writers are pathetically lame.
Really, really bad, but watch this if you like seeing animated photos of penis's.
I watched this on recommendation from a friend, and it was the worst thing I have ever seen, the animation is bad and so is the story and characters.I did not laugh once.It is no surprise that this TV series was cancelled.
As it was so unfunny, they had to make do with images of penis and nipples as a substitute.Instead of going to 'make a point' land, (the creators theory of why the show got cancelled, as it did not make points), the characters should have gone to 'make funny jokes and/or an actual good TV show land'; as this is the real reason why it was cancelled.After watching the movie I was sad that I had, but also glad that the show got cancelled and I would not recommend it to anybody.Thanks Mark.
The main idea of this movie is that shows should be allowed to be as gross and shocking as they want to be, as if that's the only reason Drawn Together was cancelled.
Drawn Together, the difference between you and South Park is South Park is actually genuinely funny and has good writing.
There is a HUGE difference between you and South Park, and the fact that they even brought them into this train-wreck of a movie is an insult to Trey Parker and Matt Stone.
It angers me that three years after being canceled, the creators of this show think they drop a big giant middle finger on their fans and expect them to like it.
Not only is there not a single likable character in this movie, but there also isn't a single scene that leaves you with anything better than a vague sense of discomfort after viewing it, most of which inspire active anger and pain.
I don't know what these guys were on when they wrote this script, but even Matt Stone and Trey Parker could've done a far better job.The gist of the movie stems from the TV show about eight cartoon characters in a kind of reality show setting: Foxxy (played by Cree Summer - I haven't been able to watch My Life as a Teenage Robot since), Princess Clara (played by Tara Strong - I've only barely been able to watch My Little Pony: Friendship is Magic since), Wooldoor (supposedly a Spongebob expy, but certainly doesn't act like it), Captain Hero (who exhibits a horrifying necrophilia throughout), Spanky Ham (who inexplicably reminds me of Squigley from Sinfest), Toot (who has somehow been impregnated by Barney Rubble), Xandir and Ling-Ling.
Anyway, the whole thing takes the housemates on a rampage across the desert into a cheap imitation of Disney animation into some kind of stage show with a South Park version of Baby June from 'Gypsy', through which many pointless attempts at making penises funny and the vehicular manslaughter of several beloved and respected cartoon characters occur.
It actually gets worse in the last half-hour, with an animated sex scene in 3D, which, while not as hardcore as I'd feared, still is a psychedelic mind-rape that drags on for too long and again is not remotely titillating, after which the remaining housemates fly to Make-a-Point Land where they're greeted by a tornado of Foxxy's abortions, a wretched giant whose rostrum deposits waste into his mouth, and yes, more erection gags, proving once again that Matt and Dave have no limits when it comes to pointless and senseless exhibitionism.I HATE this movie with a passion.
To paraphrase the Cinema Snob, maybe that'll work out in future when I watch cruder films like Showgirls or Gross Out, because guess what: half of my brain is now missing!!.
For the makers of Drawn Together, it seems absurd that a show can only be crude if its making some sort of commentary, crudeness by itself can be just as funny and not so pretentious as South Park.
This was never a serious show, great for when you just wanted to switch your brain off for a half-hour, and the movie provided the same dumb humor, and after three seasons I came to expect occasional lapses in the writing quality.
I was a fan of Drawn Together, so I say this with a heavy heart.This just wasn't funny.
I think the fact that they could go all out with profanity and nudity just meant that they figured they didn't need to try as hard on actually trying to be funny.The plot was that the characters figure out that their "reality show" has been canceled since the bad words are no longer bleeped out and their sex organs are no longer pixilated.
They run from a terminator robot ironically named ISRAEL ("ISRAEL has the right to exist!") and run through a series of not really funny gags.A subplot involves a South Park like character that took their time slot, by being just as obscene, but having "a point".
South Park is actually funny!
Drawn Together is like a kid who learned a bad word and repeats it until he gets slapped.) The rest is more of the same.
Clara acts all obnoxious (and is apparently killed off in the movie.) I think that the producers perhaps made an unfunny film to stop any clamoring for more.
The other downfall of the movie however was that the characters are split up for a large part of the time.
The Drawn Together creators seem to have devoted this entire DVD to venting their spleens at Comedy Central over their cancellation.The movie starts promisingly.
Carrying out the order to kill is a robot named I.S.R.A.E.L. who refers to itself on the third person, leading to lots of gags like "Israel gets blamed for everything." So far so good.Act II is when everything falls apart.
It's not so much bashing South Park as it is the Drawn Together staff expressing their feelings about being dropped in favor of South Park, like some bitter high school kid who didn't get the lead in the school play.As further proof that this movie is nothing but a giant middle finger to Comedy Central -- who produced and released it, by the way -- watch the DVD extras.
But by the time he says "Can we leave Make-A-Point Land and go to Wrap-It-Up-Already Land", you'll agree.If you're a fan of the show, and you're looking for a better ending to Drawn Together, the last thing you watch should be the "confessionals" DVD extra.
I just finished watching the movie and all the great, special features.
Of course, if you loved the t.v. show, the movie will be like Christmas Day. You get all the language and tits that you want.
I enjoyed the series, but this movie is lazy, offensive garbage.
It looks like a bunch of 12 year old boys put all their foulest ideas in and someone was dumb enough to make a movie of it..
When I heard a movie was coming out I jumped for joy knowing this could be it, this could be their break and maybe they could slip back to T.V...but I was wrong, this movie made me never look at Drawn Together the same, I was disappointed and ashamed to say that I actually liked this T.V Show.
The 3D sex scene with Toot and Foxxy along with another girl in the club was not needed for and Captain Hero's passion with a dead corpse was I must admit funny but there's a time and a place for everything, for those drawn together fans who think this is will be like the T.V Show, it won't, it's tasteless and it seems the producers are heading into porn and not to what was once a great TV show.
That being said there are lots of really funny one liners that just make you laugh uncontrolilby.I was happy to have Seth as I.S.R.E.A.L. and all the social commentary that character brings.
Overall my only real problem with the film is it is too short with only about an hour.Overall if you liked the show or are just a fan of satire and stupid humour (and I mean that in a good way) then by all means check it out.p.s. the fact that they made parts in 3D but don't provide glasses genius!.
I am a huge fan of the TV show drawn together it gleefully had absolutely no shame, no taste ,no boundaries, no borders and truly didn't care who it offended.Racism ,sexism,scrapping the bottom of the barrel of hate mongering gleefully in the name of comedy.And now its a film ,one of the best of the year.
And now we get drawn together as it was truly meant to be ,no censors no bleep on naughty words utter offensive disgusting disturbing intelligent comedy that doesn't get all preachy like south park.
This Movie expects the viewer to be familiar with DRAWN TOGETHER, otherwise most characters and interactions won't be obvious or at times make much sense.
Technically the movie's as proficient as the original series, though at times FLASH animation shortcuts and/or use of After Effects stock effects are blatantly obvious.
Let me explain why I think this movie is better than most give it credit for.Firstly, the humor in this movie is very good: it contains my in-jokes and references for fans of the show, and contains enough sexual content to satisfy even the most depraved of perverts.
However, if you're not a fan of sexual humour / dirty jokes, you might not think the humour in this film to be the best.
Even still, the jokes in this movie are unique, off the wall, and well thought out: many of them had me in tears.Secondly, the characters are all lovable and creatively designed.
Drawn together was not a series meant for kids, and when this movie got the freedom to put in nudity: it really complemented the tone nicely.
While the nudity is not overused, I think it's also a bit underused: if I was the writer for this movie, i would definitely make sure to add in more nudity and sexual content.
Nonetheless, it's a great addition to the film, and, as said before, adds very nicely to the atmosphere.So, now that we've discussed the good things, let's move on to the bad things.The animation is subpar: as with most flash animated shows, the animation can look stilted and cheap at times.
In addition, I feel that out of all the main cast, spanky lacks the most when it comes to having a story arc: his character isn't very fleshed out, and he's thrown to the wayside and used only for one off gags.The sex scene is kinda lame: I was looking forward to this the whole time I was watching through the movie, only to have a 1 minute clip.
In addition, there are many scenes which could've been trimmed down to allow more room for the main plot to unfold.All in all, I'd say this movie is worth watching.
The Movie is about the Drawn Together gang finding out they have been Cancelled and try to go to "Make A Point Land".
The Fact that this Movie has Great Voice Talents Like Tara Strong, Jess Harnell, Cree Summer and James Arnold Taylor in this trash heep is sad.
however, the movie is nothing like it.
the first thing that is notices is the obvious downgrade in animation: the characters are much less fluid and look more like a internet video from 2007.
on top of that, the characters keep spouting out lines like "Israel took me from the only home i ever knew." the repetitive and extreme nature of the joke makes it unbearable to me as an Israeli (if you have not guessed) and would to anyone who believes Israel is not entirely in the wrong in its current situation.
I would not recommend this movie though since even without the Israel joke, it hardly rates a 4 and is not nearly as good as the old show..
I did not see the series, but the movie was pretty good until the taint girl (cartman with a sex change operation) came into the picture.
|
tt0024188
|
Island of Lost Souls
|
Shipwrecked traveler Edward Parker (Richard Arlen) is rescued by a freighter delivering animals to an isolated South Seas island owned by Dr. Moreau (Charles Laughton). When Parker objects to the freighter's captain (Stanley Fields) mistreating M'ling (Tetsu Komai), an odd-looking passenger, the captain tosses Parker overboard into Mr. Montgomery (Arthur Hohl) and Moreau's boat.
Moreau offers Parker the hospitality of his home and introduces him to Lota (Kathleen Burke), a beautiful, gentle girl who seems a bit simple. When the two hear screams coming from a locked room, which Lota calls the house of pain, Parker investigates. He sees Moreau and Montgomery operating on a person without anesthetic. Convinced that Moreau is engaged in sadistic vivisection, Parker tries to leave, only to encounter brutish-looking men emerging from the jungle. Moreau appears, cracks his whip, and orders the one known as the Sayer of the Law (Béla Lugosi) to repeat the rule against violence. Afterward, the strange men disperse.
Back in the main house, the doctor corrects Parker's mistaken impression. Moreau explains that he started experimenting in London many years previously, accelerating the evolution of plants. He eventually graduated to animals, trying to transform them into people through "plastic surgery, blood transfusions, gland extracts, and ray baths". He would still be working in England on his "bio-anthropological research" if a dog had not escaped from his laboratory and so horrified the people that he was forced to leave.
He reveals that Lota is the sole woman on the island, but hides the fact that she is derived from a panther. Later in private, he expresses his excitement to his assistant, Montgomery, that Lota is becoming more human in her emotions due to her attraction to Parker. To keep Parker around to continue the process, Moreau sees to it that the boat that was to take Parker away is destroyed and places the blame on his beast-men.
As Parker spends time with Lota, she falls in love with him. Eventually the two kiss, but Parker is stricken with guilt, as he has a fiancee, Ruth Thomas (Leila Hyams). When Lota hugs him, Parker feels pain from her three-inch-long claw-like nails. In a fit of rage, he storms into the office of Dr. Moreau and tells him that he considers it criminal to turn panthers into women. Dr. Moreau calmly explains that Lota is his most perfect creation, and he wanted to see if she was capable of falling in love with a man and bearing human-like children. Parker punches Moreau and orders him to make arrangements for him to leave the island as soon as possible. When Moreau discovers that Parker found out about Lota's nature because she is starting to revert to her panther origin, then he despairs, believing that he has failed – until he notices Lota crying. His hopes are raised and he screams that he will burn out all the animal in her in the house of pain.
In the meantime, the American consul (George Irving) at Apia, Parker's destination, learns where Parker is from the cowed freighter captain. Ruth persuades Captain Donahue (Paul Hurst) to take her to Moreau's island. She is reunited with Parker, but as it is late, Moreau persuades them that it is too dangerous to return immediately to Donahue's ship. They reluctantly agree to stay the night. Ouran, one of Moreau's creations, tries to break into Ruth's room. Fortunately, she wakes up and screams for help. Donahue then offers to try to reach the ship and fetch his crew. Moreau, seeing him depart, dispatches Ouran to strangle him.
This has an unforeseen effect, however. The beast-men no longer feel bound by Moreau's laws, as he has himself broken one of them. Moreau tries to regain control with his whip, but to no avail; in desperation, he demands of them, "What is the law?" But their common response is, "Law no more!!!" With that, they drag the doctor into his house of pain, where they stab him to death with his own surgical instruments.
With help from the fed-up Montgomery, Parker and Ruth make their escape. Parker insists on taking Lota with them. When Lota sees Ouran following, she waits in ambush. In the ensuing struggle, both are killed. The others leave, as the island goes up in flames.
|
murder
|
train
|
wikipedia
| null |
tt0071721
|
Klansman
|
In a small town in the South, a young white woman, Sheriff Track Bascomb breaks up a crowd of black and white men molesting a black woman. He visits Breck Stancil, a local land owner who is politically liberal.
White woman Nancy Poteet is sexually assaulted and beaten by a black man. Sheriff Track Bascomb tries to find the guilty party while the Ku Klux Klan - whose members include Bascomb's deputy, Butt Cutt Cates - takes matters into its own hands.
Members of the Klan - not wearing their uniform - approach a bar frequented by blacks. They chase after two men, one of whom is Garth. Garth escapes but his associated is captured and shot by the Klan.
Loretta Sykes, a girl who grew up in the town, returns home. She is approached by members of the civil rights movement. They try to get Breck Stancill involved.
Nancy Poteet's husband leaves her and she finds herself an outcast for the town. She is befriended by Stancill.
Garth dresses up as a Klansman and kills one of the vigilante gang who killed his friend. At a funeral for the dead man, held by the Klan, Garth shoots another Klansman from a tree.
In response, members of the Klan, including Cates, rape Loretta Sykes.
|
violence, blaxploitation, melodrama
|
train
|
wikipedia
| null |
tt0756582
|
Standoff
|
A young girl, Bird with her aunt's boyfriend waiting at the car, visits the grave of her parents on the anniversary of their deaths, witnesses and photographs a hitman, Sade, killing people attending a funeral. When her aunt's boyfriend, Roger, comes looking for her, Sade kills him and tries to kill her too, but she flees into the woods. Bird comes across the house of a war veteran, Carter, who vows to protect her. Arriving at the house, Sade shoots at Carter, who grabs a shotgun and shoots back. They exchange words and gunfire, and both are wounded. During a break in the gunfire, Sade tries to talk Carter into sending Bird down so he can kill her. Carter refuses, and they both pause to patch up their wounds and prepare for the next round. Carter sends the girl for some light bulbs, which he breaks and throws down the stairs, alerting Sade to the fact that he "ain't no farmer." Carter finds out from the girl what happened in the cemetery and that she has a picture of Sade's face. Sade, in the downstairs of the house, starts going through Carter's possessions and finds a picture of Carter in military uniform with his wife and son. He tries to convince Carter he is also ex-military and he understands why Carter is protecting Bird. Carter lets him know he is aware that Bird has a picture of him and that is why he is after her.
Meanwhile, a sheriff's deputy happens upon the abandoned cars at the cemetery. In the house, a resting Carter is dreaming about a tragedy that happened to his son. He wakes up and sends Bird to get a bottle of alcohol. She returns with the drink and his son's teddy bear, which he angrily tells her to put back. Sade finds and starts to read a letter Carter had written his wife, taking blame for the death of their son. In the letter, he states he knew she blamed him for the death and didn't blame her for leaving him. Sade realizes that Carter had packed up and written the letter as he was contemplating suicide. He snidely encourages him to go ahead.
Bird tells Carter that her dad told her she had "no quit in her" and wonders if she will see her dad when she dies. She asks Carter why his wife left him and he said the house reminded her of their son. They hug and Sade shoots a round, gaining the attention of the deputy (Jim Watson) who was looking around for the cars' owners. The light in the house starts to fade and Carter now needs to get Bird out as he only has one shot remaining and in the dark he can't protect her.
The deputy goes back to his car to report the shot fired and ask if a shooting range had opened. He drives up to the house, where Sade sees him arrive while Carter is trying to get Bird out through a window on the second level. Knocking at the door, the deputy is shot by Sade and Bird goes back into the house. Sade hides the deputy's car and starts to head back to the house where Carter confronts him and tells him to leave. Sade tries to goad him to shoot, guessing he only has the one shot and would likely miss given the shotgun's range. Carter backs off and Sade grabs the deputy as bait. He tries to bargain with Carter for the deputy's life as well as his own for Bird. When Carter refuses, Sade starts to torture the deputy. He eventually shoots him and rolls him out where Carter can see him.
After a period of silence, Carter tells Bird to hide and starts down the stairs. Sade in the meanwhile makes his way barefoot across the roof. He ends up at the top of the stairs, where he is surprised by Carter, and falls down the glass-strewn stairs. Fed-up, Sade plans to set the house on fire, but changes his mind and calls Carter's wife on Carter's cell phone which he had found earlier. Resting again, the men engage in another argument.
Night descends and Carter's wife Mara arrives. Sade bargains again for Bird implying he'll rape Mara if Carter doesn't comply. Fearing he will trade for his wife, Bird pleads with Carter not to. Instead he gives her the gun instructing her to shoot down the stairs if Sade heads up. He heads down the stairs, telling Sade "if he wants her, go get her." Sade goes on a rant before shooting Carter in the leg. When Sade yells to Bird that he will kill Carter, she quickly heads down the stairs in order go save him. Before Sade has the chance to kill any of them, the lights in the house flicker, giving Carter the chance to rush the assassin, stabbing Sade multiple times, though is shot in the ensuring struggle. While Carter incapacitates Sade, Mara runs outside to call 911. Bird, however, stays behind, determined to kill her tormentor herself. Finding Sade against the wall, severally bleeding, he tells her to shoot him after she aims the gun at Sade and pulls the trigger, but the gun only clicks; with Sade realizing the round was a dud the whole time. Sade aims his gun at Bird, who looks on at the man, unafraid, telling him herself to pull the trigger, though he only responds with the fact that he is not a monster before dying without shooting. With it finally over, Bird heads over to Carter who is still alive. He simply tells her "there is no quit in me." as the three of them wait for the police to arrive.
|
violence, romantic
|
train
|
wikipedia
|
Standoff is absolutely one of the best TV shows on Fox. I wasn't sure how this TV show would be able to create so many hostage situations...
But it isn't the situation which makes the show interesting, it's the character development.
Each character has their own unique background, and it's especially interesting hearing the backgrounds and reasoning's of the hostage taker.
Every episode is intense, thrilling and emotional.Fox on the other hand is one of the most stupid networks of all time.
Last summer, Fox promoted three (and more) new television constantly.
Every person who watched this network last summer new about the shows Vanished, Justice and Standoff.
Who knew one year later, almost all the TV shows Fox has spoken so highly about has been canceled (besides Till Death).
Fox hasn't given any of these shows a chance.
The show Full House which has one of the highest ratings in it's time had almost no viewers before the third season started.Standoff is the wrong show to take off.
I enjoyed the show but not nearly as much as 24.I think Fox should create a petition or something of that sort so it can bring Standoff back.
I think it should be the last episode of the season, not series.I've known ever since Fox moved Standoff to Friday night, just as they did to the show Vanished that it was done.BRING STANDOFF BACK!!!!!!!!!!!!!!.
It's two lead actors, Ron Livingston and Rosemarie Dewitt, play their roles as crisis negotiators very well.
I only hope that the writing continues to be as strong in progressive episodes as it was in the pilot.Being a big fan of "harder edge" shows like 24, The Shield, & The Sopranos, I was surprised to find I really enjoyed this show.
I've been a big fan of Ron Livingston's since he had a side role in Swingers back in '96, and while I haven't seen much featuring Rosemarie Dewitt, I thought she provided a perfect foil for Ron Livingston's dry wit.Overall, I'd rate the show an 8 out of 10, only because I've only seen the first episode so far.
I hope they continue to build on the relationship between the two lead characters and keep the level of writing high..
Amazing, but not given any chance by FOX.
Standoff could definitely shine if it was given a chance.
It has just enough action to satisfy you but not too much and the writers make the character plots interesting but not overpowering.
It is too bad that FOX refuses to give great show a chance.
THis is an amazing show but of course FOX doesn't give chances to any shows except the popular ones.
When Matt admits the relationship over the radio to a hostage taker (ht)the whole office knows and his FBI job is in trouble as well as his partners.
Thank you Sky for bringing this show to the UK, it's great, and a nice change to actually get a good drama/comedy instead of more reality TV.The characters are well thought out, and well acted.
A great cast, especially Gina Torres as the "Boss".The story lines are solid, and without too much emphasis on the technical aspects the viewers is allowed to get involved with the personal story that evolves each week.It's also interesting to have the running theme of the relationship between the two main characters, and to see how this will develop as time goes on.Well done FOX, please don't cancel this one..
The show is about Matt Flannery (Ron Livingston) and Emily Lehman (Rosemarie DeWitt) who are the top-ranked crisis negotiators in the FBI Crisis Negotiation Unit, when they are not working together they are more than partners.
I hope this show lasts, just as along FOX does cancel another good show.
I know a lot of people don't enjoy this show, but we are already into the 2nd episode, and I find this show really great.
The chemistry between the two lead characters are just plain great, and the rest of the cast is excellent.
And the situations these people are put up against are not your average crisis, these are ones with point, and interest.This is a great show.
Best new crime drama since "CSI"....
In Australia, the three major commercial television stations (Channels 7, 9 and 10) have always tried to match each other with similar shows to vie for the viewer's attention.Channel 10 has always been home to 'Law & Order' (and its subsequents like 'SVU'), where as Channel 7 has been home to Jerry Bruckheimer's series including 'CSI' (as well as 'CSI: Miami' and 'CSI: New York'), 'Cold Case' and 'Without a Trace'.
As much as I like Mandy Patinkin the show wasn't anything special so I quit after the first episode.
A must see to fans of crime drama, and, in my opinion, the best new show since 'CSI'.
It's a refreshing crime-drama about two people, of the opposite sex, working as a team for the FBI's Crisis Negotiation Unit, including good action, well written dialogue with snappy comebacks.Simply put, this is just great entertainment.
Great chemistry between the co-stars, their characters and relationship are not cardboard cutouts.Ron Livingston and Rosemarie DeWitt does a great job fleshing out the lead characters, and the show even has a good supporting cast.
Gina Torres does a great job as their boss.Don't miss it, I'm at least hoping for another season!
The way that UPS-like delivery truck was found and even a package with a camera phone could be traced by number; then it was opened and a picture taken of the contents of the first package and rushed to the hostage negotiators.
Standoff was a great show, even though it was canceled.
The plots, dialog, and acting were excellent as well, and the actors were a perfect fit with the characters.
As the season progressed, each episode was better than the last.
Nevertheless, the show had four things that I personally love: wit, humor, action, and drama.
I would rate Standoff a 9 because of its lack of a twist and not a "happily ever after" ending, but I would recommend it to anyone who lives to watch shows with wit, humor, action, and drama like I do..
I think this show is one of the best that has been on TV in a long time.
It is always clever and exciting with a good mix of romance, drama, comedy and action.
I hope it is around for many seasons to come.Too often in the last few years we have seen spin-off after spin-off of the same formulaic "Cooke cutter shows" offering nothing new in terms of entertainment; various versions of "reality TV shows" and "Forensic shows" can be seen at any hour of the day ad nauseam.
Then like a breath of fresh air Standoff came on the scene offering so much more.
It is the quintessential TV drama packed with dynamic characters whose chemistry is nothing short of electric.
Ron Livingston and Rosemarie DeWitt are red hot together on screen.
Standoff is one of the best shows that fox has out there.
Many people criticizing it only because they don't understand the potential a show like this can lead too, of course if used in the right way.
When fox comes out with a great show its usually in the drama department.
For standoff look at the writing staff, the actors, its just an amazing show definitely worth more seasons and more views..
It is rare for any television series to be able to sustain a popular style crime drama and at the same time consistently and powerful captivate with strong and intimate emotional and riveting story lines that penetrate the soul and inner psyche of the human condition.
This one year series (prematurely cancelled) contained both humor, a decent on-going storyline with the two principle characters and dealt weekly with hard-hitting plots that exposed deeply, unnerving emotional stories about relationships, anxiety, fears and provided great insight into our own feelings.
Ron Livingston and Rosemarie DeWitt make a good couple.
Matt Flannery (Ron Livingston) and Emily Lehman (Rosemarie DeWitt) are an FBI negotiation team.
Each week they get a new case.The two leads have some good chemistry.
Maybe it's a good thing that this show got canceled so they have some time apart.
I have only seen the first 9 episodes but definitely plan to watch all of them.The writing is excellent - I agree with the viewer who wrote in their comment that it was difficult to find enough different hostage situations to keep things interesting, but so far they most definitely are.
Each situation is unique and unfolds in a very cohesive story that keeps your attention and makes you want to keep watching.The characters and acting are also excellent.
The tension between Ron Livingston and Rosemarie DeWitt comes across as very genuine - not forced - and results in enhancing the action and storyline.
I think you will find the show to be great entertainment.
I really cannot believe that Fox let this show go - well, I guess maybe I can believe it, but still, it's a shame that the really good TV is so short-lived..
I liked this show, it was clever and interesting and did not treat the viewer like an idiot.The sexual tension between the main characters added an extra dimension (although predictable at times) to the show.The situations that are presented were thought provoking and allows the user to get into the world of the criminal and the police in a way that makes you think.In addition to the mind games the addition of the swat team helped give a balance to the program (action is good in places).I would have liked to see the characters grow and develop through another series but was disappointed when the show was canceled.It seems like the suits are not prepared to cater for a more intelligent audience but would rather pander to the whims of a wider (less educated) demographic..
However the final 8 episodes have shown up on Tuesday nights at the unpopular 10.30pm timeslot, after the end of priority prime time.
It runs circles around shows like CSI, Criminal Minds etc.
But like most good shows out of the US it was cancelled because I guess it was over most of their heads.
Strange relationship between the two lead characters are just plain great, and the rest of the cast is excellent.
And the situations these people are put up against are not your average crisis, these are ones with point, and interest.P.S. I don't wanna this show to be closed like DB, 9.
Waiting for the next episodes Standoff is one of the best new series out this season.
The chemistry between Ron and Rosemarie makes an already awesome show perfect.
The personal relationship between Matt and Emily and how they use it to help talk down the Hostage Takers, with the exception of maybe the episode "Partners in Crime", adds an interesting and unusual element.
FOX did the right thing by not letting this show get canceled.
Give it a try, it is, I believe, one of the best shows on TV at this time.
It's safe to say that this show has more than one genre, and the writers play off the plot just fine within the small time frame the show takes place.I immediately fell in love after the fourth episode.
It is safe to say that action and romance play a highly rated role in this show.If you like a show that is dramatic, with just a pinch of passion and romance, this show is for you.
Everything is just right; the characters are not too mushy, yet there is attention on their romance.I HIGHLY recommend this show to anyone who needs something AWESOME to watch on Tuesday nights!.
unless it involves a network that cancels it." Thank you Fox!
Trust me, I like Ron Livingston and he was the reason I sat down to watch the show but what a letdown.
I don't watch police procedural shows but I know this much that this was probably the worst produced show because one it was an exercise in style over substance and second everything about it was so predictable, case in point(s) – predictable romantic involvement and constant bantering, which involved several one liners, between the lead FBI negotiators; unnecessary stylish camera angles, pans and zooms; a boss that would pop up just at the right moment to remind her prodigies to focus more on work than on each other's rump.
Michael Cudlitz, who for some reason loves to play law enforcement officers in just about every movie and show, repeats the same routine that he did in the movie The Negotiator with a little more character development that, once again, borders on stereotype- a trigger happy member of the law enforcement.
The show could have been great only if they had some creative people behind it who, in all modesty, could have learned few things from the makers of CSI.I give it 3 stars- one for the idea, one for casting Ron Livingston and one for canceling it..
This is how your writers see special forces; if they did any of the kind of research that actors do they would know that special forces at ALL levels is the epitome of TEAM WORK.....like directors, actors, editors, stage/studio hands working together to produce a hit show.
I don't think there are any other shows that take you inside the world of crisis negotiation.
Some episodes could've been written a little bit better but overall this show is awesome!
I like that the show started with Matt and Emily's relationship being outed.
I think picking the right cast is crucial for a show like this.
You have already missed out on what FOX early on recognized as great writing quickly becoming excellent.
You are missing out on some of the most creative writing that this viewer has ever seen in prime time TV.
The critics early on missed out on the whole concept of this new season hit.
Now, you may well want to sign up to be a crisis negotiator somewhere after watching Matt and Emily do their jobs, but it will probably be to see if the agents are 1/4 as good looking as the leads in this show.
What I am positive of is that you will tune in on Tuesdays because you want to see the twists to the plot that has been dreamed up for the next episode.
They have not gone overboard with this, they are believable in their romance, partly due to the writing putting the scenes in context, and in the right places, and mostly because Livingston and Dewitt were cast perfectly in these roles.
If you find that you can be hooked on the romance side of the leads in a series, then brace yourself, you are gonna fall hard the first time you watch this.
This is the first I have seen of the actress Rosemarie Dewitt, and for me she is out shining Livingston a bit, and that, is extremely hard to do for this viewer.
If you want to be challenged in figuring out some pretty interesting hostage negotiations and watch some great relationship parallels get drawn in an hour of TV, then Standoff is your show.
Send a message to the networks, send a message that you enjoy being entertained for a change on a level above fifth grade.Standoff deserves a second, fifth, tenth and twentieth season.
"Standoff" is a great new action/suspense series.
I love the two main character's, they play there parts so well, and make there jobs, as FBI negotiator's, look like any other everyday job.
Standoff is one of the best new series out this season, and its addicting.
I've seen all of the episodes that have been on so far and I loved them all.
The actors, Ron Livingston and Rosemarie DeWitt, have so much chemistry that its just amazing.
And the writing is also wonderful, I love it when the situations involve each other, like the episode where Emily was taken (sorta) hostage and Matt just couldn't concentrate on anything else but saving her.
I really hope it continues to be written well like it is and I hope that the characters' relationship continues to build in the great way it has been.
It's a very smart show, definitely seems realistic to me, but of course I don't know what the FBI is really like, but this is probably the best acting I've seen of the FBI.
I hope STANDOFF lasts many many seasons...yup..
She portrays a character that leads with a firm hand, yet has a sense of humour, (ie the no wedding comment) and I love her voice.
She can take care of herself in any situation, yet is still smart enough to know when to ask for help.The combination of humour and professionalism makes for great TV watching..
For a show built off of the concept of not only a standoff between the hostage takers and the negotiators, but also between the negotiators themselves there is a serious lack of any chemistry.
The characters of Matt and Emily lack chemistry.
While the show attempts to make us care for the two and want to support them as we see them work together and fight to not only save the hostages AND their relationship, we could care less because there is no energy between them.
If by chance the two leads showed some semblance of chemistry then the show might serve another purpose of entertainment, getting two see what the two hostage negotiators get themselves into.
Formulaic with no strong character to fall back on and make us interested.
I have to say, the show has already jumped the shark in the first season once Matt and Emily became hostages in Mexico, and to be honest, I didn't really care if they were saved or not.
|
tt0024601
|
Sons of the Desert
|
At a meeting of the Sons of the Desert, a fraternal lodge of which both Stan Laurel and Oliver Hardy are members, it has been decided that the organization will be holding its annual convention in Chicago in a week and all members have to take an oath to attend. Stan is reluctant to take the oath, but Oliver goads him into it. Later, on the way home, Stan explains to Oliver his reluctance to take the oath; he is worried that his wife Betty will not let him go to the convention. Oliver tries to reassure Stan his wife has no choice but to let him go because he took a sacred oath. When they get home and Stan accidentally brings up the subject of the convention, however, it turns out Oliver's wife Lottie will not let him go as they had already arranged a mountain trip together (which Oliver had forgotten about). Oliver tries to cover his embarrassment by remarking to Stan that his wife is "only clowning", only for her to chuck a bowl at his head, followed by another one when he attempts to establish his authority as the boss of the house.
Unwilling to go back on the oath that he swore, but equally unwilling to provoke further wrath from his wife, Oliver feigns illness to get out of the trip with his wife. Stan arranges for a doctor (actually a veterinarian) to prescribe an ocean voyage to Honolulu, with their wives staying home (Oliver is well aware how much ocean voyages disagree with his wife). Stan and Ollie go to the convention, with their wives none the wiser. Of course, they have a close call while drinking with a fellow conventioneer when as a practical joke their friend "Charley" calls his sister in Los Angeles who turns out to be Mrs. Hardy! However, nothing comes of this. Having tempted fate by deceiving their wives, however, one can hardly be surprised when fate is indeed tempted. While Stan and Ollie are en route home from Chicago, their supposed ship arriving from Honolulu sinks in a typhoon and the wives head to the shipping company's offices to find out any news about the survivors. At the same time, an oblivious Stan and Ollie return home as though from Honolulu (complete with leis, pineapples and a rousing ukulele song) and are confused by the empty houses. While Stan reads the paper, Ollie spots the headline and reads it out to Stan, who humorously remarks on what a good thing it was they didn't go before promptly going into a tizzy when it finally sinks in.
Panic-stricken, knowing their wives will likely do them grievous bodily harm, they take refuge hastily in the attic just as the wives get home and, because they can't escape, decide to camp out there. Meanwhile, the wives go to the cinema to calm their rattled nerves...and what should they see but a newsreel of the convention in which their husbands are prominently featured! Furious at being deceived, they vow revenge on their wayward spouses while simultaneously challenging each other to see whose husband is more honest with them. As for the husbands, their camping in the attic is interrupted loudly enough as to attract the attention of the wives (prompting Betty to investigate with her shotgun) and they manage to flee out of sight, escaping to the rooftop. Stan wants to go back home and confess to his wife but Oliver threatens, "If you go downstairs and spill the beans, I'll tell Betty that I caught you smoking a cigarette!"
They are about to make their way to a hotel to spend the night, but are stopped by a policeman who manages to get their home addresses from them thanks to Stan. The wives notice them coming, but while Lottie is all for shooting them the moment they walk through the door, Betty reminds her of their little agreement. Upon walking into the house, they tell the wives about the shipwreck. Then, when asked about how the pair of them had managed to get home a day before the rescue ship carrying the survivors was due, their story begins to unravel; they say they jumped ship and "ship-hiked" their way home. Ollie still insists his story is true; "It's too farfetched not to be the truth!" But Stan eventually breaks down and tearfully confesses, despite Oliver's previously mentioned threat. Stan tells his wife about the smoking too, and she stalks out of the scene while Stan continues whimpering and returns with her shotgun under her arm and ominously says to her husband "Come along, Stanley.", highly implying that she is going to shoot him once they get home. However, for his honesty Stan ends up wrapped in her dressing gown on the sofa, sipping wine and eating chocolates. Oliver's wife, however, is furious that she was made a fool of twice by her husband and when Ollie has the audacity to suggest going on the mountain trip they arranged in the first place - the last straw. Watched by her bemused husband, she empties the kitchen cupboards and proceeds to hurl every pot, pan, ornament and piece of crockery at him. Stan returns from next-door to compare notes, sees Hardy sitting in the wreckage and tells Ollie that his wife said that "honesty is the best politics!" Stan puffs on a once-forbidden cigarette, and then goes out the door singing "Honolulu Baby". Ollie vengefully hurls a pot at his head, upending him.
|
cult
|
train
|
wikipedia
|
The solemn dark lighting of the opening scene spoofing fraternal organizations, eating the wax fruit, the range of facial expressions of the wives throughout, the shot of the boys from the back sitting facing the fireplace as Stan disses his wife, Stan's wife in hunting regalia returning shotgun in arm carrying ducks, Ollie flirting on the phone not realizing it's his wife he's talking to, the stream of consciousness dialog in the attic, and on and on and on.
Ollie wants to attend the annual convention of THE SONS OF THE DESERT in Chicago & have lodge brother Stan go with him.
Mae Busch & Dorothy Christy are good fun as the Boys' wives, while Lucien Littlefield scores as a veterinarian called in to doctor Ollie.Extra-sharp movie mavens will spot Charlie Hall as one of the waiters at the beginning of the 'Honolulu Baby' sequence; they will also recognize the voice of Billy Gilbert as the steamship official giving the announcement about the shipwreck survivors..
Our heroes - Stan Laurel and Oliver Hardy - simply want to go to the annual convention of their group - "The Sons Of The Desert" and want their wives' approval to make the trip.
The only other that comes close is Laurel and Hardy's "Way Out West." No other comedy team in the history of show business had the perfect comic timing of Stan and Oliver, not even the inimitable teams of Abbott and Costello or Martin and Lewis.
Comedy, that's difficult."This time around the boys attempt to slip away from their domineering wives (Only Stan would choose a mate that was one of the best duck hunters around and thus a crack shot with a gun) to attend a convention of the illustrious "Sons of the Desert" in Chicago to hear the "exhausted" ruler speak, as Stan calls him.
Stan tries to rationalize the situation, "Well if she didn't go to the mountains, then Mohammad would have to come here." Ollie jumps right in, "What has Mohammad got to do with my wife?" To read more of the brilliant lines, note IMDb's quotes taken from "Sons of the Desert."If you enjoy "Sons of the Desert," by all means watch "Way Out West." The two represent Laurel and Hardy at their best.
SONS OF THE DESERT Aspect ratio: 1.37:1Sound format: Mono(Black and white)Stan 'n' Ollie attend a convention in Chicago against the wishes of their domineering wives (Mae Busch and Dorothy Christy).
Basically an expanded remake of the short film WE FAW DOWN (1928), "Sons..." is a riot of comic invention, from L&H's mirthful entrance, to their encounter with obnoxious colleague Charley Chase at the 'Sons of the Desert' convention, to a climactic sequence in which The Boys are forced to justify themselves to their outraged wives (including Busch, never better as Ollie's bad-tempered spouse!).
This movie combines everything that made other Laurel & Hardy pictures so great and such a delight to watch; slapstick humor, crazy situations, well written dialog and a good comedy story.
It's another fine mess the boys get themselves into after they secretly go to a convention of the 'sons of the desert' in Chicago after fooling their wives, by telling them that they are going to Honolulu to 'cure' Oliver's faked illness.
In between they also get themselves into some silly humorous trouble, which this time also involves fellow comedian Charley Chase, who was the brother of regular Laurel & Hardy picture director James Parrott.This is not necessarily the movie with the best or most Laurel & Hardy jokes or slapstick moments in it but it's the whole package of the movie that makes this one such a great and enjoyable one that deserves a position among the greatest comedies of all time.
It combines all of the best elements out of Laurel & Hardy movies and the end result is an hilarious, easy and pleasant to watch movie, from start till finish, that never loses any of its power.The trouble the boys get themselves into is of course silly and therefor also extremely fun at the same time.
Seiter, starring the comedy team of Stan Laurel and Oliver Hardy, is not a foreign legion story set in the Sahara desert as the title might imply, but a domestic comedy with "Sons of the Desert" the name of a fraternity lodge brothers organization where Stan and Ollie are members, Oasis 13, Los Angeles, California.As the story goes, Stan and Ollie (Laurel and Hardy), best friends ("two peas in a pod") and next door neighbors, both married (with their front doors reading "Mr. and Mrs. Stan Laurel" and "Oliver Hardy and Wife"), are introduced as late arrivals to the "Sons of the Desert" fraternity meeting where the exhausted ruler announces the club's 87th annual convention to take place in Chicago, where all members are expected to attend.
While there, they watch a newsreel presentation of the "Sons of the Desert" convention with Stan and Ollie in full view marching in the parade, mugging their faces into the camera.
With numerous battle of the sexes comedies featuring henpecked husbands being common place either in short subjects or feature length films, even when knowing how this will all turn out, viewers familiar with this formula will still want to see the results, and find out whether the boys will fess up to the truth or face the consequences from their wives.
I'd hate to think of what might happen, if he, ev-err DID!" With many classic scenes too numerous to mention, the film does take time for a brief musical number, "Honolulu Baby" sung by a male vocalist, with overhead camera shot of dancing Hawaiian girls doing formations in the Busby Berkeley tradition.Distributed on video cassette from various companies during the early days of home video (1980s), SONS OF THE DESERT played on various cable networks throughout the years: The Comedy Channel (late 1980s) , American Movie Classics (1994-96) and finally Turner Classic Movies (where it premiered April 1st, 2005).
No one has ever broken this oath in the zillion year history of the Sons of the Desert Lodge so they'd better now screw up.Only Stan and Ollie are both dominated by their wives who won't allow them to do anything with-out strict approval first.
Most aficionados of Mr. Laurel and Mr. Hardy seem to rate Sons Of The Desert as their best feature film.
I would be hard put to disagree and I find this the most flawless of their comedies, taking full advantage of the characters that Stan and Ollie have created and what movie fans have come to expect from them.Although for the life of me I can't figure out why Dorothy Christy and Mae Busch as the wives of Stan and Ollie respectively would rather their husbands vacation in Hawaii together as opposed to going to Chicago for their Lodge Convention.
And the fact that Ollie preferred Stan's company to Mrs. Hardy says volumes in and of itself.So the boys decide to say they were going to Hawaii, but two things happen.
But not for long as the wives decide to kill time at a movie and happen to spot their husbands hamming it up for a newsreel cameraman who was covering the Sons Of The Desert convention.
As members of the mason mens club The Sons Of The Desert, Stan & Ollie are desperate to go away to one of the clubs conventions in Chicago.
Of course they head to Chicago for their boys own fun, unbeknown to them that the ship they had told their wives they were travelling on has sunk at sea!I think this stands the test of time as one of the best Laurel & Hardy pictures because it's one of the most professional that they made.
Stan Laurel believed that the Laurel and Hardy short subjects were the duo's best works rather than their feature films, nevertheless I believe Sons of the Desert to be the best of all their prodigious output, for the laughs never, never stop for all 86 minutes of the film.Years ago, for some reason, I happened to look in the Los Angeles phone book and lo and behold, there it was: Stan Laurel, with address and phone number.
As the wives, Mae Busch and Dorothy Christy have relatively easy roles, but they (and also Charley Chase) have a few good moments.Anyone who enjoys Laurel and Hardy's shorter features will probably also joining the "Sons of the Desert" in this amusing movie..
L&H belong to an organization, The Sons of the Desert, that is holding its national convention in Chicago, but Hardy's wife is intent on taking him along on a vacation to the mountains.
Stan Laurel and Oliver Hardy, a renowned comedy duo from the first half of the 20th Century, are still remembered today for their contributions to the genre, which they certainly deserve to be.
It won't be that easy trying to keep their wives from knowing where they've actually been, especially after the boat they are supposedly on sinks in a typhoon while the two are on their way home!"Sons of the Desert" consistently had me laughing, often hard, like I was expecting, and I can't think of a single lame gag in the entire film!
Sons of the Desert is certainly the best feature Laurel and Hardy ever made, without any extraneous sub-plots or music to get in the way.
Stan Laurel & Oliver Hardy, the two greatest laughter-makers ever to grace stage and screen (as I'm sure millions will agree) appear here in their finest and funniest feature film.
Neither one wants their hubby to go to a Chicago convention of The Sons of the Desert, so the boys have to fake an excuse in order to bamboozle their wives into thinking Oliver is following his doctor's orders to get a restful vacation in Honolulu.At the convention, it's a hoot to see dancing girls in Hawaian costumes (beefy and overweight by today's anorexic standards) while a slim male singer/dancer renders "Honolulu Baby" in a tenor voice.
Seiter, it's obviously the forerunner of many situation comedies about quarreling husbands and wives trying to outsmart each other.Stan is surprisingly funny when given a long, wordy sentence to say, and Oliver's facial reactions (especially when he fixes his gaze on the camera as if to say, 'Can you believe this?'), are priceless.Lots of fun for fans of the comedians..
Stan Laurel and Oliver Hardy want to go to their 87th annual "Sons of the Desert" convention in Chicago, which no member has ever missed.
Little did I know that the film would be rather intimate, pioneering the style and ambiance of TV sitcoms.And to conclude on the AFI, It's a wonder that Laurel and Hardy didn't make it in the Top stars like Chaplin, Keaton or the Marx Brothers...
Laurel & Hardy have sworn an oath to their brotherhood, the Sons of the Desert to attend their convention in Chicago.
The trouble is their wives are against the idea so they need to find an excuse.Hardy pretends to be ill and Laurel gets a vet who tells Mrs Hardy that he needs a sea voyage to Honolulu.Once they arrive in Chicago they get involved in all sorts of pranks courtesy by an obnoxious funster who turns out to be Hardy's long lost brother in law.Our duo have failed to keep themselves inconspicuous in Chicago as the Sons of the Desert march has been filmed and unbeknown to them their return ship from Honolulu has sunk and their wives worried that they are lost at sea.
If Laurel & Hardy had never made any other film, they would have secured their place in movie history with "Sons Of The Desert".
The cutaway to Oliver Hardy's reaction as Stan Laurel confesses the whole complicated scheme to their wives is quite possibly the single funniest shot in the history of the motion picture.
Of course, those folks don't know what deprived lives they are leading in not being able to enter the uniquely zany world of Stan and Ollie.Although The Boys shone their brightest in their comedy shorts, "Sons of the Desert", one of their earliest full-length features, is also one of their best in that genre.
Sons of the Desert has some many funny moments.Laurel's and Hardy's comedy is great.The younger generation should watch more these old time's comedies.I belong to the younger generation and I love these movies.Laurel's and Hardy's comedy will never die..
'Sons of the Desert' for me is up there with their best and certainly among their funniest.Can't really find anything wrong with it, was past caring this time as to whether the story was as thin as ice when there is so much content and energy that continually makes the film compelling, on top of being riotously funny in its best moments.From start to finish 'Sons of the Desert' is great fun, never less than very amusing and the best moments, such as the whole business with the doors, being classic Laurel and Hardy.
"Sons of the Desert" stands as one of Laurel and Hardy's funniest feature films.
of all the laural and hardy movies i've seen, this one takes the cake, a laugh fest from start to end, the story line was excellent, as was the casting, top viewing for anyone who loves 1930's comedy.
It has so many great comedic "bits": the "doorbell sequence", telling Mrs. Hardy about the convention, the veteranian, Mrs. L & H seeing their hubbies on a movie newsreel, L & H sleeping in the attic -- all are priceless gems!!!!!It's interesting to note that, in the bar sequence, Charley Chase (the "loudmouth" with the glasses) has literally such a big mouth that you can see all his fillings!And, it's kind of (unintentionally) funny when the boys come in from the rain, wearing only their pajamas, but the minute the enter the house, their PJs are totally DRY.If you haven't seen this film, you have NEVER seen a L & H film.....or, as many people would say, the "Funniest Film of All time"!Norm.
When Stan and Ollie trick their wives into thinking that they are taking a medicinal cruise while they're actually going to a convention, the wives find out the truth the hard way.This is not my favorite Laurel and Hardy.
Arguably the funniest of Laurel and Hardy's feature-length movies, Sons of the Desert is simply crammed with gags, most of which are as funny as anything you're likely to see from 30s Hollywood.
The likes of the Marx Brothers and Eddie Cantor were an entirely different breed of comedian from those who had reigned just a few years before their rise, and the plot was suddenly more important than the physical antics on-screen.And yet, there were Laurel & Hardy, already a successful double act in silent days, effortlessly and seamlessly gliding into the world of sound with perfect voices for their characters and builds.
Stan can get laughs both times that he mistakenly calls the Sons of the Desert's Exalted Leader their 'exhausted' leader while big Ollie can make tripping over a case look like child's play (have a try at it sometime and see how convincing you feel you were
).
They hatch a plan to enable them to attend the Sons of the Desert convention in Chicago by pretending to go to Honolulu for Ollie's health while their wives go hunting bear in the mountains.
Every comedy team (duo) since has compared themselves with Oliver Hardy and his sidekick Stan Laurel..
It has been said and very often that Sons of the Desert is Laurel and Hardy's best film,and I won't dispute anyone who has this opinion,but speaking from a matter of personal taste,I have seen them funnier.When it comes to L & H,you have to go by what film gives you the most laughs,and while this film provides plenty of them,I have gotten way more laughs out of films like Way Out West and even the 30 minute short classic The Music Box.Anyway you slice it,the boys are in their prime and in top form here from Stan's crying and constant up and down eyebrow movements to Ollie "breaking he fourth wall".Nobody was better at this than Babe Hardy,and I don't think this can be disputed.In my opinion,it's not their absolute best,but certainly amongst their best.A classic comedy..
Instead they sneak off to Chicago...and things go wrong.I have never seen a Laurel and Hardy film in my life so I decided to start with what is considered that best.
It didn't matter as I figured out the plot by the dialogue between their wives-one of whom is Mae Busch who often played the shrew in the Laurel & Hardy films.
Stan Laurel and Oliver Hardy are at the peak of their comedic talents in this very amusing comedy, Sons Of the Desert.
He knows she doesn't like sea voyages, so he has Stan find a doctor who agrees to recommend that he take a sea voyage to Honolulu, to throw off the wives that they actually plan to go to the national convention of the Sons of the Desert, in Chicago.
Lottie gets out all her dishes and pots, and throws them at Ollie, to end the film.........In the beginning, the boys go to a meeting of the local chapter of the Sons of the Desert, where they pledge to go to the national convention, in Chicago, without consulting their wives.
Stan Laurel and Oliver Hardy are the most famous comedy duo in history, and deservedly so, so I am happy to see any of their films.
Stan and Ollie attend a meeting for their fraternity (brotherhood) group, the Sons of the Desert, all members take an oath to be present at the 87th convention in Chicago.
The boys are then at the Chicago convention parading with the Sons of the Desert, and then we see them partying in Hawaii, with some singers and hula dancers, and a drunk Charley Chase making silly prank jokes, he even calls his sister who he hasn't seen for ages, she's Ollie's wife!
|
tt0090798
|
Caravaggio
|
Told in a segmented fashion, the film opens as Caravaggio (Nigel Terry) dies from lead poisoning while in exile, with only his long-time deaf-dumb companion Jerusaleme (Spencer Leigh) (who was given by his family to the artist as a boy) by his side. Caravaggio thinks back to his life as a teenage street ruffian (Dexter Fletcher) who hustles and paints. While taken ill and in the care of priests, young Caravaggio catches the eye of Cardinal Del Monte (Michael Gough). Del Monte nurtures Caravaggio's artistic and intellectual development but also appears to molest him.
As an adult, Caravaggio still lives under the roof and paints with the funding of Del Monte. Caravaggio is shown employing street people, drunks and prostitutes as models for his intense, usually religious paintings (see the article on the painter for examples). He is depicted as frequently brawling, gambling, getting drunk and is implied to sleep with both male and female models. In the art world, Caravaggio is regarded as vulgar and entitled due to his Vatican connections.
One day, Ranuccio (Sean Bean), a street fighter for pay, catches Caravaggio's eye as a subject and potential lover. Ranuccio also introduces Caravaggio to his girlfriend Lena (Tilda Swinton), who also becomes an object of attraction and a model to the artist. When both Ranuccio and Lena are separately caught kissing Caravaggio, each displays jealousy over the artist's attentions. One day, Lena announces she is pregnant (although she does not state who the father is) and will become a mistress to the wealthy Scipione Borghese (Robbie Coltrane). Soon, she is found murdered by drowning. As the weeping Ranuccio looks on, Caravaggio and Jerusaleme clean Lena's body. Caravaggio is shown painting Lena after she dies and mournfully writhing with her nude body. Ranuccio is arrested for Lena's murder, although he claims to be innocent. Caravaggio pulls strings and goes to the Pope himself to free Ranuccio. When Ranuccio is freed, he tells Caravaggio he killed Lena so they could be together. In response, Caravaggio cuts Ranuccio's throat, killing him. Back on his deathbed, Caravaggio is shown having visions of himself as a boy and trying to refuse the last rites offered him by the priests.
In keeping with Caravaggio's use of contemporary dress for his Biblical figures, Jarman intentionally includes several anachronisms in the film that do not fit with Caravaggio's life in the 16th century. In one scene, Caravaggio is in a bar lit with electric lights. Another character is seen using an electronic calculator. Car horns are heard honking outside of Caravaggio's studio and in one scene Caravaggio is seen leaning on a green truck. Cigarette smoking, a motorbike, and the use of a manual typewriter also feature in the film.
|
murder, flashback
|
train
|
wikipedia
|
This makes Caravaggio an interesting person, but a highly complex candidate for a biographic investigation on film.While Derek Jarman's film captures (with delightful conceit) many of the surface details of Caravaggio's life, it's a work of startling genius because it succeeds on a far more profound level.
Jarman tells the story of Caravaggio rather like Caravaggio would paint, infusing it (effortlessly) with the central themes of his life's deepest convictions, creating a portrait which reflects the subject and the artist with equal relevance.
This film is a masterpiece.However, because of it's homosexual themes and personal tone, "Caravaggio" is likely to be appreciated only by those viewers who weary of film as simple diversion and long for something more challenging.
This beautiful visionary art film based on the director's take of the life of Caravaggio was worth the almost 7 years it took to make it.
Derek Jarman had the brilliant sense to use Nigel Terry and Sean Bean as the lovers in this meditation on sexuality, criminality and art.
This film is more of a fictionalization on Caravaggio using the artist's works as a way to pursue the story of the artist.
It is beautiful, as are the actors and actresses, and Sean Bean is a revelation in this very early role, as he plays Ranucio, the love interest of Caravaggio.
This is an adult film with homosexual themes and might not be for everyone, but if one is adult and has a sense of taste, and loves art movies, this is a 10 out of 10..
He lived at a time where homosexuality carried a death sentence and political intrigue normally involved fatalities in a society defined by the maxim "strangling the boy for the purity of his scream".You can't fault Derek Jarman for his cinematography, nor his recreations of Caravaggio's paintings and you certainly can't accuse the man of shying away from the homosexuality.
Jarman provides Caravaggio with a particularly trite motive for the murder which left him exiled.This could have been a visually stunning treatment of a man whose life was dangerous, exciting, violent and decadent but who nonetheless elevated the lives of ordinary people to the status of Renaissance masterpieces, looked on by Emperors and Kings.
Caravaggio was a transgressionist in terms of art with his painting evoking religious themes using as models simple people, peasants, prostitutes, fishers, creating powerful masterpieces; and a transgressionist with his dangerous lifestyle, sleeping with men and women, getting involved in fights, in one of these fights he killed a man, reason why he ran away to other countries, and then dying at the age of 38.
Then we have a filmmaker, an true artist named Derek Jarman who knows how to portray art on film, breaking conventions, trying to do something new and succeeding at it.
To name one of his most interesting films his last "Blue" was a blue screen with voice overs by actors and his own voice telling about his life, his struggle while dying of AIDS, and he manages to be poetic, real about his emotions, and throughout almost 2 hours of one simple blue screen he never makes us bored.
Who could be a better director for a project about the life of Caravaggio than a transgressionist like Jarman himself?The movie "Caravaggio" is wonderful because it combines many forms of art into one film, capturing the nuances of Caravaggio's colors and paintings translated into the film art.
And just like Coppola's film "Caravaggio" takes an bold artistic license to create its moments.
Jarman introduces to the narrative set in the 16th and 17th century, objects like a radio, a motorcycle, a calculator machine among others; sometimes this artistic license works (e.g. the scene where Jonathan Hyde playing a art critic types his review on his typewriter, a notion that we must have about how critics worked that time making a comparison with today's critics, but it would be strange see him writing with a feather, even though it would be a real portrayal).The movie begins with Caravaggio (played by Nigel Terry) in his deathbed, delusioning and remembering facts of his passionate and impetuous life; his involvement with Lena (Tilda Swinton) and Ranuccio (Sean Bean); memories of childhood (played by Dexter Fletcher); and of course the way he worked with his paintings, admired by everybody in his time.All of this might seem misguided, some things appear to don't have a meaning but they have.
I was expecting a movie more difficult to follow but instead I saw a truly artistic film, not pretentious whatsoever, that knows how to bring Caravaggio's works into life, with an incredible and fascinating mise-èn-scene, in a bright red that jumps on the screen with beauty.
For those who enjoy more conventional and structured biopics try to watch this film without being too much judgemental, you'll learn great things about the Baroque period because it is a great lesson about the period.
You may be very distracted by the presence of jokey 20th century anachronisms in this otherwise grave movie about the artistic genius, Caravaggio.
It uses the style and mood of his paintings to reflect his life, and it incorporates that precise aesthetic into the movie's own visuals.
It also speculates about the everyday life that must have circulated around the creation of those masterpieces.I was willing to forgive a lot of artistic pretension and rhetorical dialogue for the superb visuals and atmosphere, and I took vivid memories away from the film.
Derek Jarman has crafted a beautiful and unique work of art in "Caravaggio".
Perhaps the fact that I have a great love for the work of the real Michelangelo Caravaggio, influences my judgment just a bit; It was quite enjoyable to see the paintings come to life, and to witness how they might have actually been created.
In fact, much of Jarmans poetic film has the look of a lush, living painting.
There is much to admire here besides the aesthetics; the talented and beautiful cast, led by Nigel Terry, the intense-looking Sean Bean, as Ranuccio, and the elegant Tilda Swinton, as Lena; the woman loved by two very passionate, and tormented men.
Quite simply unlike any other biographical film you will ever see, Derek Jarman's acclaimed production of Caravaggio (1986) is a lovingly constructed, highly personal cross-reference of tormented sixteenth century genius, twentieth century iconography and a somewhat satire on the shallowness of the burgeoning eighties' art scene of which Jarman was very much part of.
Exploring Caravaggio's life through his work, the film distinctively merges fact, fiction, legend and imagination in a bold and confident approach that will probably leave serious art enthusiasts and casual viewers outraged by the complete disregard for accurate, historical storytelling.Shot with a typically avant-garde approach, director/writer Jarman doesn't so much fashion a biography of the artist, but rather, creates a personal reflection of the man using intimate characteristics that appeal to his film-making sensibilities.
This makes Caravaggio more of an interpretation of the filmmaker than the artist himself; somewhat self-indulgently focusing on Caravaggio's struggle with bisexuality, perfectionism and wanton obsession; perhaps even glossing over the more intricate workings of the character, for instance, his own passion for art and his battles with the various religious and creative constraints of the period.It's a shame some of these ideas aren't further elaborated upon, because, at its heart, Caravaggio is really an exceptional film.
Caravaggio is a film in which a 16th century setting gives way to the various anachronisms of passing trains, tuxedos, motorbikes, typewriters and chic nightclub settings.
It is a film in which every frame is rendered in reference to the artist's work, composed with rich, shadowy colours that bring to mind the contrast between fresh and rotting fruit, and an unrivalled interplay between sound and production design that is reminiscent in its intense savagery of two dogs angrily ripping each other to pieces.There is no other 'based on fact film' that has demonstrated such a wild and evocative recreation of real-life hysteria and events, with the possible exception of Peter Jackson's masterful Heavenly Creatures (1994) or even some of Jarman's subsequent projects like Edward II (1991) and Wittgenstein (1994).
With a cast of now very well known faces, such as Nigel Terry, Sean Bean, Tilda Swinton, Michael Gough, Dexter Fletcher and Robbie Coltrane - not to mention some of the most beautiful photography ever committed to film - Caravaggio represents an impressive and enjoyable combination of art and cinema that is now, twenty years on, ripe for rediscovery..
Instead it's a movie that uses some themes, and some paintings, of Caravaggio and builds a completely invented (to my knowledge) story line.
It has no overt sex (though there is lots of kissing all around) and it does includes some female actors (including a fabulous Tilda Swinton), but there are lots of "pretty boy" scenes and a sensibility that is just frankly different than the usual film world mainstream.That's a great thing.
Michelangelo Caravaggio was an important Italian painter who led a short, tumultuous life.
He surrounded himself with earthy street people who became the models for his paintings.If you're looking for a biopic about the life of Caravaggio, look elsewhere.
This chaotic and bizarre interpretation of his life by avant-garde director Derek Jarman is like seeing art history on a bad acid trip.
I learned nothing of the man and more about the director.Tilda Swinton made a memorable screen debut in the puzzling role of a young street woman and a very young Sean Bean is interesting as her companion, but Nigel Terry was a confusing and off-putting Caravaggio.
One would imagine that Caravvagio created his work in a vacuum, and that his art was a product of his violent and transgressive nature only.
Having studied art, and being an artist myself, I was looking for some insight into this fascinating man and his revolutionary work.
Caravaggio (1986) is a British film directed by Derek Jarman.
The film is a strange, sensual, visually striking telling of the life of Michelangelo Merisi da Caravaggio — with a great deal of poetic license.Jarman's movie is involved with the love triangle of Caravaggio (Nigel Terry), Lena (Tilda Swinton) and Ranuccio (Sean Bean) and dwells upon Caravaggio's use of street people, drunks and prostitutes as models for his intense, usually religious paintings.
Jarman's Caravaggio also suggests that his legend ultimately eclipsed his enormous talent.Caravaggio was the first time that Jarman worked with Tilda Swinton and was her first film role.
The original intention of this film was to make a conventional biopic of Caravaggio in Italy.
Here, on a smaller budget and over a longer period, Jarman loosely related events in Caravaggio's life by using imagined interactions of he and the models in his paintings.
In this way, much of the film centers on the day-by-day workings in Caravaggio's studios AND—very importantly to Jarman (himself a painter)—on the paintings themselves.
The entire film is told in flashback, showing us Caravaggio's memories from his deathbed, with his trusted life-long assistant, friend, model, and companion, Jersualeme (Spencer Leigh), at his side.
John Russell Taylor said of this film: 'Visually, almost every individual shot in..is stunning, exquisitely composed in rich color and given plenty of time for us to appreciate its niceties.' Art (and film) lovers will love this film, not only for its many-layered story, and how it is presented, but also for its acting, photography (Gabriel Beristain), design and paintings (Christopher Hobbs) and Costume Design (Sandy Powell).
Secondly, a theatrically radical group of thespians manages to embroider the no-frills narrative, which has been dispatched into several erratic episodes, with some passionately innovative punch, name checking the very young and rookie couple Sean Bean (smoking hot!) and Tilda Swinton (for whom this film is her debut), and as the titled genius, Nigel Terry resembles a doppelgänger image of the artist, while relentlessly contributing a scorching destructive epidemic to the character itself.
Thirdly, the film is far from a biographical recount, a downright English accent and many deliberate anachronisms (smoking, typewriter e.g.) are contrived to amplify the zany flare to its cult hut, a phantasmagorical interpretation of the artist's ill-fated life.
But in such days as these, it seems possible that a film like this might be the kind of thing that you'd come across in one of those dark and daunting booths in modern art galleries, rather than on the screen of a popular cinema setting..
The images were weirdly interesting but I was looking more for a biographical and/or critical accounting of Caravaggio's life and works, not an LSD type drug trip.
However, it's full of exciting events, color, and--yes--actual scenes where a painter is working at his art.
Most films about artists show everything but the art.
The celebrated actor Nigel Terry plays Caravaggio, and the equally celebrated Sean Bean is his lover Ranuccio.
That scene alone makes the film worth seeing.I saw the movie on DVD, where it worked well enough.
It's worth seeing if you love Caravaggio's art, as I do.
However, if you want to get a better sense of Caravaggio's life and of the milieu in which he lived, I would opt for Longoni's film.
And - like good jazz, where a soloist improvisor may play snippets of other, well-known tunes in his/her improvisation - contains scene quotations from great works of art by others NOT Caravaggio.
When Tilda Swinton looks directly into the camera (making me swoon), she presages her doing so many times three years later in "Orlando."If this film is to your taste, then see Julie Taymor's "Titus" - her take on The Bard's Titus Andronicus..
It's been long since Caravaggio along with Wittgenstein created a new level in my personal movie picture register.
And another question appears: can you be sure in Caravaggio - in Jarman's case, of any intention to make a good movie?As much as I can put aside artistic inclinations in all Jarman movies - i cannot forget the fact that regardless the time they were made, all look, talk, feel and smell the same.
Unlike any other bio-film - "Caravaggio" (the fictionalized story of said 16th Century, Italian painter) brings the viewer right into the artist's studio.This film's strengths are in its superb cinematography, its fine cast, and, last, but not least, the marvelous works of Michelangelo Caravaggio, who was nothing short of being a startling genius.Caravaggio, whose art themes centred around sex, death, and redemption, is considered to be the greatest of the post-Renaisance painters.This controversial bio-film explores the artist's life, which was, indeed, very troubled by the extremes of burning passion and artistic radicalism.
Here Caravaggio is depicted as a brawler, gambler, and drunkard with bisexual tendencies, who employed street people, harlots and hustlers as his models.Directed by Derek Jarman - "Caravaggio" contains several surprising anachronisms that don't rightly fit into the 16th Century landscape, such as a bar lit with electric lights, a character using an electronic calculator, and the sound of the occasional car honking its horn outside of Caravaggio's studio."Caravaggio" is certainly an intriguing piece of film-making that's sure to be enjoyed by any fan of the avant-garde..
This film tells the life story of the 17th-century painter, Caravaggio, from his adolescence to his death.I find "Caravaggio" not very easy to follow, because characters are not introduced by name; and it also does not help when Caravaggio is played by three different actors!
Though I did not particularly enjoyed "Caravaggio", I will give Derek Jarman's films another go though..
Basically, in the 16th Century in Italy, there was Baroque painter Michelangelo Merisi Da Caravaggio (Nigel Terry), and this is a fictionalised (for the latter amount) of hoe he created some of his greatest works.
The film begins with Young Caravaggio (young Dexter Fletcher) creating his first works, including self-portrait styled Young Sick Bacchus, before moving to his adult days where he became a highly regarded Renaissance painter, including many erotic works of art.
It sees his relationships with models Ranuccio Thomasoni (Sean Bean), who posed in his paintings of St. John, and Lena (Tilda Swinton), the three caught in a love triangle (experts aren't sure whether Caravaggio was gay or bisexual).
Caravaggio also dabbles in prostitution, and uses these prostitutes, drunks and people on the street to create some of the most magnificent pieces, all oil paintings on canvas.
Terry excels in the leading role of the artist, Bean and Swinton as the smitten couple who connect with him are really good, and there is a great supporting cast, but what I loved most about this biopic was that it didn't stick to the conventions of period like your supposed to.
Even though it is meant to be the 16th Century, the film slips in some small background and foreground modern day things, i.e. deliberate anachronisms e.g. tuxedos, calculators, cars, Christmas lights, magazines, typewriters, motorbikes, swearing and much more besides, that manage to fit themselves in the scenes they feature.
I believe this technique and style is called "Mise En Scène" (which I looked at a little in Film Studies), it is a (brush) stroke (LOL) of genius by accessible director Derek Jarman, and this absolutely deserves its place as one of the 1001 Movies You Must See Before You Die, it is a brilliant non-conventional biographical drama.
Living and working close to the Pope, Caravaggio is classified a sodomite but tolerated because of his art, because of the marvelous paintings he can produce.
Such a relation will never be sexual because it would be antagonistic with what the passion it contains means.And that distance in time between Caravaggio and us is clearly identified in the film with all kinds of anachronistic sounds or objects: electricity at the end of the 15th century, motorbikes, cars, trains, helicopters, cigarettes, etc.
But it may also mean that luckily progress will bring some new way of looking at life and love.Dr Jacques COULARDEAU.
Derek Jarman does an amazing visual transformation with Lena (Tilda Swinton) that really stunned me, it's one of the most beautiful portrays on movies.
|
tt0027280
|
Alpine Antics
|
One day at the Swiss mountains, Oswald is milking a goat which would then run away upon being called by another one passing by. As Oswald's goat jumps out of the scene, the bucket used is kicked off and was all over the rabbit's head. Oswald struggles to remove the pail but is able to get it off on time when he stumbles. Just then, his faithful St. Bernard dog comes to him, carrying a message. The message is a distress note from the girl cat seeking Oswald's help.
Oswald and the dog move forth and head upland. Obstacles on the way include large rocks and a canyon, both of which they get through with little trouble. After a few more paces, they find the girl cat up a cliff and hanging onto a branch. To reach her, they stuck a ladder on top of a boulder. Oswald climbs up and collects the feline. It turns out momentarilly that the boulder is in fact a wolverine which wakes up and isn't happy to see them. Frightened by this, the dog runs off, carrying the ladder with Oswald and the girl cat still on it.
Keeping away from the fierce predator, the three friends run into a cave. When they reach the opened end, they find themselves on an edge thousands of feet above water. They then move further from the exit and around the mount to hide themselves. The wolverine also enters the cave but is unaware of what lies ahead and therefore picks up speed. As a consequence, the wolverine overshoots the edge and plunges into the sea. Oswald and the girl cat ride the dog on their way back.
|
psychedelic
|
train
|
wikipedia
| null |
tt0120121
|
The Shooter
|
During a mission in a country where "we are not supposed to be in", sniper Bob Lee and his spotter Don 'Donnie' Fenn are deemed to be expendable and are forced to find their own way out. Donnie is killed. 36 months later, Bob Lee Swagger reluctantly leaves a self-imposed exile from his isolated mountain home in the Wind River Range at the request of Colonel Isaac Johnson (Danny Glover), who appeals to him to help track down an assassin who is planning to shoot the president. Johnson gives him a list of three cities where the President is scheduled to visit and Swagger assesses a site in Philadelphia as the most likely. This turns out to be a set-up; while Swagger is working with Johnson's agents Jack Payne (Elias Koteas) to find the rumored assassin, the Ethiopian archbishop is instead shot while standing next to the president. Swagger is then shot twice by a city police officer, but manages to escape. Payne tells the police that Swagger is the shooter and this unleashes a manhunt for the injured sniper. However, he meets rookie FBI special agent Nick Memphis (Michael Peña), proclaims his innocence, disarms the agent, and steals his car.
Memphis is blamed for Swagger's escape and is informed that he will face disciplinary review, but argues that, given Swagger's training and experience, it is surprising that the president survived and the archbishop standing several feet away was killed.
Swagger takes refuge with Sarah Fenn (Kate Mara), widow of his late spotter and close friend, killed in the mission in Africa 3 years before. He later convinces her to help him and contacts Agent Memphis with information on the conspiracy. Memphis had been independently investigating evidence that Swagger may have been framed for the assassination, and is further made suspicious when he learns that the officer who shot Swagger was himself shot dead just hours later in a "mugging".
When the agents realize their secret is compromised, they kidnap Memphis and attempt to stage his suicide. Swagger pursues them and kills the captors. The two then join forces and visit a firearms expert who provides information on the FBI's ballistics report and a short list of people capable of taking a shot from a distance of one mile or more. Armed with the information and the realization they have actually found the last man alive who could have made the shot, Swagger and Memphis plot to capture the ex-sniper, whom they now know is the real assassin. Once they find him, he commits suicide after revealing that the archbishop was actually the real target and was murdered to prevent him from revealing the U.S. involvement in the massacre of an Eritrean village. The massacre was carried out on behalf of a consortium of American corporate oil interests headed by corrupt Senator Charles Meachum (Ned Beatty). Swagger records the ex–sniper's confession of his involvement in the African massacre, in which he also reveals that Swagger and his spotter Don were not supposed to survive. With Memphis' assistance, Swagger escapes from an ambush by mercenaries.
Payne and other rogue agents kidnap Sarah to lure Swagger out of hiding. It is suggested that a restrained and bruised Sarah is raped by the mercenary, Jack Payne, who captured her. With his new evidence and cat and mouse strategy, Swagger and Memphis are able to rescue her when Colonel Johnson and Senator Meachum arrange a meeting to exchange their hostage for the evidence of their wrongdoing. Swagger shoots several men who are hiding to ambush him, also seriously wounding Payne, the mercenary. Sarah picks up a gun and finishes Payne off. The Senator is allowed to escape, while Swagger and Memphis surrender to the FBI.
Swagger is brought before U.S. Attorney General Russert and the FBI director in a closed-door meeting with Colonel Johnson, Memphis, and Sarah also present. Swagger quickly clears his name by loading a round into his rifle (which is there as evidence, since it was supposedly used in the killing), aims it at the Colonel, and pulls the trigger — which fails to fire. Swagger explains that every time he leaves his house, he removes the firing pins from all his guns, replacing them with slightly shorter ones, thus rendering them inoperable until he returns. Although Swagger is exonerated, Colonel Johnson cannot be charged with his crime, as the Eritrean massacre was outside American legal jurisdiction. The attorney general tells Swagger that justice does not always prevail in today's world. "It's not the Wild West where you can clean up the streets with a gun, even though sometimes that's exactly what's needed." Russert then orders Swagger released and exonerates him of all charges.
At the senator's home, Johnson and Senator Meachum celebrate and plan their next move. Swagger breaks in and kills both conspirators and their men, arranging for the house to blow up as if by accident. In a final scene, he drives away with Sarah.
|
revenge, sadist
|
train
|
wikipedia
| null |
tt0058275
|
Limonádový Joe aneb Konská opera
|
In the frontier town of Stetson City, Arizona, in 1885, business is booming at the Trigger Whisky Saloon. Tornado Lou, the local chanteuse, regales the saloon-goers with a sultry ballad ("Když v báru houstne dým"), while the saloon owner Doug Badman tries in vain to woo her. Two evangelists, Ezra Goodman and his daughter Winnifred, enter the bar attempting to drum up interest in their temperance movement, but the saloon's hard-drinking cowboys scorn them. Into the fracas steps a stranger: Lemonade Joe, a lone cowboy singing the praises of Kolaloka, a non-alcoholic soft drink (in Czech, limonáda, hence the name). His superior gunfighting skill quickly convinces the saloon-goers of the benefits of teetotalism. Before long, Joe and the Goodmans have joined forces, Joe has begun courting Winnifred, and all the cowboys in Stetson City have transferred their loyalty to the cathedral-like God Bless Kolaloka Saloon ("Arizóna, to je pravých mužů zóna").
Doug Badman's business is saved by the arrival of his brother Horace, alias "Hogofogo, the Master Criminal of the Wild West". In a dramatic public appearance, Hogofogo convinces the Kolaloka customers to go back to Trigger Whisky, and soon the old saloon is back in business ("Whisky to je moje gusto"). Joe, unaware of the developments, is riding on the prairie ("Sou fár tů jů áj méj") until, thanks to a mirage, he discovers that Hogofogo has his own designs on Winnifred. Joe saves Winnifred from his clutches, but in the ensuing fight, his account book falls to the ground. Reading it, Winnifred discovers the truth: Joe is not the selfless hero he appears, but rather a traveling salesman for Kolalok & Son, makers of Kolaloka. Delighted at the news, Winnifred pledges her love for Joe. However, the chanteuse Tornado Lou has also fallen for Joe, imagining him as the ideal lover who will make her "different, better."
Joe returns to Trigger Whisky Saloon, where, in another display of fighting skill, he wins the customers back to Kolaloka once again ("Můj bóže, můj bóže"). Hogofogo, in disguise, attempts to shoot Joe, but Joe instead engages him in a gunfighting chase through the town, trying to force him into signing a testimonial in favor of Kolaloka. Though Hogofogo seems momentarily to have the upper hand ("Horácova polka"), Tornado Lou attacks Hogofogo and saves Joe's life. Joe, too commercially oriented to understand her devotion, spurns her advances. In misery, she vows to help the Badmans lure Joe to his death. Their plan begins with Hogofogo, now disguised as a blind piano tuner ("Horácův pohřební blues"), kidnapping Winnifred as a bait to lure Joe to Dead Man's Valley ("Balada Mexico Kida"). There, the Badmans' henchmen, led by Grimpo, capture him and torture him, but Lou has a change of heart and saves his life again, reuniting him with Winnifred. Meanwhile, Hogofogo waits for his henchmen to deliver Winnifred to his room. Instead, Joe appears and forces him to sign the testimonial. Hogofogo, taking advantage of Joe's aversion to spirits, ambushes him with a volley of gunshot and leaves him dead.
Hogofogo tracks Winnifred down to the Stetson City cemetery, where he attempts once again to kidnap her. When the now-moral Tornado Lou stops him, he kills her; in revenge, Doug Badman kills Hogofogo, and in his death throes, Hogofogo kills Doug. Just as he is about to shoot Winnifred, Lemonade Joe enters alive and well; surveying the three dead bodies, he notices their birthmarks and discovers that they are his long-lost siblings. He revives them with the same medicine that has just brought him back to life: the miraculous soft drink Kolaloka. Joe's father—none other than Mr. Kolalok himself, owner of Kolalok & Son—enters just in time for a happy ending, in which villains and heroes alike agree to work together and merge their businesses to create a new drink, Whiskola. The entire Kolalok family, including the newly married Winnifred and Joe, ride off into the sunset in a stagecoach as the population of Stetson City cheer.
|
absurd, psychedelic
|
train
|
wikipedia
|
It is indeed a broad parody of the western movie genre: cliche piled upon cliche, yet still surprising and delightful.
Historical note: the version I saw was dubbed, not subtitled (I long thought it Italian in origin); the tinting was not sepia with yellow highlights, it was just glaring yellow; and it was called "The Lemonaid Kid" not "Lemonaid Joe" (hence part of the difficulty tracking it down).
(Since this release title is reminiscent of "The Lemondrop Kid", I can imagine paranoid lawyers at MGM giving this film's release a lot of hassle, which may explain how it got so buried.) I thought it the funniest thing I had ever seen and that impression stuck with me as I grew older and developed a taste for the more absurdist and aggressive style of comedy, e.g., the Marx Brothers, Monty Python, etc.
i knew I had seen something very special in "Lemonaid", but found no references to it in movie catalogs like the Maltin book, and nobody who knew films seemed to know anything about it - and I come from Rochester, NY, home of the second largest collection of film in the country, the Dryden-Eastman collection.
I certainly hope another viewing will justify my warm memories of it.Note added August 26, 2009:Well, I finally found it - it is currently available in 10 chapters at Youtube.It is not only everything I remember it for, but far more - one of the wildest visual comedies of its era and one of the sharpest satires I have ever seen.The only weakness is the ending - while it makes its point, it's too blunt and too easy.But the rest of the film is basically Brecht-Weill remaking "Support Your Local Sheriff" (which hadn't been made yet, of course) - absolutely incredible mix of pop culture and art-house comedy styles, as unforgettable now as it was 40 years ago (well beyond mere 'camp,' it hasn't aged a bit), decidedly one of a kind.(PS - I've read Leone fans wondering if this film references "fistful of Dollars" - oh, no - Leone, Corbucci, and other Italian directors were almost certainly influenced by this.).
Bizarre, but interesting, communist-era satire of traditional American Westerns.
The concept of this film (an affectionate send-up of old-fashioned American cowboy films) is one that seems to have been kicked around in the movie business, both here and abroad, for quite a few years.
With no more dialog than some snickers and shouts, along with an operatic-style song performed by the singing cowboy hero and his heroine, it does a nice job of satirizing the old conventions of the singing cowboy movie.
It's a charming film, well worth seeing."Lemonade Joe," done in 1964 by yet another Czech filmmaker, Oldrich Lipsky, seems to be expanding greatly on the subject in order to extend it to feature length, and aside from the basic concept the plot bears no relation to "Song of the Prairie." Yet, anyone who's seen "Song of the Prairie" will immediately see the connection.
To an English-speaking person like myself, the lyrics sound tantalizingly like English, even finishing up with the repeated phrase "goodbye, goodbye." Yet, if you look at the lyrics spelled out (as they are in the Czech DVD that I watched), you can see that they mean nothing at all in English.
Are they in fact Czech, or some gibberish concocted to sound like English?
Not understanding Czech, I can't really say.Laurie Edwards' sourpuss review (see "External Reviews" and "CultureDose.net") demonstrates that not everyone will appreciate this film's style, which is certainly foreign in comparison to typical Hollywood fare.
While the film's basic concept appeals to me greatly and I enjoyed its bizarre, surreal, and anarchic qualities, I can see how it might rub people the wrong way, particularly those with more conventional tastes.
On the other hand, far harsher criticisms were made by American filmmakers in American films during the same era, so I wouldn't dream of taking any offense at it at this point in time.The most recent attempt to satirize the singing cowboy genre that I'm aware of is Hugh Wilson's 1985 film "Rustlers' Rhapsody," starring Tom Berenger as the western hero.
It seems to me more subtle and complex than "Lemonade Joe," but not nearly as stylish or entertaining.I enjoy seeing all three of the above films, but I think perhaps the cartoon format is the best for this concept after all.
"Song of the Prairie" is my favorite, being an actual animated film, followed by "Lemonade Joe" which is a live-action film that is decidedly cartoon-like, followed by "Rustlers' Rhapsody," which to my taste seems a bit tame and conventional in execution..
Oldrich Lipsky was a Czech director who was well known in his country for unique bizarre comedies.
"Lemonade Joe" is a musical western comedy.
It's a fun parody that pays homage to the old west, and is filmed in awesome sepia tones.
The movie makes many jokes and references to western culture, such as the town name of Stenson City.
Did I mention the film has hot and voluptuous Czech actresses.
Eastern Europe women rock!(dobre) You must Czech out Lemonade Joe. For more Lipsky madness also watch "Dinner for Adele"..
Parody to Wild West movies.
The fact that this movie was made in the Communist times and that it is a parody to Wild West pictures, does not mean that "Limonadovy Joe" is an ideological trash; I am sure Wild West lovers would not feel offended by this movie.
60-ies were the best time for Czech cinema.
`Limonadovy Joe' fits into those liberal years of good movies.
It is known that Henry Fonda watched this title at the International Film Festival in Karlovy Vary (Carlsbad) and declared it as the greatest enjoyment for the long time.
And he did not know the Czech actors playing in the movie!
This Czech elite made one of the most unforgettable happenings of all the time, and also the collaboration of director Oldrich Lipsky and the writer Jiri Brdecka made one of the best (not only Czech) parodies I have ever seen..
An excellent satire of the Great American Way, with Lemonade Joe a "clean living" gunfighter who drinks only Kola-Loca Lemonade and convinces everyone else in town (with his gun skills) that all "real men" drink ONLY lemonade!
The style of the film mirrors that of silent westerns, including humorous sped-up bar brawls and color-tinting (!).
Worth a look for western fans looking for a spoof that goes beyond "Blazing Saddles" and adds satire to the mix, or for anyone interested in Euro-Westerns in general for an Eastern European take on the genre.
"Lemonade Joe" is one of the funniest movies ever made.
The opening sequence catches you by surprise; you're watching the funniest western fight in a saloon without warning.
Although this film is (obviously) all in Czech, most English speakers won't have any trouble figuring out the story, since it's an extremely broad parody of a genre most people are familiar with.
On the women's side, we have your basic saloon girl with a heart of gold and the virginal ingenue, who we know will eventually end up with Lemonade Joe. Considering this movie was made under Communist rule, it's a pretty dead-on satire of the American Western..
It's a spoof of Westerns, not so much the John Ford type as silent-movie serials.
Therefore, the Comunist regime financed a satire on western films that is, by a long shot, one of the most funny, intelligent, vivid, wild, riotous, excellent movies I saw on TV a wonderful night.
Now I've seen everything...a Czechosloakian parody of an American B-western!.
In many ways it's like a Czechoslovakian version of "The Villain".This western is set in a lawless town in Arizona.
However, when Lemonade Joe shows up, he's out to clean up the town and introduce them to the invigorating effects of a lemonade drink, 'Kolaloka'.
Joe is a clever amalgam of various B-western heroes like Gene Autry and Roy Rogers, though he's even more virtuous--and looks a lot like Gene Raymond.Doug's brother, the even more evil Horace Badman (also known as 'Hogofogo'), arrives in town and is upset to see that order and sobriety are the rule of the day.
I could say more about the plot but don't want to spoil it.The film doesn't even try to be subtle in any way.
You will not understand all of these jokes so typical for the Czechs, like you will not understand all of the jokes in Hasek´s Good Soldier Svejk.
I first saw this film, an excellent English dubbed version which made it totally comprehensible, at an El Paso, Texas movie theatre many years ago.
It is a brilliant, hilarious, outrageous spoof of the early American cowboy western.
The central character, Lemonade Joe, is a personification of "clean living" and a combination of all those early movie cowboy heroes in the tradition of William S.
The movie follows Joe as he attempts to rid the town saloon of liquor and promote his own product creation Kola-Loca-Lemonade.
As you can well imagine, Joe in his efforts has to confront some rather mean varmints especially one appropriately name Duke Badman who at one point in the movie gets the better of Joe by spiking his lemonade drink with liquor causing him to gag and pass out.
But in the end, good triumphs over evil for as Lemonade Joe so philosophically declares at one point in the movie "Evil can not stand against a clean-living man.".
I am happy to find out that also in USA, where the parody aims to, are people that find the movie funny.
It is a bit different view to Europeans and American westerns, using distinctive style of humor.
I am not kind of people who would laugh from the beginning to the end, but i can see it many times and I find always the style of humor interesting and i enjoy the seeing.
There are a bit slower parts what can someone understand as an attempt for seriousness in the movie but it really does not compete with real western movies.For the people writing here about the projections in USA with English dubbing.
Meet Our Noble Hero & Protector: Lemonade Joe. Before sitting down to watch Lemonade Joe, you really have to be in the right frame of mind to fully appreciate this film in all of its eccentric quirkiness.
And, it would also help if you were something of a fan of Hollywood, B-Westerns from the 1940's, as well.Opening with one of the absolute, best, over-the-top, bar-room brawl scenes that I have ever seen in any Western, I found Lemonade Joe's cartoon-ish surrealism to be very entertaining, for the most part.This 1964 Western from Czechoslovakia was, of course, a total spoof of the genre.
And, from my point of view, it certainly hit its intended mark more often than it missed.Featuring some really outlandish stunts (worthy of The Three Stooges), lots of interesting camera-work, and a non-stop barrage of exaggerated characters (including a nasty villain named Hogofogo), Lemonade Joe (set in 1885 in the lawless town of Stetson, Arizona) was very competently directed by Czech film-maker, Oldrich Lipsky, who obviously must have watched a helluva lot of Hollywood B-Westerns in his youth..
Basically, these movies were westerns that took a swipe at the US.
One that I've previously seen is the East German movie "The Sons of Great Bear", featuring an Indian as the protagonist.Anyway, "Lemonade Joe" pokes fun at the old western musicals.
In the process, Joe woos a young woman while fighting a dastardly villain.I should note that the movie is basically a slapstick comedy.
They incorporate sound effects to add to the humor, and Joe occasionally breaks into song (sometimes in English!).
Lemonada Joe is in fact so bound to Czech culture that translation of it's subtle poetry to another culture is very hard.
Lemonada Joe is not satire "per se", it's not just slapstick fun and it's also not a simple critique of early capitalist society but rather cinematic pastiche or cinephile comedy with relativist look on morality (idealism is possible only in a silly movie).
I, like others Czechs, has grown up with movies like this.
In an original book the final end of Lemonada Joe is absurd and dark.
Enter lemonade joe.
The dialog is really cheesy and i think very badly translated from its original Czech( I am referring to the subtitles) The characters are ridiculously exaggerated and poorly written.
i think the only other time I saw filmmaking this bad was when I saw Troll 2.This movie is just so horrible I cant articulate it.
A parody movie about a soda mascot that always solves his problems with said product, this surely should be funny unless you decide to be "very experimental" and decide to saturate the vision of your audience with a single color.
Imagining it sounds funny, a way to parody the old western movies who only used black and white due to the time but now...it just is like that, the color changes with the staging or the emotions of the characters but honestly looks awful.
In case you get used to it and do not get a headache when the movie ends you still will feel a bit disappointing.That's because some jokes really do not give grace and the ones who give grace are random you know the ones who do not make the characters in question but how the characters interact with the enviroment, but hey I have a good reason for it, they have only one characteristic to show and so one joke from some of them at least the ones who are random enough.
Due to what I said that the story is turned into something predictable and I did not witness any effort to improve it, yes we have some jokes through the whole movie with some that I found very funny like I admitted but it does not help at all when the whole story is about bad boy does bad thing and ruins good boy but then good guy comes back and reestablishes the status quo a certain number of times through all the movie.The other aspect that I liked besides some few jokes were the music that really is not so good but compared to the bad pop music made by four producers of today I can say that it was good especially the one that the protagonist sings recurely, is not a lot but I didn't want to be so negative.5/10 A movie with some terrible saturated colors that only hipsters will give it a masterpiece title, if you manage to don't let the colors bother you then it will give you some giggles just that and nothing more..
I'm pleasantly surprised there are so many reviews for "Lemonade Joe", considering that most reviewers on IMDb are American or West-European movie fans.
But films like this have some special meanings for people on the other side of Europe.While communism controlled every segment of life, it was natural that only regime-approved movies could be made, so they had to glorify socialism, Soviet Union (except in Yugoslavia and Albania), expectation of better future (due to Communist party), also they had to condemn capitalism, USA, religion (not in all countries equally).
That's why movie about USA (if not pure propaganda) could have been just a parody.
In the same time, ordinary people (even some members of Communist parties) envied West Europeans and Americans, secretly wishing capitalism to come to their countries, and especially USA was a Shangri-La and a liberator.
(Do I hear a big laugh from Stalin's grave?)Not only parodying westerns (mildly, gently, with a smile) and American consumers way of living (much more bitter), it shows people as a herd: the first one is followed by all the others.
If drinking whiskey is declared to be modern, everybody does it, when it's modern to drink Cola-Loca, they all change their attitudes and habits, and it doesn't matter if a black or white suit guy leads - people accept what is said to be "in" (they didn't have satellite TVs and talk-shows, but Joes and Horáces were enough).
I also thought it was a parody to European art-movies but this one seems to be older.
Photo and editing is western-like during action, but when music starts it changes to Vera Chytilova-style (though it's older than her well known works), so it can be a parody to modern art too.* A spoiler describing the end *Finally, resurrection in last scene connects past and today again (remember Jackson-McCartney "Say, Say, Say" music video, and all modern magic curatives).
Are we too spoiled by Mel Brooks' parodies?Just one more answer: the title song doesn't contain Czech words, but English and Spanish words were obviously intentionally used without a meaning - common c&w words put together like common characters and action in western movies.Wear a smile, take a cup of coffee, and read between the lines!.
Checking movies that a DVD seller, (who is a big Czech film fan) had tracked down,I remembered him praising what might be the only Czech Western ever made!,which led to me having a glass of lemonade with Joe.The plot:1885:Disguised at how drunk everyone is in the salons, evangelists Ezra Goodman and his daughter Winnifred decide to go round the salons and get the cowboys off hard drinks for their own, non-alcoholic drink Kolaloka.
and the fact that it is a western in czech language is an add to a joke.
the movie is also called the horse opera which is much better to call it like that then a western.
since i've seen this movie(10 years or so ago) every time i want to order a whiskey and coke in a bar i call a whis-kola even they, in the movie, don't mix whiskey with coke but thats how they call drink they make.
this one is a shining example of czech film industry, better said European film industry.
|
tt3380264
|
Kill Dil
|
Tutu (Ali Zafar) and Dev (Ranveer Singh) are two orphans who were raised by a local gangster Bhaiyaji (Govinda) to be assassins. Their life takes a turn when they meet Disha (Parineeti Chopra) at a club and she and Dev fall in love with each other. Dev's indifference towards work starts irritating Bhaiyaji, but Tutu defends Dev. When Dev is unable to kill one of their targets, he decides to change his life. This enrages Bhaiyaji and he threatens to kill Dev. Tutu intervenes and suggests Dev to look out for a job but should accompany him every time Bhaiyaji calls them to give killing contracts.
Tutu gets Dev a fake MBA degree which helps Dev join an insurance company. Dev and Disha make plans to get married, while Disha is unaware of Dev's past. Bhaiyaji on learning the truth about Dev's job decides to play a trick to get him back. He sends one of his goons, Batuk, to kill Dev and also informs Tutu. He also calls up Disha and tells her about Dev and Tutu's real identity. Just when Batuk is about to kill Dev, Tutu shoots him down in front of Disha. Disha is shocked with the reality and breaks up with Dev, only to break down privately. This results in Dev again becoming an assassin.
Bhaiyaji gives them a fresh contract to kill his arch enemy Baban Pehlwan. Dev and Tutu record a video telling the tale of how they became gangsters and send it to Disha. During a shootout, Dev is again unable to fire the gun and gets shot. Tutu takes him to the hospital, where after an operation, Dev finds Disha waiting for him and they both reconcile. Bhaiyaji gets killed by Baban Pehlwan. Dev and Disha get married while Tutu has a job interview in the same insurance company with a fake MBA degree.
|
romantic
|
train
|
wikipedia
|
'Kill Dil' Directed by Shaad Ali has a brisk first-hour, but a bland & boring second, which acts as a deterrent.
'Kill Dil' Synopsis: Two killers – Tutu (Ali Zafar) and Dev (Ranveer Singh) were nurtured by Bhaiyaji (Govinda) who trained them to be sharp shooters.
Things take an unexpected turn when Dev falls in love with Disha (Parineeti Chopra) and decides to leave his violent life.
Music by Shankar-Ehsaan-Loy is melodious, but the songs pop-up unnecessarily in the narrative.Performance-Wise: Ranveer Singh is in terrific form, yet again!
90's masala popcorn films are back thanks to movies like Wanted , Dabangg , Rowdy Rathore.
Kill Dil tries hard to entertain you but falls flat on the face.Kill Dill tells the story of two orphans raised by a godfather who turns out to be hit-men.
Things go wrong after one of them falls in love with a girl and leaves the gang to lead a peaceful and normal life away from guns and violence.From the director of Bunty aur Babli and Jhoom Barabar Jhoom, not much was expected from Shaad Ali. The lousy direction , insensible screenplay and terrible story gives you a headache which you never asked especially from stars like Parineeti Chopra, Renveer Singh and Govinda.
Ranveer Singh and Parineeti Chopra disappoints big time.
it doesn't rely on endless and pointless stunts to form the narrative as many recent blockbusters haveSure it's not perfect, the story has a familiarity to it (but what film doesn't these days?) and there are a couple of cringe-worthy moments; but I'd rather watch Kill Dil over again than many of the other half-baked 'blockbuster' efforts clocking up the rupee signs over the last 12 months.Do yourself a favour, ignore the reviews and go check it out for yourself- you might be pleasantly surprised..
Plus Point: Kkkk Kill Kill Dddd Dil Dil, Actually the entire music album, Ranveer Singh's madness, Funny dialogues of first half, Song's picturization, Some one liners & the best part of Kill/Dil is Govinda.
Lyrics by Gulzar & Music by Shankar-Ehesan-Loy are the things which made the director-producers to make a film called Kill Dil. Seriously, there is no story line.
Overall, this movie offers you new Govinda and some new one liners or you can say good comedy.
True, it had way too many songs and the second half crumbled..but shaad Ali has made a decent movie.
Performance wise, the two actors that stood out..were govinda and Ali zafar.
Ranveer singh was good but with Ali zafar sharing screen space, I wasn't able to focus on ranveer.
could watch for one time if you are fan of actors then after watching u may regret some of the story and think about what you saw especially in the second half .
do not regret if u missed the film wait a month and watch happily from your own couch on the T.V sets.Songs may be one time watchable probably you tube music videos may be sufficient enough.
With near-no dull moment, movie is expected to have decent success and could be seen twice.After Saathiya (2002), Bunty Aur Babli(2005), Jhoom Barabar Jhoom (2007) Kill Dill is likely to be Shaad Ali's best movie as a director.
Parineeti Chopra looks a million dollars and plays her part with ease, however I think she needs to consider different types of roles that challenge her.
Overall Kill Dil is worth the watch for sure, and certainly go watch it for the performances, especially Ranveer's..
An actor like you, for whom girls will die for, choose this script to show your power packed acting or just you only try to make Aditya Chopra happy?
N Parineeti if stereotyped smile n eye rotations are the criteria for your getting movies , please take rest for few days and learn acting first.Old story, poor songs (not a single one you remember before the next one ), failed back ground score and not but least a PATHETIC SCRIPT ."A COMPLETE DISASTER" Shaad Ali you completely killed my Dill.
Rest in peace Kill/DillNote: (For which now I may be criticize) : Ali Zafar , your new style make you look like Indian Johnny Depp.
Ranveer Singh is good but not in emotional scenes at all.
From the first look of its promo, Kill Dill brought an implicit association with the Quentin Tarantino brand of pulp fiction - heroes in cool leather jackets and dark sunglasses, slow-mo gunshots against a pale-yellow textured template, sly humor, whistle score akin to cowboys genre and an undercurrent of gleeful violence that runs through the narrative.And with an interesting line-up of actors , it appeared as if director Shaadi Ali was in a serious attempt to resurrect his image after the disastrous Jhoom Barabar Jhoom.Despite a promising start and a premise ripe with potential,Kill Dill fizzes out like a con cracker.Set in the hinterland, somewhere in the Delhi-NCR suburbs, it tells the story of two friends, Dev(Ranveer Singh) and Tutu(Ali Zafar) who are raised by the grizzly don, Bhaiyaji(Govinda)when he finds these two orphans lying in a garbage dump , to become contract shooters.Without much of insights, we are given glimpses of the camaraderie between these two boys and their fetish for bullets and beer.Shaad establishes the fact they have a tough exterior but soft at heart.All is well till Dev falls in love with the vivacious Disha(Parineeti Chopra) who rehabilitates criminals for a career but is oblivious of Dev's tinted past.Conscience hits Dev and he decides to abandon the world of crime, which doesn't go well with Bhaiyaji.Should I go ahead with the plot?
Well,its a pure cliché, which is churned into a cauldron of romance, ample naach-gaana,daru-shaaru and action.A lot of energy is infused by the flamboyant Ranveer who proves his mettle at comedy yet again with terrific one-liners.He is ably armed with the perky and piquant Parineeti who is effortless as far as the acting chops go , but crippled with outrageous styling and ill-sketched characterization.A series of SMS exchanges between the duo provides genuine 'LOL' moments.Equally noteworthy is the job interview sequence which lands Ranveer up in desperation to crack.Ali Zafar provides the balancing act here with his self-restrain while Govinda makes a praise-worthy comeback in a negative role.In fact, with the catchy soundtracks ( Shankar-Ehsaan- Loy)and the veteran's signature steps, it does manage to keep you in the groove.In spite of all these positives, Kill Dill is muddled with a hackneyed script and over-simplistic treatment which doesn't give any depth to the characters and you know you are tricked only when it ends abruptly , after running a little more than two hours.If you want to know my verdict, I would label it as another Yashraj flick with an infamous 'style over substance' tag.Rating :2.5/5.
On a lazy sunday afternoon switched on Amazon prime and decided to watch Ranveer Singh's KILL/DILL.
It had laughs, good bonding between Ali and ranveer.
Govinda And Ali Zafar have done good job..
This movie was so entertaining but I loved the movie I watched this movie four years ago in 2014 Superb storyline great screenplay good editing good direction Songs are really impressive Ranveer was superb Ali was fine parneeti does well govinda is superb as the villain 7/10 This movie is definitely worth watching for every audience.
this movie has everything its a complete masala movie,the songs are superb,gulzar saab and SEL are superb,the comedy in the movie actually makes u laugh and not like non sense comedy which we see in movies now a days and then they make 200 crores its much better than that 200 crore movies actors are good in the movie and fit their bill.
this movie is a must watch movie every1 needs to see this movie,u will rarely see a movie which has combination of super music,amazing lyrics,good story,very good acting,and some sense making comedy.
It's like GUNDAY's script rewritten with few new characters & released as a fresh film to fool the audience yet again..
So here is a brief account of what they showed us in their promos and what the film had in its 2 hours of duration offering simply nothing of that sort, ridiculing the audience yet again.Keeping a title inspired from Quentin Tarantino's cult classic KILL BILL, if you think they tried to follow anything related to that film in execution, storytelling or else, then forget about it completely since the film is not even interested in that.Looking at the exciting promos, if you are expecting a great time with the trio and a lovely lady enacting on a fresh script from the team, then you are gravely mistaken as YRF Studios have just rehashed their mediocre GUNDAY, converting it into a lousy love story presenting it as a new release, considering the audience as a bunch of dumb minds sitting in the theaters once again.Considering its unusual cast ensemble if one thinks Govinda is there to make a strong comeback then he or she is going to be hugely disheartened as despite making an honest effort, the veteran remains wasted due to the film's inane writing giving him a confused character, who enters the screen without any great build up and then suddenly starts singing & dancing like a professional performer ruining his own persona of a Don. Moreover, after a fine initial 30 minutes with Ranveer, he becomes stereotyped and takes away the major portion of the film ignoring the others.
But apart from these two insertions, KILL DIL simply deserves to be ignored and Shaad Ali really misses the train making such a terrible film, wasting a huge opportunity in hands.
What makes it different are the three men 'Govinda, Ali Zafar Ranveer Singh' !!!
Shaad Ali's Direction is good.
Ali Zafar supports Ranveer, wonderfully.Parineeti Chopra looks gorgeous & delivers a fair performance..
The movie has fallen flat in every aspects, be it the story or the acting or the direction, the movie fails to expectation on every angle i.e., everything was disastrous.I would also like to make a comment on the lead actors.
Lost script, refreshing dialogs and plenty of melodrama, typical Yash Raj, Kill Dil had everything that a bollywood masala movie must have except for the X-Factor of the selective stars, maybe the aura of the legends that makes inconsequentially ordinary films work like charm.
Songs were interesting, but you don't go watching films to listen to songs do you, we do not anymore live in the 60s and 70s Ali Zafar remains in a freeze on his Pakistani TV Series style of acting and a monotonous and now quite boring dialog delivery, he seems to be a fish out of the water with every passing film.
Hasn't Ranveer Singh been playing the same typical roles in last 3-4 movies of his?
We have already seen countless movies based on the theme on which Kill Dill is set up.Ranveer Singh is wasted so is Parineeti Chopra.Chopra has made a very bad choice this time.There was nothing to do for her.
Music is below average except the title track.Please avoid this movie.
Bollywood needs some original ideas of its own, rather than borrowing 20-year-old concepts from the United States, if it wants to be a serious competitor in any real market.Kill Dil, a movie about assassins, tries to compensate for its real lack of a plot by adding over- the-top cinematic sequences and Bollywood A-list actors.
As India struggles to find an identity that will suit the younger and more socially liberal generation, Bollywood aims to balance modernized notions such as open affection and a playboy lifestyle with traditional ideals, and finds its niche as it has so many times before, in what films used to look like in the mid 90's.What would have been the saving grace for Kill Dil would have been an original plot that, as so many blockbuster movies have done, deviated from stale concepts to provide a fresh perspective on what should be an exciting profession..
Ranveer and Parineeti is great in the movie with their romance and comedy, their combination is awesome, Ali zafar did good as supporting And Govinda brings life to the movie with his powerful and comedy dialogues with new villain expressions.
The story, lets consider it has one is about two hit man Dev (Ranveer Singh) and Tutu (Ali Zafar) who owe their life to Bhaiyaji (Govinda) because Bhaiyaji literally picked them up from dustbins and has raised them to be his hit men.Bhaiyaji calls them occasionally and hands them their target and which they finish off easily but who will kill us and free us from those poor jokes that Bhaiyaji cracks.
20 minutes into the movie after all the back story a song and some gun shots, of which not even one hits our hero's we meet Disha(Parineeti Chopra) who takes home a goon who saved from another goon for a after party at her friends home.
If anyone need rehabilitation its the audience after watching this film.So Dev falls for her.
Bollywood movies have reached a point where the less logic you apply the more you enjoy the film.
Frankly speaking, I went to watch this film only for Govinda as I wanted to watch him in a new avatar after many years.
The trailers looked good so I had expectations from it, but what turned out was a complete mess of a movie.
Govinda, undoubtedly the most powerful actor of the film was made to sit on a rooftop for most parts of the film by the director and growl orders to his henchmen played by Ranveer and Ali Zafar and crack lame jokes with them.
While he may have given his full effort to make himself look menacing as Bhaiyaji, the director Shaad Ali wasted it by his poor direction.
I am not a fan of Ranveer Singh, but his performance in this movie is good and has given it much needed energy.
Ali Zafar mostly keeps quiet throughout which is a good thing.
I gave Kill Dil 4 stars because of 1.Govinda, 2.Ranveer's effort, 3.the title track, 4.Gulzar's lyrics.
Dev (ranveer) and Tutu (ali zafar) are professional killers who are raised from the streets by Bhaiyaji (govinda) and trained for that job.
They look upon him like their God and at one point Dev ends up saving Disha (parineeti) who was once a criminal.
The interval bang was neat and the second half was good but ending was way too abrupt.Overall, Kill Dil is predictable and run of the mill, but its still entertaining and fun at many intervals.
The ending to was abrupt but the film had Govinda in fine form....
the scene in movie are more or less predictable.This made viewers unsatisfied where they wanted to see more story and more good ending.
Govinda played well as per the role offered, but still I believe he is not a perfect choice for the role and it would have been offered to some other actor like Jackie Shroff or his role would have been made more stronger giving him more screen presence and better screenplay and definitely movie would have been taken to a new level.
Govinda played well as per the role offered, but still I believe he is not a perfect choice for the role and it would have been offered to some other actor like Jackie Shroff or his role would have been made more stronger giving him more screen presence and better screenplay and definitely movie would have been taken to a new level.
Over all it is worth watching and all four lead actors leave their mark with good performance..
Over all it is worth watching and all four lead actors leave their mark with good performance..
Kill dil is the same old fashioned story which has been used several times in bollywood.Dev and Tutu are orphans who were nurtured by Bhayaji,a crime boss and now works for him.Dev falls in love with a girl.According to bhaiyaji love is like a barrier in this occupation.Now what will happen of Dev?Will he be able to get his love?For answer of these questions you have to watch the movie.The story is nothing new but screenplay is crisp.The chemistry between Ali zafar and Ranveer singh is very good.Both were truly awesome.They should choose better scripts to show their flair.Parineeti chopra had nothing much to do in the movie.No doubt she is one of the most talented actress of new generation but she has used in this movie as a fill up.Govinda was neither bad nor good.One liners of the movie were good.Climax of the movie has been wrapped in a hurry which fades away the influence of the movie.Music was average and direction was below average.Directors should think something new and make film on good scripts.Overall a decent one.......
The movie has got a beautiful touch of YRF and Shaad's directions have created a new magic throughout the film.
The movie has got a beautiful touch of YRF and Shaad's directions have created a new magic throughout the film.
Ranveer Singh and Ali Zafar's performances were not as good.
Ranveer Singh and Ali Zafar's performances were not as good.
Story: Dev (Ranveer Singh) and Tutu (Ali Zafar) work as Bhaiyaji's (Govinda) henchmen.
Dev, despite being an ordinarily written, seen-too- many-times-before sort of character, Ranveer adds his own touch of sincerity to the role.Parineeti Chopra is great in her role.
I am a victim of my own expectations when it comes to her.Ali Zafar cannot act.
It would have been interesting to watch him and Ranveer squabbling more like that intense, momentous 8 minute monologue.
Such sparks are rare in the film.Direction & Screenplay: Shaad Ali's long sabbatical since Jhoom Barabar Jhoom did help him.
While, the music of the film is good, there is too much of it.
Despite good performances by Ranveer and Govinda, the film is a victim of bad writing more than a bad story, and wobbly direction which couldn't guide the ship right.
|
tt0050900
|
Ride Out for Revenge
|
Chief Yellow Wolf and son Little Wolf walk to town (the plight of Yellow Wolf's tribe is so dire they walked to town to save their horses) to meet with army Captain George (Bridges) to seek provisions for the upcoming winter. He wants the Indians relocated off of their own land. He pretends to be interested in Yellow Wolf's offer of living together in peace, then his man Garvin murders him in the street. George protests he had only instructed his man to "rough up" Chief Yellow Wolf.
Marshal Tate (Calhoun) sides with the tribe and also is in love with Yellow Wolf's daughter, Pretty Willow. His attitude disgusts George, who demands the marshal turn in his badge. Tate does so willingly and tells son Billy it is time they move to another town. Amy Porter (Grahame), a widow who runs the boardinghouse and loves Tate, tells him she cannot abide his feelings for an Indian woman instead.
After ignoring Tate's warnings that there will be reprisals, George panics when they attack. At first be pleads with Tate for help in killing Little Wolf, then conspires with lies to turn Little Wolf and the Indian natives against Tate, claiming he has selfish motives. Pretty Willow turns against Tate after being convinced he plans to kill her brother.
Angry with his father and trying to sneak away, the boy Billy is killed. Tate and Little Wolf end up in a knife fight, while Amy, now regretting her prejudice, takes in Pretty Willow at her home. Capt. George believes he has the situation under control, until Tate turns up alive and well and takes matters into his own hands.
|
revenge
|
train
|
wikipedia
| null |
tt2083355
|
The Best Man Holiday
|
Mia Sullivan (Monica Calhoun), wife of Lance Sullivan (Morris Chestnut), has written letters requesting that the old gang should join them for Christmas: Harper Stewart (Taye Diggs) and his almost-nine-month-pregnant wife Robyn (Sanaa Lathan), Julian Murch (Harold Perrineau) and wife Candace Sparks (Regina Hall), her best friend Jordan Armstrong (Nia Long) and boyfriend Brian McDonald (Eddie Cibrian), Quentin "Q" Spivey (Terrence Howard), and Shelby Taylor (Melissa De Sousa). All the friends arrive at the house, the first time they've come together in 14 years, and the celebration begins. At dinner, the old friends catch up while tensions grow between Shelby and Candace.
Years after his debut novel, Harper is struggling with writer's block, financial difficulties, and pressure from his publisher to come up with newer and better material for his next book. He has also been recently relieved of his faculty position at New York University, further complicating the couple's financial position. He kept all this from Robyn, as she is finally pregnant with their first child after years of expensive fertility treatments and the baby is almost full-term. His agent suggests he write a biography on his estranged friend, Lance, who is set to retire from football. Harper reluctantly agrees, but keeps the biography a secret.
The Murch family, which now includes two daughters, seems to be doing well. Julian opened the school he has worked hard to establish, with his wife, former stripper Candace, as his head of admissions. His main donor, however, abruptly ends his relationship with the school and Julian: he has been made aware of Candace's past and will not risk his reputation as a man of high morals. It is then that Julian finds a YouTube video of his wife stripping and accepting money for sex at a fraternity party. He confides in Q and shows him part of the video. Shelby is living the life she has always dreamed of: as a cast member of a popular The Real Housewives television show franchise, she is now a prominent and notorious reality television star and part of the social elite. Robyn is still insecure about Harper and Jordan's friendship. Q is now a successful brand manager and heavily connected to prominent celebrities.
After arriving at the Sullivan home, Harper notices Mia's dramatic weight loss, but brushes it off and focuses on the reunion and gathering information about Lance for the biography.
The next day, Brian says goodbye to Jordan and leaves for his family's annual Christmas gathering in Vermont. As he leaves, Jordan tells him that, while she loves him, she does not need him. After dinner that night, the men dance and lip-sync to "Can You Stand the Rain" for the ladies to great response. All the couples in the house have sex that night, while Lance gives Mia a back-rub and Q sends risque photographs of himself to Shelby. Harper goes down to the kitchen, and as he heads back to bed, he finds Mia throwing up blood.
Mia reveals to Harper that she was diagnosed with cancer more than a year ago and is dying. After Lance walks in on the two talking, Mia explains to Lance that Harper knows. They both ask Harper to keep the condition a secret. At breakfast the next morning, Q and Shelby accidentally switch phones and Shelby finds the Candace video on Q's phone. She tries to use it to coerce Julian to resume his previous relationship with her, but Julian rebuffs her advances. Not long afterwards, Candace loses patience with Shelby and confronts her, which leads to a physical altercation between the two in front of Shelby's daughter, after which Candace leaves the house with her and Julian's daughters. Lance drives the men to his football practice, with Julian and Q starting a fight in the backseat, but Harper intervenes before it degenerates further.
Back at the house, the ladies are preparing for a spa day when Mia collapses while trying to hang a Christmas ornament. Robyn and Jordan text Harper for Lance and the men quickly return to the house, forcing Harper to tell the rest of the friends about Mia's illness. As they leave, the friends all embrace Lance.
Back at the house, everyone spends time with Mia. While Harper is wrapping gifts, Lance approaches him and the two reminisce about their college days and seem to overcome their differences. The next day, the gang volunteer at a shelter, with Q as a grudging Santa Claus. Harper and Lance seem to be as close as they were in the old days. Afterwards, Lance stumbles across Harper's iPad and journal in Mia's purse, and a mock book cover for his unauthorized biography on the tablet. Lance angrily confronts Harper and tells him to stay away from him and his family. Mia tries to calm Lance down to no avail. He takes Mia home, leaving Q and Harper the last two to leave the shelter. The two talk and Harper finally breaks down and admits the truth of his situation.
Back at the Sullivan home, Robyn is going through Mia's old baby things when Candace returns with the kids. Candace tells Julian she regrets that one time she ever gave "extra favors" to a client and they reconcile. Lance is still heated over the biography when Mia confronts him. Mia challenges Lance to acknowledge the truth. She is to blame just as much as Harper is for the longtime feud between the two men. She reveals she slept with Harper (see The Best Man), even though she knew how much it would hurt Lance, because she was sick and tired of Lance cheating on her. Mia then takes off her wig, forcing Lance to also acknowledge the severity of her condition. The household gathers around the fireplace to listen to the children sing Christmas carols.
The next day is Christmas and Lance's big game. Brian returns to be with Jordan and the two reconcile. The women watch the game together as a family in Mia and Lance's bedroom, while the men attend the game. Lance starts a troublesome first half. Mia calls Harper to speak to Lance, inspiring him to ultimately break the all-time rushing record in a game-winning performance. After the game, the men rush home, so Lance can say goodbye to Mia before she dies.
At the funeral service, everyone but Lance is emotional. Shelby gives Julian a check for two million dollars, covering the funding gap created by the donor pull-out. All she asks for in return is a play date for their children. Inside the church, Harper gives a heartfelt eulogy. After everyone leaves, as Mia's casket is lowered into the grave, Lance finally breaks down. Harper witnesses this from a distance and rushes to Lance's aid, comforting him. Back at the house, everyone seems to have reconciled with one another after realizing what's really important in life. Outside, Harper and Lance make up and conclude a 14-year feud. Q and Shelby are shown in bed, with Q suggesting, before rolling out of bed, they may have a love connection. Meanwhile, Brian tells Julian that he knows some investors who can help with the school's funding. Robyn's water suddenly breaks, so Lance, Harper, and Candace all try to rush her to the hospital together. However, they get stuck in traffic and Lance delivers the baby in the backseat of his SUV. Robyn delivers a healthy baby girl and names her Mia, in honor of their deceased friend.
Ten months later, Harper and Lance are closer than ever and Harper has written Lance's biography. Lance is the baby's godfather, as he visits Harper and Robyn at their house in New York City. Harper gets a phone call from Q and puts it on speakerphone to share the call with Lance. Q reveals to both that he is getting married and wants Harper to be his best man, but not before telling Harper that he better not have had sex with his soon-to-be bride.
|
flashback
|
train
|
wikipedia
| null |
tt0092571
|
Anne of Green Gables: The Sequel
|
The film resumes the story of Anne Shirley, who at 16 had chosen to study for her college degree by correspondence in order to remain at Green Gables to help an aging Marilla, who has eyesight problems, look after the house and farm. Anne now holds a Teacher's Licence after completing the two-year post-secondary course at Charlottetown's Queens Academy in only one year.
Anne begins to teach at Avonlea School and has dreams of becoming a writer, but her story "Averil's Atonement" is rejected by a magazine. Leaving the post office one day, Anne runs into Gilbert Blythe, who tells her that her best friend Diana Barry is engaged to Fred Wright. Anne is initially bewildered by Diana's decision, calling it impulsive. Meanwhile, in the last two years, Marilla's eyesight has greatly improved. Having regained her independence, Marilla encourages Anne to resume her old ambition of attending college.
At the clambake celebrating Fred and Diana's engagement, Anne and Gilbert wander off to a bridge, where Gilbert proposes. Anne rejects his offer, convinced that their marriage would be unhappy and unsuccessful. She runs off.
At Diana's wedding, Anne sees Gilbert with a young woman named Christine Stuart. Gilbert tells Anne that he and Christine are just friends, then offers to wait for her if there is any hope of them getting together. Anne rejects him again, and Gilbert suspects that there is someone else, despite Anne's assertion there is no person she cares about more than him. Anne returns to Green Gables and decides to look into the job her former teacher Miss Muriel Stacey offered her. Eventually, Anne decides to take this job as an English teacher at Kingsport, Nova Scotia Ladies’ College in the hope that it will inspire her and give her something to write about.
Initially, Anne finds her new job to be difficult. A member of the local community — and member of the powerful Pringle family — had also tried for Anne's post and was rejected, causing resentment. However, Anne gradually earns the respect of her students, their families and her colleagues, including the severe and critical Katherine Brooke and the Pringle family. Anne organizes a play to raise money for the college, which is greatly appreciated. While teaching at the Ladies' College, Anne grows close to one student, Emmeline Harris, at whose house she is boarding along with the stern, controlling grandmother Harris and her repressed daughter Pauline who is a virtual prisoner in the house. Anne is able to convince the grandmother, a hypochondriac, to leave the house and go to a community picnic, and to let Pauline attend a friend's wedding overnight in another town, where she strikes up a romance. Her dream of being published is also finally achieved after she writes a series of short stories based on Avonlea inspired by a suggestion from Gilbert. Anne also succeeds in getting the spinster teacher Katherine Brooke to spend a badly-needed summer vacation at Avonlea, where she opens up her feelings to Anne.
Emmeline's widowed father Morgan Harris, a well-to-do traveling businessman, also proposes marriage to Anne, after Anne and Emmeline had visited his spacious house in Boston. Anne declines Morgan Harris' proposal and returns to Green Gables, where she learns that Gilbert is ill nearby with scarlet fever, having returned home from Halifax Medical School. Anne finally realizes her true feelings for Gilbert, and goes to visit him. After Gilbert regains his health, he proposes once more, and Anne accepts him with a kiss, declaring, "I don't want diamond sunbursts, or marble halls. I just want you."
|
romantic
|
train
|
wikipedia
|
This sequel of 'Anne of Green Gables' is beautifully made if one doesn't get indignant about the fact that Kevin Sullivan has not adhered to Montgomery as he did in the first Anne series.
Yes, many characters are missed and I do think that each novel in the Anne series could have been taken separately and dealt with in a way to do justice to Montgomery's work.
It was visually stunning, the story unfolded well and more ever the team spirit of the entire cast which showed so well in 'Anne of Green Gables', showed here too.
Even the new actors who acted as the Harris clan and especially Rosemary Dunsmore as Katherine Brooke delivered their best.
Megan Follows is as brilliant as she was in the prequel - with her perfect rendition of Anne, she has clinched a place for herself among contemporary actresses who have been so true to their literary characters example, Kellie Martin - Christy, Jennifer Ehle - Elizabeth Bennet etc.
Jonanthan Crombie gets a better chance in this sequel to establish himself as the one and only Gilbert Blythe.
I would recommend this sequel as another example of Kevin Sullivan's directorial mastery.
Meagan Follows is again wonderful as Anne Shirley - the red-headed orphan girl taken in by Marilla and Matthew Cuthbert.
Pet Peeve: When the sequel originally aired on Canadian television (to my knowledge the first place it aired) it was titled "Anne Of Green Gables:The Sequel".
Isn't that the way it should be listed instead of "Anne Of Avonlea"?
Okay, that aside, if you haven't seen this movie and you like classy, smart, beautiful movies - this is the one to watch!.
Megan Follows, Colleen Dewhurst and Jonathan Crombie are excellent again as Anne, Marilla, and Gilbert.
Every girl should see the "Anne" movies.
I have fallen in love with the entire Anne of Green Gables movies and books!
My favorite actor in the movie was Jonathan Crombie.
Megan Follows made the perfect Anne as well.
Every time I read the books, I visualize them as the real Anne and Gilbert.
I would also recommend you to read the entire collection of Anne of Green Gables books.
So if you are a fan of mischief, adventure, and a little romance, watch this movie.
I've liked it and have always seen it as just a continuation of "Green Gables".
After I read the books and then watched the movies again, I realized how much they changed it, leaving things out and making things all out of sequence.I do like this movie, and without the books, it'd be a very good story on it's own.
It's really tough to try to follow up a movie as spectacular and perfect as the first "Anne of Green Gables." However, as a purist, I must admit that the books were written as a series, and this is a necessary part of the story.
What's hard for real Anne fans to deal with in this movie is that it involves Anne moving past Avonlea.
We all love Anne so much because, like her, we don't really want anything to change.
We want to be Lost Children on our own island paradise forever, and once Anne grows up, we're forced to admit that we have too.
This movie's actually pretty good -- and if I weren't complaining about my lost childhood, I'd be complaining that they never made a sequel.
This movie is superb: funny, romantic, adventurous and beautiful!
It doesn't hold true to the books as much as the first movie (not very much, in fact), but it is still very enjoyable and delightful to watch!Anne of Avonlea has a very touching ending as well..
No matter what people say, the movie did stick to the book most of the time.
If you watch it as 'Anne: The Sequel' and not 'Anne of Avonlea' it makes more sense, because Anne is hardly in Avonlea at all.
It positively broke my heart when Gilbert told Anne he was engaged to Christine Boyfriend-Stealer Stuart, and gave her that letter that said 'congratulations on your success, Carrots'.
When Anne went to see Gilbert when he was dying and she had her hair all tumbling down I thought it looked much nicer than that weird hairdo she wears elsewhere.
(Another example is the Lion, the Witch, and the Wardrobe film) It might have been nice to see more of Christine Boyfriend-Stealer Stuart because it didn't really seem like her and Gil were in love (unless it was Christine Boyfriend-Stealer Stuart that was helping Gil with his work in the first movie?).
I mean, yes, things have to be condensed for the sake of viewer interest, but look at Anne of Green Gables.
I can't believe that they chose to combine three novels together for Anne of Avonlea into such a dreadful mess.
Kevin Sullivan should have taken things one movie at a time, instead of jumbling them all together and combining characters and events the way he did.
This movie was good, if you leave the novels out of it!!
This movie was a let down after seeing the successful way he brough Anne of Green Gables to life..
Anne of Avonlea strengthens the blissful experience of the first film, not only with the maturation of Anne Shirley, but with new, lovable characters..
In the case of "Anne of Green Gables: The sequel" the problem´s not as much things ommited as the strange mix we get.
Instead, characters which were almost anecdotical, like Katherine Brooke and the Harris come to the forefront.
Introducing Captain Harris as Anne´s love interest, this seems done in order to fit a wrapped up story in four hours, which seemed by far the biggest worry of Mr. Sullivan.Anne and Mr. Harris´ romance is very objectionable.
If they wanted to introduce a love rival for Gilbert, it should´ve been some young guy with the romantic appeal Anne´s always been craving for.
Megan Follows is a good Anne no doubt, though she´s very tiny, and in some scenes she seems all hair.
Along with the defects we get a reasonable amount of "Anneish" moments.I believe they could have avoided most of the problems adapting "Anne of the Island": It tells far more transcendental events in the life of Anne, and it´s got a far more coherent and satisfying love story.
It's my favorite out of all 3 Anne movies!.
The Sequel, to me, was probably my favorite out of all the Anne movies.
The Sequel is mainly, Anne leaving Green Gables to forgo her teaching career, saying fairwell to her "bosom friend," and having mixed feelings for Gilbert and Morgan Harris(one of her student's father).
I just love this movie to death.
And Megan Follows, Jonathan Crombie, and Colleen Dewhurst, do a FANTASTIC job on playing their characters, and playing them so well.
I don't think Sullivan could of asked for anyone better than to ask these amazing performers to take on such wonderful roles.
I would truly LOVE to see an Anne 5!.
A movie you can watch over and over.
Meagan Fellows in each episode from the first to the last; she made Anne come to life and made you come to love the character.
Why isn't the movie like it was written by L.M. Montgomery?
Why couldn't we meet the girls from her college years?This movie is good, but has been changed too much for my liking..
As wonderful as "anne of green gables" was, this production from kevin sullivan, et al, is even sweeter and more expertly done.
In combining not just Anne of Avonlea but also the 3rd and 4th books in L.
it is unliklely to me that Megan Follows, Colleen Dewhurst and Jonathan Crombie will ever do finer work, and I mean that as the highest compliment.Not only the performances but the look of this film!
Anne Shirley is a very beloved heroine, I loved her from the first moment Megan Follows embodied her and recited "the lady of shallot" in part 1, its always risk to let heroines grow up, yet here it feels so achingly bittersweet, even at 4 hours you simply wish it would never end.
The return of Gilbert and Diana and all of them feels like being reunited with old friends.
She misses proper make-up first of all, proper lights during filming (2 or 3 scenes are only perfect) and last but not least good sentences.
So I must say, wether Anne 2 is true to the novels or not, it is a whole, compact story and is NOT boring, this sequel is only his own interpretation.
I acknowledge the user comments that complain of all that this movie left our of Lucy Montgomery's books 2-4.
But I was fortunate to see the movie before I read any of the books.
As with the comments I made re: Anne of Green Gables, again it is a matter of story, performances, scenery, and cinematography.
The story line here is a person (Anne) developing grandiose ideas of the perfect husband and perfect career; traveling as far as Boston to find them; and finally realizing that both (Gilbert and writing) have been in her own back yard all the time.
And several other supporting performers make the very best of an outstanding screemplay.IMDB, you should allow a 5,000 word limit for comments on movies like this one.
Following Matthew's death, Anne Shirley (Megan Follows) has remained at Green Gables to look after aging Marilla.
Anne rejects Gilbert Blythe's marriage proposal and then again.
The story feels a bit different as Anne becomes the teacher.
Megan Follows is able to maintain the character and there are a couple of compelling girls in the class.
i love anne of green gables.
the most amazing movie i have ever seen.But i saw it a long time ago as a television program on hallmark channel.i read anne of green gables the first time when i was 11 yrs old ,and since then it is my favourire book.i have read all the books in the series except for HOUSE OF DREAMS and RAINBOW VALLEY.I think that LM Montegomery is the best writer.Now i am 16 years old but i still read the 'anna books' again and again.please i want to see the movie ANNE OF GREEN GABLES again.
I know I could never choose between Anne of Green Gables and Anne of Avonlea, because in my mind they're just one long epic on the life of Anne Shirley.This story is so incredibly amazing.
Not only does it give you the heartbreak of growing up and changing, but also Anne's unique personality that prevents her from fitting in, and the agony of Gil and Anne's "will they or won't they?" It's what's kept me watching all these years, knowing I can still relate to some aspect of it.I always thought the acting was absolutely wonderful all around!
I'm sure most people want her to be with Gilbert anyway, and I would have liked it if the movie could have concentrated more on that.I never really warmed to any of the characters in Kingsport.
Anne's character is most lovable, as well as Diana, Gilbert, Marilla and even Mrs. Lynde.My rating: 10!!.
Megan Follows Another Triumph-Anne of Green Gables (The Sequel) ***1/2.
Wonderful sequel to the 1985 original film.
I thought I was back in junior high school.Besides Ms. Follows and Jonathan Crombie(as Gilbert), there are excellent performances especially by Ms. Dunsmore as Miss Brooks, who is afraid of life and is apparently stewing in her own misery.
It takes the picture for Anne to win Miss Brooks over.
She is out of the classroom as the school principal.The late Dame Wendy Hiller is fabulous here as a tyrannical Mrs. Harris, making life miserable for all around her, especially her long suffering daughter.
Anne of Avonlea is another wonderful addition.
Megan Follows will forever be recognized and known as the Anne Shirley of my generation and those generations that follows but it's a commanding role that is enduring and wonderful too.
I love Anne and Gilbert's relationship as it evolves from childhood through puberty and adulthood.
Anne's coming of age story here is beautifully crafted to display the same brilliance as it was in the original Anne of Green Gables.
Watching Anne of Green Gables, you want to visit and perhaps move your family to Prince Edward Island in Canada..
I love "Anne of Avonlea" and "Anne of Green Gables." They are heart warming and entertaining.
"Anne of Avonlea" is a good sequel because it reveals how Gilbert and Anne feel about each other.
I felt bad she refused Gilbert too when he had been in love with her for so long.
When she says "What will I do without him?" she knows she loves Gilbert and can't live without him.
I hope to see it again soon because it is a wonderful movie with good acting.
Megan Follows did a superb job playing Anne and Jonathan Crombie does a very good job playing Gilbert.
Engaging sequel to ANNE OF GREEN GABLES.
Might be a few spoilers...Although it was based on at least 4 of L.M.Montgomery's novels compiled, ANNE OF AVONLEA aka ANNE OF GREEN GABLES, THE SEQUEL is a very engaging, entertaining story that proved (for me anyway) much more entertaining than having read the 4 books it came from.
Anne is growing up, teaching at the Avonlea school, taking care of Green Gables and Marilla (the beloved Colleen Dewhurst) while mourning that her "bosom friend" Diana is engaged and trying to deny to herself that she loves her "chum" Gilbert Blythe.
For the first hour or so, we are treated to the good times of Anne, Diana and Gilbert as Diana prepares to get married.
The first time I watched this, I was disappointed that the story didn't revolve around Anne and Gilbert, but Anne's adventures in the Ladies' College are very entertaining.
Anne finds herself virtually battling a town full of gossip and feuding and ends up putting together a wonderful Christmas concert to benefit the school.As far as plot goes, this, like the prequel, is the ongoing story of a wonderful young woman who lives in an era of horsedrawn buggies, Gibson-girl hairdoes, and picnics in parks with autumn leaves laying everywhere.
There is no solid, formulaic plot, except that this young lady inspires love whereever she goes, even in the most grumpy people, such as Mrs. Harris, Katherine with a K.
Although the makers of this movie crammed 3 of L.M. Montgomery's novels into one television movie, it is still a delight to watch.
The actors from the previous movie still shine on, especially the ones that played Anne and Gilbert.My favorite part of this movie will always be the ending scene when Anne finally falls in love with Gilbert.Watch it by yourself, with a friend, or with the family..
I just finished re-watching both Anne of Green Gables and Anne of Green Gables: The Sequel for the first time in several years (I have never gotten into The Continuing Story).
I grew up watching the miniseries and after all of these years I continue to love them dearly.
They have held up very well over time, and all of the elements - characters, scenery, and hauntingly beautiful music - still draw me into Anne's world when I watch them.So, the main issue numerous reviewers have about The Sequel is its departure from the book series.
For the sake of the resolution of Gilbert and Anne's relationship, I feel like this was a good decision.
I enjoy the books very much; however it takes a long time for Gilbert and Anne's relationship to progress, a point which I have always found frustrating.
(I guess one could say the same about the Emily books, but to me Teddy feels more present in those.)The Sequel very naturally continues Anne's story, including enough from the books to maintain continuity but giving its own flourish.
A well made sequel about Anne Shirley as a young woman.
The sequel shows Anne Shirley(Megan Follows) as a young woman who is working at her local school on Prince Edward Island and helping her friend Diana(Schuyler Grant)prepare for her upcoming wedding.
Anne is struggling with her feelings for close friend Gilbert Blythe(Jonathan Crombie).Anne meets a wealthy man who is staying at a local summer house called Captain Morgan Harris(Frank Converse)however the two don't really get to know each other until Anne moves to take up teaching at a private Girls School somewhere else in the country and finds that he is the father of one of her students.Anne's friendship with the Captain enables him to change from a slightly reserved and strict man, to one who enjoys life and is a much more open man.This is just as good as Anne of Green Gables and all the cast return.Also featuring Dame Wendy Hiller as Morgan's prickly mother Mrs Harris and Colleen Dewhurst returning as Marilla Cuthbert enchanting and uplifting this is well worth watching..
Lucy Maud Montgomery's beloved literary character, "Anne of Green Gables", is once again brought to life through Canada's CBC network.
There she makes many new friends, and some enemies, as she adjusts to life far from Prince Edward Island, while an older would be suitor begins to sweep the romantic "Anne-girl" off her feet.The entire original team return to put us in the fun-loving, heart warming mood which made the first film such a pleasure.
"Anne of Green Gables: The Sequel" is sadly ineffective when not in Avonlea.
We never see enough of the wonderful people like Marilla, Gilbert Blythe, Rachel Lynd and Diana Barry, all of whom we came to love when first introduced to Anne Shirley.Megan Follows, Colleen Dewhurst and the rest of the support all give fine showings once again, while Hagood Hardy's music makes a welcome return and the rest of the technical crew are impressive too.
|
tt0088513
|
The Equalizer
|
Robert McCall (Denzel Washington) is a retired black ops operative who lives quietly in Boston, Massachusetts and works at a Home Mart hardware store; McCall befriends many of his co-workers and helps a security guard trainee named Ralph pass his qualification exam. McCall promised his recently deceased wife that he would leave his old life behind. Unable to sleep, McCall spends some late nights reading in a 24/7 diner where he befriends Alina (Chloë Grace Moretz), a teenaged prostitute for the Russian Mafia; McCall regales Alina with philosophical interpretations of the book he is reading (The Old Man and the Sea). One night, Alina is hospitalized following a brutal beating by her pimp, Slavi (David Meunier). McCall enters a restaurant owned by the Russian mob and offers to buy Alina's freedom from Slavi for $9,800, but Slavi refuses, dismissing McCall as old and impotent. Failing in this approach, McCall considers the room, estimating it would take him 16 seconds to clear it. He subsequently kills Slavi and four of his men with skillful close combat efficiency. To slight dismay, McCall realizes that it took him 19 seconds to accomplish his task and quietly lectures the dying Slavi that his death could have been avoided had he taken the money.
In response to the death of Slavi and his crew, Russian Mafia boss Vladimir Pushkin (Vladimir Kulich) sends his enforcer, Teddy Rensen (Marton Csokas), to Boston to find and eliminate the culprit. In the meantime, Ralph withdraws his security guard application and instead goes to work with his mother at the family restaurant; McCall learns that the restaurant was set on fire by corrupt policemen as an act of extortion. McCall confronts the corrupt policemen, beats them, forces them to pay back all the money they have extorted, and threatens to publicize their crimes. Ralph then returns to Home Mart and passes his test, becoming a security guard at the store.
Rensen determines that McCall is the culprit in the attack on Slavi and his crew. McCall repeatedly outsmarts Rensen and his pursuers and completes more acts of vigilantism. McCall then visits retired CIA operatives Susan (Melissa Leo) and Brian Plummer (Bill Pullman) in Virginia; Susan helps him acquire intelligence on Pushkin's activities. It is revealed that Rensen's real name is Nicolai Itchenko and that he is an ex-Spetsnaz who ran a wing of the secret police; Susan describes him as "a sociopath with a business card". Brian reveals to McCall that he had a "nice funeral"; the Plummers are relieved, though not surprised, that he is still alive. After McCall leaves, Susan remarks to Brian that McCall was not actually looking for help, but was asking for permission.
After returning to Boston, McCall captures Frank Masters (David Harbour)--a corrupt policeman bribed by Pushkin--by trapping him in his car and flooding the vehicle with tailpipe exhaust to force him to cooperate. Masters relents and helps McCall destroy one of Pushkin's local money laundering operations. McCall confronts Itchenko at dinner, pledging to bring down Pushkin's criminal enterprise. When McCall destroys a container ship Pushkin used to smuggle goods, Pushkin orders Itchenko to kill McCall; Pushkin adds that until the deed is done, Itchenko may not return home to Moscow.
Itchenko and his men go to the Home Mart and take Ralph and several of McCall's other coworkers hostage, threatening to kill them if McCall does not surrender. McCall enters the store, disables most of the lighting, and tells Ralph to get the hostages to safety. McCall then kills Itchenko's henchmen one by one using booby traps constructed with items in the store. After a struggle between McCall and one of Itchenko's men, Ralph comes back to pull the injured McCall out of the store, but is shot in the leg himself. McCall tells Ralph to turn on the electricity at the breaker box in exactly 40 seconds, giving him his digital watch for precision. McCall sets up small containers of propane and oxygen in a microwave oven. The electricity turns it on, causing an explosion that kills the last of Itchenko's men. Afterwards, McCall confronts Itchenko and kills him with a nail gun.
Later, McCall then travels to Moscow, confronts Pushkin, and sets a trap which electrocutes and kills him. McCall returns to Boston and is approached by Alina, who has recovered from her wounds, found a legitimate job, and taken up reading. Alina thanks him for giving her a second chance. McCall is inspired to continue using his skills to help people in need and posts an online advertisement, now identifying himself as "The Equalizer". He soon receives another plea for help and agrees to answer it.
|
violence, neo noir
|
train
|
wikipedia
| null |
tt0022788
|
The Crooked Circle
|
Before a boxer dies in an accident, he mentions that he should "get lost like Joe Kelly" to sportswriter Ken Cooper. Now curious what became of Kelly, a former contender, Cooper locates him in a remote town where Joe runs a fishing lodge with his brother, Tommy.
Carol Smith, girlfriend of Tommy, immediately urges Cooper to help Tommy get into boxing. Joe is adamantly opposed to this, causing friction between the brothers. Joe finally relents, warning Tommy to change his name and avoid a criminal element.
Al Taylor, an honest trainer, handles the promising Tommy at first, until corrupt manager Larry Ellis, arena owner Max Maxwell and gambler Sam Lattimer sink their hooks into the kid. Tommy begins winning fights and making enough money to buy Carol an expensive engagement ring. He becomes disillusioned only after being told that all his fights were fixed, and that he is expected to deliberately lose the next.
Cooper helps the police expose the racket. When one crook double-crosses another, Lattimer loses $60,000 betting on Tommy to lose. His thugs beat up Joe and kidnap Tommy, preparing to kill him until Cooper and the cops arrive. Cooper's expose in the newspaper clears Tommy's name, freeing him to marry Carol.
|
revenge, murder
|
train
|
wikipedia
|
The "old dark house" sub-genre that dominated the early talkies rarely fails to disappoint when we re-view the oldies to-day.
Here is one that provides so very many suspicious characters you have to wonder how they will be able to tie up all the loose ends in the 6 reel running time.The Crooked Circle is a gang of counterfeiters and thieves who have decided to take revenge on Col. Walters (Berton Churchill) who has sent one of their ranks to prison.
This does not sit well with Thelma (Irene Purcell) fiancée of club member Brand Osborne (Ben Lyon, late of the mega-budgeted HELL'S ANGELS (1930)) who wants him to quit the club and stop endangering his own life.
Everyone heads off to Walters newly purchased mansion on Long Island to await the assassin.The Colonel might be the new owner of Melody Manor but it's an old dark house complete with eccentric neighbours (like Raymond Hatton as a local hermit) and maybe even a ghost.
Top billed Zasu Pitts is Nora, the housekeeper who expects to see a spirit around every corner.
Throw in a cop (James Gleason) who is certain Brand is a criminal and we have a picture which is packed with action and surprises.You will notice right away that the script writer was at a loss to come up with too much dialog because a lot of characters repeat the same lines over and over.
Henry Gordon) a Hindu mystic (which movies of that time were loaded with) says "Evil is on the way." many times and I lost count of how often Ms. Pitts says "Something always happens to somebody!".
There are many suspects and two characters (Mr. Gleason as the stereotype dumb cop and Roscoe Karns as Mr. Lyon's pal) who serve as comedy relief.
The house itself is appropriately spooky looking (in fact I think the same set was used in THE PHANTOM (1931)) with lots of secret passages and violin music coming out of empty rooms but somehow you never really get a feeling of danger.
It all comes out right in the end though; but to go into any more detail would spoil it for you.Watch carefully for Robert Frazer (from WHITE ZOMBIE) and Frank Reicher (best remembered as Capt.
Engelhorn from KING KONG) to pop up among the suspects.THE CROOKED CIRCLE is a fun film.
Bruce `Lucky' Humberstone's THE CROOKED CIRCLE begins with that eponymous quintet of `counterfeiters and thieves deluxe' pledging their dark allegiance (`To do for each other, to avenge any brother, a fight to the knife and a knife to the hilt!'), drawing lots from a hinged skull for the honor of bringing to ground Colonel Wolters, leader of an affluent band of amateur criminologists known as The Sphinx Club.
In its second half, the film adheres faithfully to the established spookhouse syllabus (sliding panels, trap doors, and an attic stuffed with skeletons, sarcophaguses and Oriental objets d'art), with director Humberstone maximizing the felonious, comic and preternatural possibilities, all nicely complemented by the amusing dialogue of playwright Ralph Spence (THE GORILLA) and Tim Whelan.
Rounding out the roster of red herrings, henchmen and gawkers are WHITE ZOMBIE's Robert Frazer, the ever-quivery Zasu Pitts (`There's a ghost in this house and when he plays the violin, something always happens to somebody!'), James Gleason as a malaprop-prone New Yawk flatfoot, KING KONG's Frank Reicher, and `queer-acting hunchback' Raymond Hatton (later the sour Farmer Larkin of INVASION OF THE SAUCER MEN).
Breezy romp is worth a look for those who like comedy and mystery mixed.
1930's comedy mystery about "The Crooked Circle" a band of hooded crooks who set about plotting the murder of some one who swore to oppose them.
Enjoyable but really unremarkable little film, the movie works simply because the cast headed by Zazu Pitts and James Gleason (both of whom would later appear together in a couple of Hildegarde Withers films after Edna Mae Oliver dropped out of that series) and supported by a great cast of actors and actresses you know but may not know the name of (I don't hence the lack naming).
A breezy hour long romp, the movie doesn't make a great deal of sense with mistaken identity, secret passages, ghostly music and people not being who they seem.
Olive Oyl is stuck in a Haunted House with murderers!.
In 1933 Mae Questel caricatured Pitt's voice for the character Olive Oyl for the Fleischer Studios animated cartoon version of the comic strip Popeye.
Zasu (pronounced Zay-Sue) does her best "Olive Oyl" impersonation walking around whining and ringing her hands or attaching herself to the policeman's laynard.
I kept waiting for her to say "ohhh myyyy", but instead it's "something always happens to somebody." The first time I saw this film I loved Zasu and found her character really funny.
So, upon watching this film again I started getting a little annoyed with the constant whining and near hysteria over a piece of dust.
But, there are some funny comedy bits here, and it's also a mystery movie as well.
It's an interesting mix of mystery and comedy that actually works.
The mystery plot holds together well through the camp of Zasu Pitts and James Gleason who plays Arthur Crimmer the policeman.
The two clubs are at war, mostly it seems because that's what two groups do: define the other as the enemy and adopt roles accordingly.The setting is abstract too: a "haunted" mansion with trap doors, secret passages, resident hunchback, disembodied music, skeletons (that predictably catch on the girl's dress) and blackouts.
There's a very, very clever twist in the story too, one you know is there but you just can't pin down until it happens.Zazu Pitts does a spooked housekeeper whose voice would be appropriated for Olive Oyl who would make her first appearance the following year.Ted's Evaluation -- 3 of 3: Worth watching..
Old dark house with more than the average number of hidden panels and passageways.
The Crooked Circle is a crime organization that meets in a dark room.
They do not like the Sphinx Club, which is a local amateur crime fighting organization that is adding one new member because of the retirement of another.
--Okay, if that makes sense so far then the rest of the film will, too.Over in the old dark house, Zasu Pitts is spooked from the first moment we see her, and that's before the real action of The Crooked Circle has even started.
Soon police officer James Gleason arrives, and Zasu spends the remainder of the picture clinging to various pieces of his uniform, much to his annoyance.
They make a cute couple.Other club members—who all end up assembled at the house, of course—include Berton Churchill as a jovial host who thinks it's amusing that the Circle has vowed to kill him; Rosco Karns, who manages a few wisecracks; and C.
Typical old dark house comedy-mystery.
The Crooked Circle is a film that has a lot more potential than it fully realizes.
These shady characters are the Crooked Circle and they are planning revenge on a group of amateur sleuths called the Sphinx Club.
Now this set-up makes it sound like the movie could go in an interesting direction with both these groups fighting against each other.
Unfortunately, the focus is subsequently too often on comedy, rather than suspense.The film takes the form of the old dark house format which was hugely popular in the 1930's.
The house itself is full of the usual array of secret passageways, trap-doors and hidden rooms that was part and parcel in these movies.
"The Sphinx Club is a group of amateur detectives who are the bitter rivals of The Crooked Circle, a collection of hooded villains.
After The Sphinx Club aids the authorities in catching and imprisoning a member of The Crooked Circle, the evil gang swears revenge by targeting Colonel Walters, a well-known member of The Sphinx Club.
Will the Sphinx Club be able to protect Colonel Walters or will The Crooked Circle succeed in their quest to kill him?" asks the DVD sleeve.The threatened Sphinx Club member, Berton Churchill (as Theodore Walters) is pretty good - but, he is not the focus of this comedy-mystery.
Instead, we get zany Zasu Pitts (as Nora Rafferty) complaining to Christian Rub (as Old Dan) about living in spooky "Melody Manor".
Ms. Pitts does her best "Olive Oyl" (from "Popeye") dress and voice.
You won't see "Olive Oyl" and "Gepetto" in too many movies!Meanwhile, Ben Lyon (as Brand Osborne) is preparing to resign from the Sphinx Club.
Henry Gordon (as Yoganda), who warns, "Evil is on the way." When Gordon arrives at "Melody Manor", Pitts looks at his turban and says: "I'm sorry you got a headache sir, shall I get you a Bromo-Seltzer?" Others in the funny cast: cop James Gleason ("Here Comes Mr. Jordan"), hermit Raymond Hatton ("The Whispering Chorus"), and gay Roscoe Karns ("It Happened One Night").****** The Crooked Circle (9/25/32) Bruce Humberstone ~ Ben Lyon, Zasu Pitts, C.
Henry Gordon, Christian Rub. Hurray for Zasu!.
As other reviewers pointed out, Zasu Pitts didn't talk like Olive Oyl - Olive Oyl's voice was modeled on hers!
This was a comedy/mystery, and Zasu Pitts was one of the most popular comediennes of her time.
She was a star of silent films, and her voice and manners transferred successfully to the talkies, where she was a big star, and favorite of audiences.
Her 'whining' was her shtick, and audiences loved her for it.The role played by Zasu Pitts in this, and many other films, is actually almost identical to the one played by Stepin Fetchit and Mantan Moreland.
Zasu is a whimpering, cowardly fool - played for obvious comic relief.
If she had played Charlie Chan's maid, she would have fit right into the Birmingham Brown role.The plot in this film is clunky, and the acting a bit stiff and caricatured, but it was made in 1932, and they were still trying to figure out how to make talkies.
Watched with that in mind, The Crooked Circle is quite enjoyable.*** After over a year, and with a second viewing, I'm back to add a few comments.
It's interesting that even at the very beginning of the old dark house genre, humor was already an essential part of the mix.
One might think that the setting would have featured horror/mystery films, but Hollywood had already figured out that to sell a film to the largest audience possible, it was best to mix genre elements.
Thus, we get a murder mystery set in a semi-Gothic atmosphere, with more than one comic relief character.
If it was a murder mystery without the old dark house, they might have added a musical number as well.
Okay, now I am pretty sure that my summary got your attention and my commenting that Zazu Pitts is Satan is not without some basis.
The film at first appears to be a dandy B-movie about an evil organization called "the Crooked Circle" and their vow of revenge in the form of murder on a rival organization dedicated to solving crimes.
While this is very odd (especially the idea of a club of private citizens who solve crimes) and COULD have been interesting, this film falls apart despite a rather impressive list of familiar supporting actors.
Well because Zazu Pitts (never one of my favorite actresses) spends most of the movie whining just like Olive Oyl with a bad toothache!!
While murders are being committed, people are being kidnapped or whatever, you can always count on Zazu whining at full volume--almost like someone's obnoxious 3 year-old who wants everyone at a party to pay attention to her!
At the same time, she's NOT an integral part of the film but received top billing.
not one of Pitt's better films.
Crooked Circle...
Zasu Pitts is "Nora", the housekeeper.
Pitts was in just about every silent and talkie film...
James Gleason is the cop, bumbling his way through the story, a role he made famous in so many films.
I won't say it's an awful film but I will say it was uninteresting to me.One thing that I did find of interest was that Olive Oil (her whining ways) is patterned after Zasu Pitts (who plays Nora Rafferty in the film The Crooked Circle).
I never did like Olive Oil - except Shelly Duvall's depiction of her in Popeye (1980) - but that is a different story.The Crooked Circle I'm sure it's a great film to some but I just did not like it like I thought I would.
I love older comedy and mystery mixed but this movie did not do it for me.1/10.
Funny "Old Dark House" Spoof has Something for Everybody!!!.
James Gleason and Zasu Pitts, first introduced in "Oh Yeah" (1929), were reunited for "The Crooked Circle".
Tough no nonsense Gleason and fluttering, daffy Pitts - completely opposite in temperament but together they work wonders.
Bruce Humberstone had tried it before in his directorial debut, "Strangers of the Evening" and found it worked) this is about the goings on of a criminal secret society called "The Crooked Circle", who meet at an old mansion called "Melody Manor"!!Brand Osbourne (Ben Lyon) is resigning from the Sphinx Club at the urging of his new love, Thelma (Irene Purcell).
The Sphinx Club is an amateur band of crime fighters whose aim is to try to expose The Crooked Circle members.
Henry Gordon), a new member, suggests they all spend the night guarding him.
The film really picks up the pace when the Sphinx members arrive at Melody Manor - clocks strike 13, tables move, pianos play ghostly music, - even weird old men come knocking at the door in the middle of the night with gifts of tomatoes!!!!
It also gives Zasu Pitts, as Nora, the frightened housekeeper, a chance to bring out her bag of tricks - fluttering hands, whiney voice.
James Gleason plays Crimmer, a cranky, bumbling motorcycle cop who is called to the "old dark house" to investigate Wolter's murder (it looks as though he wasn't guarded enough)!!!!
He meets the stranger (Robert Frazer) again at Melody Manor and also has suspicions about Yoganda and Thelma!!!Apart from Robert Frazer, who was such a success in "White Zombie" there were a few stars of the silent screen with roles in this movie.
If you like the "old-dark-house" mysteries of the type they just don't make anymore, "The Crooked Circle" should be added to your collection.
At times the film seems to surrender itself to surreal chaos, but just about everything is well-explained by the end.
Zasu Pitts and James Gleason are a comedy match made in heaven: she thinks that a myth is a "female moth", and he thinks that "it's OK to be in a hurry, as long as you take your time about it".
In this Old Dark House, anything can happen!.
This is one of those multiple personality films that could be classified as crime, horror, or spoof.
It all starts off with a sinister overhead shot of a table with a hooded group of men (and one women) making a mysterious pact that will be attempted over the next hour with lots of confusion for everybody inside this Macadamia Manor.
It is a field day for the hand-wringing of Zasu Pitts, already nervous, and made even more jittery by the sudden presence of a spooky old man (Raymond Hatton) who taunts her with the pending doom until she's ready to wring her own neck just to avoid what she fears awaits her.
There are tons of mysterious events which take place over the film's short hour long running time, which includes a mysterious Indian (C.
Henry Gordon) making seemingly sinister comments, people mysteriously disappearing, and typically dumb police offers (lead by James Gleason) trying to figure out what's going on.
Released through Fox Film Corp.Copyright 25 September 1932 by William Sistrom.
70 minutes.SYNOPSIS: An amateur detective club led by Colonel Wolters, is the target of a secret clan of thieves/murderers.NOTES: Lucky Humberstone's second film as a director, took 14 days to shoot.
This attempt to mix farce with thrills and chills doesn't work because the farce is so strained, it isn't the least bit funny — despite all the over-strenuous efforts by ZuSu Pitts, James Gleason, Tom Kennedy and company.
C. Henry Gordon does what he can, though not helped by the director using him as a red herring in the film's introductory scene.
We also liked Irene Purcell's mystery heroine, but the best performances came from Robert Frazer as a resourceful gunman and Frank Reicher as the hero's none too subservient valet.
An early, inexpensive programmer involving death threats against the leader of a club that devotes itself to solving crimes.
The death threats come from a hooded gang of ritualists who commit evil acts.
It's presented as a comic mystery -- secret identities, hidden passages, a haunted mansion on Long Island -- but the mystery isn't really gripping and the comedy seems stale.James Gleason, playing James Gleason, is a police officer who sees something suspicious and blows his police whistle.
THE SPHINX, a club of thorough criminologists unaccustomed to loose a battle, changes direction—a Hindu with the unlikely name Uganda (--come on!--) (--yet the name is spelled differently, to give is some Hindu aspect--) becomes its new head.So, there are—a club of criminologists, a criminal association, a silly policeman, a spooked servant, a mansion, a hunchback, an attic, etc.; but this makes the movie sound better than it is.The frightened servant, the silly and feeble—minded Nora, seemed like a nice girl; and she's played by who else than the movie's star, Mrs. Zasu Pitts, who was 38 in this movie and she stands out immediately.
She was simply hot—that is, before her ceaseless antics get too annoying--, her appeal transcending the datum of her role.CROOKED CIRCLE, a silly comedy, light amusement, might be of some interest to ZaSu Pitts fans.
|
tt0246879
|
Qurbani
|
Rajesh (Feroz Khan) was a motorcycle stuntman in a circus and is now a thief, expert in breaking open treasuries. In one such robbery, he is being watched by a jolly but shrewd police inspector Amjad Khan (Amjad Khan). Sheela (Zeenat Aman) is a gorgeous disco club dancer and singer. Rajesh and Sheela are in love. Rajesh has not disclosed to Sheela that he is a thief. An evil brother-sister duo- Vikram (Shakti Kapoor) and Jwaala (Aruna Irani) seek revenge against crime boss Rakka (Amrish Puri) who cheated Jwaala and siphoned her money. Vikram meets Rajesh in jail. Inspector Amjad Khan arrests Rajesh for theft after he is seen by an officer at a traffic accident. The court sentences Rajesh to two years imprisonment. Sheela is devastated after she realizes Rajesh was a thief.
Meanwhile, Amar (Vinod Khanna) is an ace crime member in Rakka's gang who revolts against Rakka. He is a widower with a daughter Tina (Natasha Chopra) studying in a boarding school. However, before quitting Rakka's gang, Amar has committed a crime, masked, and inspector Amjad Khan is investigating that case. Amar saves Sheela from a gang of rowdy bikers. They meet regularly as Sheela likes Amar's daughter Tina. Soon Amar begins to love Sheela who does not reciprocate because she still loves Rajesh. After short time Amar and Shiela get together. Rajesh completes his jail sentence. While returning, he meets Vikram who again reminds him of the deal to rob Rakka. During the conversation, Amar incidentally reaches the site and a fist fight ensues between Amar and Vikram. While fleeing, Vikram swears revenge against Amar. Thus Rajesh and Amar meet for the first time. Rajesh takes Amar to introduce to Sheela; Sheela and Amar pretend as if they do not know each other since they don't want Rajesh to unnecessarily suspect them.
Later Vikram's goons kidnap Amar's daughter and beat Amar who is hospitalized. In return for Amar and his daughter's safety, Rajesh agrees to do Vikram's job. He nurses Amar back to normalcy and soon they turn thick friends. Amar promises Rajesh he will support him in this one last robbery. They plan to shift to London after the robbery with the money. They concoct a scheme whereby Amar would steal gold bars and jewellery from a safe, phone the police, let Rajesh take over, get arrested, and get a prison term for about 12 to 18 months. After his release, he will join Amar in the U.K. Things don't go according to plan as Rajesh gets arrested for killing Rakka while Amar and Sheela reach London with the money. Rajesh construes that Amar deliberately framed him so that he can get Rajesh out of the way, keep all the money (as well as Sheela) for himself. Rajesh escapes from jail and reaches London to apprehend Amar. After a brief tussle, Rajesh realizes the truth and that Amar did not frame him. Vikram and his goons reach London to take revenge against Rajesh and Amar. In the climax of the movie, Amar sacrifices his life to save Rajesh, Sheela and Tina from getting killed by Vikram.
|
cult, murder, romantic
|
train
|
wikipedia
|
Khan Decodes The Formula For Creating Blockbusters in 80s.
The Clint Eastwood of Bollywood, Feroz Khan went way out of the box to deliver a cult ahead of it's time.
This movie offers everything that you would expect of a crime thriller - Fast but on track screenplay, great music, action (couldn't expect anything less from the deadly duo of Khan & Khanna), romance, deception, misconception and finally an epic sacrifice.
Back then when most of the director's in Bollywood were struggling to deliver anything more than action and few dance numbers to the youths of the nation, Khan cleverly manages to deliver Bollywood its first iconic sex symbol (Zeenat Aman) without going overboard.
The sizzling dance numbers "Aap Jaisa Koi Meri Zindagi Mein Aye" & "Laila Main Laila" once witnessed will surely have a lasting impact.A complete entertainment package with some great dialogues, intense action sequences with few comical punches to ease the tension, wonderful music and choreography..
good action thriller.
this movie is a very good action thriller with very good performances by Vinod Khanna and Feroz Khan and good comedy by Jagdeep, dinesh Hingoo (probably the first movie where he plays a parsi) and Amjad Khan (as the sharp cop who pretends to be a buffoon).
The real show stealer is Zeenat Aman with her sensuous dancing and hit songs "aap jaisaa koi mere" and "lailaa oh lailaa"..
state of the art ,then and today too.
That Firoz Khan was a suave filmmaker was proved by Dharmatma which he made in the seventies.
Qurbani confirmed the debonair director's skills.Qurbani is essentially a story of friendship and sacrifice.
Firoz himself and Vinod Khanna play the friends while Zeenat Aman is their common romantic interest.
The story revolves around friendship, love, and there is a sub plot of underworld excesses affecting the lives of the three protagonists.The film ends with the sacrifice of one friend.
Vinod Khanna dies thus uniting Firoz Khan and Zeenat Aman forever.
One of the film's songs {Aaap jaisa koi} sung by Nazia Haasan almost became a national anthem and made Nazia a legend..
Ultra-Cool Bollywood Gangster Flick.
Looking for a cool, stylish, action-packed Bollywood flick with some memorable musical numbers?
"Qurbani" fits the bill.I rented this from an Indian video store in town, on the advice of my wife.
The DVD is pretty easy to find and has English subtitles.
The music is exceptional.
Several of the tracks were lifted for the cult-classic compilation "Bombay the Hard Way," and I was shocked at how much of that album came directly from this film.
There are at least three musical numbers which will leave a vivid impression on you - particularly a disco number with trippy visuals.The action also doesn't disappoint, and there's a leg-breaking scene that's surprisingly intense.
This is one Bollywood classic that I actually think is worth owning..
good entertainer and excellent music.
Qurbani means 'sacrifice' and here it's about one man's sacrifice of his love for his friend (never mind if the girl, he loves ,was in any case already in love with the friend!) Anyways, the movie was a big hit of the year, primarily because of the music and a pleasantly surprize performance from Amjad Khan who plays a gum-chewing inspector constantly on the heels of both the heroes in the movie.
Feroze khan carries on his Clint-Eastwood hangover in this movie as well, but does not disappoint.
Vinod Khanna , highly under-rated in his times, comes up with a good performance.
Zeenat is supposed to look sexy and she does that with aplomb.Music of this movie, was a huge factor in it's success.
It introduced a new singer Nazia-Hassan (a brit-pakistani) to hindi filmdom and she was an overnight star.
The music director 'Kalyanji Anandji' got a new lease of life and it was also a stepping stone for 'Viju Shah' (I think he's the son of Kalyanji) to jump into the big league albeit temporarily.Overall, a good entertainer, that was a big hit.
Shtyle.
Think Feroz Khan and Qurbani crops up.
This is the actor-director-producer's signature work.
His other films are more about individual parts not quite adding up to a syncretic whole.
Not that Qurbani manages this entirely but it is the most well-knit of his oeuvre.
The elements themselves have acquired a special place in the history of Hindi films.
For starters, as with most movies that have done well at the box office, Qurbani's got great music.
Kalyanji - Anandji scored big time with songs like 'Laila O Laila', the Qawwali 'Qurbani Qurbani' and 'Kya Dekhte Ho'.
That the songs stand out in spite of the chart-buster 'Aap Jaisa Koi' scored by Biddu and rendered by Bangladeshi pop sensation Nazia Hassan, is credit to the duo.
Utlimately though, this film is about 'Aap Jaisa Koi' and I guess the late Khan-saab knew he had something on his hands even while making the film.
It features twice (so that Vinod Khanna can shake his head too !) and the guitar riffs are used extensively during the first half of the film.
Strangely enough, it did not spawn imitators and remains a singular composition even today.
There is a peculiar 'phoren' quality to it that other disco based Hindi songs do not have if one excludes the Arabic influences in our songs.Vinod Khanna and Feroz Khan pull off their dosti act rather well.
I still think of Vinod Khanna as an underrated actor despite his successful parallel wave during the Amitabh years.
Then there is the feisty Zeenat Aman in probably the most glamorous turn of her career.
You could watch Yaadon Ki Baaraat and Qurbani back-to-back and be forgiven for thinking they were released within a year of two of each other.
A 7-year gap doesn't reflect on screen at all.
Qurbani also gave me two chuckles.
I knew Amjad Khan played, in his own inimitable style as it turned out, a cop-who-won't-stop character.
Imagine this.
During his intro scene, he announces to a flustered Feroz Khan - "Khan naam hai mera, Amjad Khan" !
The other chuckle is a well-documented whim of Feroz Khan.
Only a man obsessed with translating his ideas on screen at any cost would import two Mercs, one for the rehearsal and the other for the actual scene, which involves the clinical decimation of a Merc.
I think its impact on Indian audiences merits comparison with the 'D'you want me to talk ?' scene from Goldfinger.
Just as world-wide audiences in 1964 had never seen a laser beam, Indian audiences hadn't even seen a Mercedes-Benz let alone ride in one.
The execution is good too.
At the end of the scene, when a suave Khan tells Amrish Puri to keep one rupiah - "half a rupee for losing the bet (that he couldn't drive a Merc which he demonstrates) and half for damage costs", one is watching the the essence of Feroz Khan's brand of cinema..
The second best Indian film.
Qurbani is undoubtedly one of the best film made in India.After Sholay(1975)this is the second best film which was viewed by more people and it created a history in Indian Cinema.Qurbani has action and also thrills.The song "Aap Jaisa Koi" has been the Favourite ring tone of Indians till date..Vinod Khanna has surprised the Audiences through his different acting style.Aruna Irani has attracted Audiences as a wicked woman.Her face reactions and Dialogues in the opening scene of movie is fantastic.Zeenat Aman is extremely sexy in this movie.I would salute Feroz Khan for producing and directing second best film in India.Nothing to say more about the film.I request my all brothers and sisters of India to watch this movie before the death takes place..
The very best Bollywood movie ever..
Trust me.
There is no better movie from Bollywood than this.
The actors are seriously hot, each one dominating each scene effortlessly.
No words to describe Feroz Khan, he puts all the James Bonds in the world to shame.
Zeenat is out of this universe hot, physically, mentally, everything.
Vinodh Khanna is the handsome second hero and injects emotions into the movie.
Amjad Khan as the cop owns all his scenes.
The dialogs from Kader Khan, all have double meaning so each time you watch the movie, you learn something more.
The songs in the movie, from Kalyanji-Anandji and Biddu Apaiah, are mega classics still played at clubs today and remembered by all the Bollywood watching world to this day.
The background music is thrilling and i still hum it.
The theme underlying the movie is the Islamic belief in personal sacrifice.
As the lyrics of one of the songs says: "Angels do not have this one benefit that humans have.
Lucky are those people that give their lives in sacrifice." Lucky are those who are able to watch this movie once, and luckier are those who enjoy it like I do..
Sacrifice.
Qurbani means sacrifice which is something that plays an important plot point in the climax of this movie.The film when it was released brought a new ultra kinetic violence to Bollywood cinema in this tale of two guys who become thick as thieves but end up falling for the same woman which would cause ructions.
In the mean time they are pursued by a dogged hard nosed detective Amjad Khan (in a rare good guy role) who is also there to provide some humour.The film was directed, produced and stars Feroz Khan who had the vision to shake up the Bollywood formula and brought it into the 1980s well before the rest of the industry followed suit.
Parts of the film were shot in location in London.Zeenat Aman brings sexiness and at the time you can see why guys would instantly fall for her.
A classic of its era..
I'll tell you why it smashed all box office records !.
I didn't like the story.
Lots of forced and illogical matters, and for a Bollywood movie not much to pay off, or rather make you forget.
For instance, just one song caught my attention; Kya Dekhte Ho, and no action scene did.
However, the cinematography is incredibly vivid, the colors are dazzling, and the image is crystal, DVD crystal !
You will notice something about the costumes of the leads, or all the cast for that matter; they are all so chic to say the least, even their sunglasses.
The movie looks like a long ad about Armani (Well, the Indian Armani then !).
Mostly in Bollywood, the music numbers are what used to be taken care of chromatically, but this time it's the whole movie.(Feroz Khan), as a director and producer maintained a formula of action, romance, and sex in all of his movies.
With the emphasis of sex.
However I didn't like him as a leading man.
(Vinod Khanna) is more charismatic and persuasive for me.
But while the movie has the fabulous (Zeenat Aman), and (Amrish Puri) as well, in one wig you will never forget!, (Amjad Khan) was the one who won them all.
He did a nice role nicely, looking like a smart version of Insp.
Clouseau.
Loved him while playing the drum disguised as a hippie, or regulating a car by his bare hands while praying god.(Qurbani) is cops and robbers stuff, with a story of a friendship.
It's brainless, yet elegant.
Smashing all box office records when it was released assures that sometimes all what a movie needs to be successful entertainment is nothing but being brainless and elegant !.
Assessment.
An interesting adaptation of a Western film in urban settings reflecting the westernized culture that came in so predominantly in the 1970's in India.The shift in scenes are well executed like when Feroz khan (Rajesh)is talking to the other convict Shakti Kapoor doing jail labour and the scene just shifts to Vinod Khanna (Amar)running towards a tree gazing Zeenat Aman(Sheela) and is child smoking.Vinod Khanna is at his brilliant best and his machismo blends superbly into the film.I have never seen a hero look as dashing on the Indian Film screen as Vinod Khanna in this film when he runs bare-chested towards a tree gazing at his baby daughter and Zeenat Aman who is playing with her.His friendship with Feroz Khan and the love triangle brings the film to a thrilling climax when finally he sacrifices his life to save his friend.It is a touching ending where the spirit of self-sacrifice is superbly depicted with the title-song.
Amjad khan plays the wise-cracking role to perfection,Zeenat exhibits sex appeal perhaps unsurpassed on the Indian Screen and Feroz Khan is dashing particularly when he enters the discotheque during the no'Aap Jaise Koi Nahi Zindagi me aye to Baat Banjaye.'The songs in this film are great and in the modern era I have never heard such a great collection of songs in a HindiMovie.THe no.'Kya Dekhte Ho'is a lyric'that i love more than any other Hindi song i have ever heard,almost a part of my life.
Not in a classic category ,but one of the most memorable films which reflect the aggressive and materialistic nature of people in the modern times in contrast to idealism.By Harsh Thakor.
Stylish and a superhit.
Feroz Khan after Dharmatma returned as a director with Qurbani(1980) The film which had him paired opposite Vinod Khanna(earlier offered to Amitabh) and Zeenat.
The film is known for it's stylish look and hit songs It's a typical friendship film, we have Feroz play a con artist, while Vinod Khanna befriends him, in twists and turns, both fall for Zeenat.
There's also a hilarious Interpol Cop played by Amjad Khan, There's Shakti Kapoor and Aruna Irani as villains, Amrish Puri however is introduced as a villain but then he is relegated to the background and suddenly killed.
The film has a scene when Feroz Khan smashes Amrish Puri's mercedes, at a time when Indians had not seen one, he imported 2 for that scene.
In typical style of FK, in most of his films the other actor died, be it Vinod Khanna in this film and later in Dayavan, Anil in Jaanbaaz or Sanju in Yalgaar.
Direction by Feroz Khan is decent Music was a big hit, Laila O Laila is still remembered, while the other songs too became famous like the title song, Aap Jaisa Koi by Biddu was a big hitFeroz Khan repeats his usual style, Zeenat Aman who also did Dostana in the same year with a similar role does well, Vinod Khanna is good in his role Amjad Khan is funny in his role, Kader Khan is decent, Shakti Kapoor and Aruna Irani are good in their negative roles, Amrish Puri has a brief role and is okay rest are okay.
why was this film made?.
this film offers almost nothing for the viewer.
it's one long bollywood joke, attempting to be every movie and settling on nothing.
i just can't understand what people like about this, it makes no sense - at one point showing one of the heroes willing to give up his girlfriend to his best friend in order to prove his friendship.
it's annoying that indians accept this kind of blatant cheating of the audience, as though we are supposed to believe that someone will just give their girlfriend to someone else, or that she is his possession to give away in the first place....however, three or four of the songs are quite excellent, and they basically show that this film was just an attempt to put out some good songs.
it seems like once that was realized, they just pulled bollywood clichés out of a hat and linked each of these scenes with a song...
sadly, that's how most of these masala films are made, yet so many fools praise this kind of audience-hating....
|
tt0099927
|
Ke tu qiu hen
|
In 1973, 26-year-old Cheung Hueyin is abroad in London studying media. Upon her graduation, she learns that she, unlike her Caucasian roommates, has been rejected the chance for a job interview by the BBC. Receiving a letter from her mother, she returns to Hong Kong to attend her younger sister's wedding. The relationship between Hueyin and mother Aiko, who is Japanese, has been strained since childhood, partly a result of Aiko's nationality and the cultural problems she encountered living in Hong Kong. From many flashbacks, we see it was Hueyin's paternal grandparents who did much of the early child-rearing, however, they would often overstep boundaries, resulting in family dysfunction.
Before the end of World War II and before eventually becoming Mrs. Cheung and Hueyin's mother, Aiko spent time living in Manchukuo. There, she and other Japanese faced serious dilemmas after Japan's defeat and the subsequent uncertainties of imprisonment and punishment. The most intense of these dilemmas came with the serious illness of Aiko's infant nephew. His illness was eventually cured by Mr. Cheung after a chance encounter and desperate roadside plea for help by Aiko. Mr. Cheung was an army translator from Guangdong, China with a background in traditional Chinese medicine. Aiko developed a sense of fondness for him upon seeing his actions and character. Aiko's brother concurred, mentioning that kindness toward children usually indicates a man of integrity. After Mr. Cheung escorted Aiko's family to the Japanese repatriation site, he revealed to Aiko a strong desire to be a romantic couple.
In 1973, Hueyin reluctantly agrees to accompany Aiko on a visit to her birthplace in Beppu, Japan. Hueyin initially feels very out of place, not being able to speak the language and having no understanding of Japanese culture. Eventually, though, she bonds with an uncle, learns to accept her Japanese heritage, and finally reaches an understanding with her mother. The experience encourages Hueyin to move beyond the BBC's rejection and become a successful television journalist in Hong Kong. Some time later, Aiko encourages Hueyin to visit her paternal grandparents in Guangdong, where Hueyin finds out one of her very youngest relatives has a mental disability. The film ends with Hueyin praying before a dimly lit, incense-choked ancestral altar, contrasting the open-air shrine she visited in Japan and the outdoor political rallies she now reports on.
|
dramatic
|
train
|
wikipedia
| null |
tt0103003
|
Suburban Commando
|
Interstellar warrior Shep Ramsey (Hulk Hogan) is on a mission to capture intergalactic despot General Suitor (William Ball). The general kidnapped President Hashina, the ruler of an entire planet. Shep boards Suitor's flagship but is unable to rescue Hashina, who is killed by Suitor who turned into a berserk reptilian alien after Hashina wounded him. Shep barely escapes, but is able to blow up the ship as he does so.
Due to his failure in saving the President, Shep's superior officer (Roy Dotrice) suggests that he is "stressed out" and should take a vacation. Annoyed, Shep accidentally smashes his control systems and is forced to crash land on Earth. He will have to stay until his spaceship repairs itself. He has little knowledge of Earth's customs, and his temper and sense of justice causes problems with everyone he meets, especially a mime artist he frequently runs into and tries to help such as getting him out of his 'invisible box'.
Charlie Wilcox (Christopher Lloyd) is a weak-willed architect working for the fawning and hypocritical Adrian Beltz (Larry Miller). His wife Jenny (Shelley Duvall) unsuccessfully encourages him to stand up for himself. In order to help out financially, she rents out Charlie's hobby shed as a vacation cabin, which Shep leases. Shep's appearance and behavior makes Charlie nervous and he begins to spy on his guest. He soon discovers Shep's advanced equipment. He turns the equipment on, not knowing that the power sources are traceable and its whereabouts are now being tracked by Suitor's men. They send a pair of intergalactic bounty hunters after Shep. Shep also requires several rare crystals to fix his ship, the closest samples of which can be found in Beltz's office. Charlie helps Shep get into his boss's office during a party, but then the bounty hunters corner them. After winning a furious fight, Shep and Charlie head home to repair the ship.
After the bounty hunters' defeat, Suitor, who had escaped the destruction of his ship, comes to Earth. He takes Charlie's family hostage, forcing Charlie to lead him to Shep. Suitor begins torturing Shep, enjoying himself before he kills the warrior. Finding his courage, Charlie injures Suitor, who then turns into his monstrous form. Physically outmatched, Shep is forced to set his ship to self-destruct and he and Charlie manage to escape the ship's explosion, which destroys Suitor for good.
Shep leaves Earth using the bounty hunters' ship. He takes Beltz's secretary, Margie, with him, hoping for a quiet family life. Charlie, though, has become bolder from his experiences; he appears in Beltz's office the following morning, shouting at his boss in front of witnesses, and finally quits his thankless job. Later Charlie solves his final problem by using one of Shep's weapons to destroy an annoying set of traffic lights that never changed at the right time and receives cheers from the other motorists.
|
good versus evil, cult, psychedelic, comic
|
train
|
wikipedia
|
Out of all the movies Hulk Hogan has starred in this is probably my favourite.Like I said on my summary, it is great fun throughout as Hogan plays intergalactic warrior Shep Ramsey who ends up on Earth after an encounter with evil villains.
It is fun to see Shep adjusting to life on Earth (watch out for one scene where Shep locks a cruel dog owner in the back of a car and lets the dog go free)and to see him battle the evil bad guys who are after him (one of them played by Mark Callaway who is still wrestling as The Undertaker).The dialogue is pretty good throughout the film and as usual, Hogan is playing a moralistic character.
Shelley Winters and Christopher Lloyd do a fantastic job as well.All in all, a great film and I just loved Shep Ramsey's suit in the movie..
Noticing that the quality of the picture was pretty bad (it was on TV), I pretty much assumed that the film was an 1980's flick due to the poor effects (and also due to the fact that Hulk Hogan's in the movie).
Of course, the only good part is the one fight scene where Hogan is fighting with two cronies (who happen to be Undertaker and Ed Leslie a.k.a. Brutus Beefcake).Suburban Commando is only worth watching if you're actually into this type of cheesiness.
It's a peculiar badge of cinematic honour to be the least-worst Hulk Hogan movie of all time.
Hulk plays some sort of super-powerful alien who, in coming to Earth on whatever Universe-saving mission he's on, becomes involved with a suburban US family.Such fun as the movie has is in the alien's attempts to deal with the frustrations, annoyances and rules of suburban life.
The pleasant surprise for those who come to "Suburban Commando" without unsustainable expectations of seeing anything remotely resembling a classic is that this material - Superhero Hulkster dealing with normal suburban irritations - is pretty well-handled, with a few big, satisfying laughs, and not without an element of satire.Whether it's the director or whoever, someone babied Hogan through this one, since the film plays to his strengths (ie he coasts on the natural screen charisma that made him a star in pro wrestling), and avoids his weaknesses (ie acting) that are copiously evident in other Hogan movies.
Otherwise, the remedial comic book plot tends to take over, which is endurable but no particular fun, and Christopher Lloyd has one of his bad days at the office as the suburban family's father.
Wrestling fans shouldn't struggle to spot Mark Calloway (aka the WWF's Undertaker) and might even pick up Hogan's high school buddy Ed Leslie (Brutus Beefcake).Most of the good stuff's in the first half hour or so, from memory.
Requires a leap of faith, considering the film's setup and casting choices, but the effects are pretty good and Hogan's goofy antics and cheesy one-liners actually add amusement to the viewing experience.
Christopher Lloyd and Shelley Duvall rarely fail to deliver good performances, while the character of galactic-super-hero Shep Ramsey was tailor-made for Hogans over-the-top personality.
I may be biased as a Hulk Hogan fan, but this is my favorite of his films.
A lot of it is pretty dumb and borders on the absurd, but the best and funniest scenes are his trying to fit in on Earth, and the odd partnership between him and straight-laced Christopher Lloyd.
Sure, it is more kids movie than even a family movie, and it can not compete with glowing old stream-liners like Back To The Future, not to mention recent Harry Potters, etc., still, it delivers the unique combination of funny comedy and warm atmosphere of kindness and personal achievement.
You can rarely meet this combination in movies nowadays.What I also like is that the struggle of good and evil is going on more realistic sci-fi level than usual (no mystically flying superheroes and other such things).
Christopher Lloyd also performed great (as usual), and the acting of many supporting characters was solid good and fit the plot precisely.So if you want the entertaining comedy for your family and you want to chuckle at some scenes for yourself, watch this movie.
Hogan there looks like a big kind-hearted superhero uncle, so your kids will love him..
What movie goers recieved that year was arguably the best film of the decade, with the Hulkster bringing Shep Ramsey to life in yet another heart stopping performance.
This man was never meant to be an actor - a showman, perhaps, and a wrestler indeed, but the only shining performance here was Christopher Lloyd in his usual goofiness.At least this movie doesn't try too hard...
It is also definitely the best Hulk Hogan movie (I say this after watching the horrible Mr. Nanny).It's been 17 years already, Hulk, how long do we have to wait for Suburban Commando 2?!.
Suburban Commando is one of Hogan`s best films!.
Suburban Commando is a very good film and its one of Hulk Hogan`s best films.It is one of My favorite films.I was thrilled when it came out because back when wrestling was wrestling it was so fun watching the then WWF Prime Time Wrestling show and seeing the promotions on it while watching some of the best wrestling ever seen back in 1991.Anyway the film is action packed and has many,many funny moments.One of My favorite actors Christopher Lloyd stars along with the Hulkster and he is very good in it.Christopher Neame had a very short part and I think he should have had a much larger role in the film.William Ball,Shelley Duvall,Roy Dotrice,and Larry Miller all put on good performances.I was amazed to see Mark Callaway (The Undertaker) in the film.
The film has good effects,good music and is an enjoyable film.If you like Hulk Hogan and Christopher Lloyd and love action,comedy,sc-fi action then see this film!Notes: The first version of Suburban Commando released has a special message by Hulk Hogan before the movie starts.The following November Hulk Hogan fought fellow co-star Mark Callaway (The Undertaker) in the 1991 Survivor Series.During the song in the intro Hulk Hogan has a few words in the song.Hulk Hogan is the Executive Producer for Suburban Commando.Hulk Hogan`s long time friend and legendary wrestler Brutus "the Barber" Beefcake (Ed Leslie) performed many of the stunts in the film..
Fun Fact: This movie was the reason why punching mimes became a "thing" back in the early '90s.Many mature themes and elements run through this film.
And a manic, grunting steroid-crazed monster - the mustachioed "Shep" Ramsey - terrorizing a quaint suburban town by whimsically and randomly manhandling its citizens, ensuring hilarity for all.If you enjoy even the thought of face-punching mimes in a light-hearted fashion, you've already seen this movie.
Not only the best hogan film but one of my fave films of all time.when i first watched this with 2 other people i was slightly tipsy....but that just made it better...for 1 and a half hours we were on the floor laughing it's that funny....and the best part is it's funny for all the wrong reasons it's so bad it's great, the dialogue is hilarious and hogans acting is even better.if you have some spare time and a couple of mates over don't be afraid to watch this.....4/5 stars"ANTIFREEZE".
Well, Its not Funny, if you are that "Stupid Comedy" Kind of person like me, you could make fun of it or laugh at it for how "Stupid" it is.
It has pretty good performances by Lloyd, Hogan, and others.
The Best Hulk Hogan Movie though, since he didn't give many good ones.
And its very funny at times, Any Star Wars fans would like it, it spoofs and connects with the movies in ways that are very funny.
I'm not a Hulk Hogan fan but he's not bad in the role of Ramsey.
"I hate Earthlings!" - Shep Ramsey One look at the box-art for "Suburban Commando," and you know exactly what you're in for.
It's hardly high-art, or even a movie you'd want to admit to owning, but one thing is certain: It's is a nice slice of early 90's cheese.Hulk Hogan plays Shep Ramsey, a space warrior who finds himself a fish-out-of-water when he is forced into taking an extended vacation on Earth.
Purely innocent and simultaneously nostalgic, "Suburban Commando" is the best Hulk Hogan movie there is.But then again, that's not saying much..
Brilliant execution and top-notch acting from Hogan and Christopher Lloyd are examples of what propel this film to the top of cinematic history.
Christopher Lloyd supplies all the laughs as a stressed out business man, but his life really turns upside down when Ramsey rents out the apartment his wife offered.Not Hulks best, but not his worst either..
suburban commando is a pretty bad movie.
Personally, I was hoping Hogan would become an action star somewhere along the line after this film but that didn't' happen which sucks.
This is an under the radar gem that is also kind of another guilty pleasure of mine, yeah, it's not exactly one of the best sci-fi/comedy films in my book, though it's not setting itself out to be one expect for one thing to be just plain dumb fun.Not a lot to say, it's sort of a mix of both alien visitation sci-fi and buddy buddy/cop genre that were both subgenres running on high altitude back in the 80's.
Though I really like the supporting actors even more, from Shelley Duvall as Jenny Wilcox whom is a wife of Christopher Lloyd's character.
Christopher Lloyd one of my favorite actors is great as Charlie Wilcox whom is a sympathetic character as he's an overly busy and stressed guy that unfortunately has a confidence problem, he is just taking crap from work but also outside of work, however he is ambitious he wants things to be better for his family but most of all his own life but he just needs the right amount of confidence to get it.I really like the back and forth between between both Charlie and Shep they play off each other well, like any buddy comedy.
Even like how he's reacts about the matter which feels like how any normal person would react and it's funny as Charlie is curous about some of the technology Shep has and tries it out much like how any kid that sees a new toy and wants to play with it.But despite all the trouble you see slowly but surely Shep really begins to care for the Wilcox family.
Charlie despite the amount of stress he accumulates from Shep, that starts to melt away as he appreciates even admires most of what Shep does for him and of course we see Charlie do that in return for him which makes him become slowly empowered.The comedy is good, though another bad thing about the film is not all the comedy hits there are a few really lame jokes here and there but that's common in most comedies, it's really the hits that count and this film has enough of them.There are some really funny scenes like Cheb playing a video game mistakenly thinking it's life and death situation, though what really makes it funny is the fact the actors are pretending it's some space battle video game when it's really the arcade game "After Burner" which I always found strange; they probably couldn't afford to make a fake video game cabinet let alone nonexistent video game.
Another is when Charlie dons Sheps armor and tries to kick some ass with it though not that well.The action is decent from the action in the beginning, the fight at the bank with the two robbers armed with he freeze gun which leads to one of the best lines in the film "Antifreeze!".
To a good fight between two space bounty hunters which to me is the best one as it' almost like a live action Shonen anime battle and both bounty hunters are wrestlers also.
Though I'll admit I think that's the only real bad thing about the film there really isn't enough action, the film might have benefited more if maybe aren't the second and third half we saw both Shep and Charlie having to stop an alien invasion from the evil alien empire Shep was fighting earlier.
Personally that was what I was kind of looking forward to in the movie and I was mildly disappointed that it didn't happen, I really wanted to see them use that cool equipment more in the film.
If your interested in either Hulk Hogan or Christopher Lloyd, or just are a causal sci-fi or comedy fan looking for another sci-fi comedy, like any suburb ventured it's worth a drive by.Rating: 3 stars.
This is the first and hopefully only movie I've ever seen that stars Hulk Hogan.
It features Hulk Hogan as an alien warrior who comes to Earth to meet up with Christopher Lloyd to stay away from bounty hunters.
The acting is pretty bad and there's really nothing unique about the film at all.There's a couple of funny lines in there, but definitely not enough for a full movie.
I think this could have been funny and entertaining if it was like a short film or possibly a sketch.
Not Good, but Not Bad. OK, let's be honest, this isn't one of the greatest movies ever made but I can give it some credit for making me laugh once in a while, and even though some of the action was kinda boring, it was at least somewhat creative.Even though Hulk Hogans acting isn't all that good, I will say that this is the one of those movies where an actor does bad in many movies but did good in a certain movie (Suburban Commando is one of his better films).
But the rest of the acting was bad.So in all honesty the movie is just stupid, but it tries to be good.
hulk hogan puts in a very, how shall we say, "interesting" acting performance in "suburban commando".
Most of these diversities lie in the perception of one's surroundings, and what those perceptions mean to that person.Seeing Suburban Commando as a kid was an interesting experience, as the premise looked good enough.
Now granted, Hulk Hogan hasn't been a great action hero, let alone a terrific actor, but you have to admit that this film does have it's funny moments.
Christopher Lloyd adds most of the humor of the film, and indeed if it was just Hogan as the "main star" i seriously doubt this film would be anywhere near decent...also look for a cameo of Mark Callaway (aka The Undertaker)as one of the Bounty Hunters.
I love everything about it; the plot, the acting, the characters, the cheesy music, and the hilarious situations that Shep Ramsey would get into on Earth.
Hulk Hogan does an awesome job as Shep Ramsey, an intergalactic warrior who never takes time to relax after a mission.
Hulk Hogan does an awesome job as Shep Ramsey, an intergalactic warrior who never takes time to relax after a mission.
On to Suburban Commando Shep Ramsay(Hogan) is an intergalactic warrior currently battling the forces of the evil General Zuiter.
This film is what any Hogan movie should have been, enjoyable, funny, and sometimes even witty.
So you get various silly scenes where he beats up bad guys, stops petty crimes, helps kids, helps old ladies, the odd pratfall and goofiness due to his super strength etc...its all very predictable and childish but then it is a kids flick.In all honesty Hogan is a reasonable comedy actor and does ham it up nicely, he is also clearly great with kids which is nice and adds a genuine gentle touch to the films infantile bits.
Hogan actually makes a watchable movie!.
I must say after watching Suburban Commando, well done Hogan!Hogan plays Shep Ramsley, a space warrior who has crashed down on Earth after destroying an evil emperor.
Here on Earth, Shep must repair his ship, and rents a room in Charlie Wilcoxes (Christopher Lloyds) ownership.
Overall, good film and it shows that Hulk can at least act and do it well.
If you had to pick one Hulk Hogan film with him starring as the lead role, choose Suburban Commando!.
Hulk isn't a great actor but this one, where he kind of makes fun of himself and nothing in the movie is taken seriously, it actually works.
When I first saw it a few years back I thought that it was good, but now it is simply full of clichés with a bad actor (Hulk Hogan) showing off his choreographed pro-wrestling skills.
I have a weak spot of sci-fi but I don't think I can sit through the bad acting and the pro-wrestling falseness again.The movie is about a commando that single handedly destroys a huge space cruiser and the evil dictator flying it and is then commanded to go on a holiday on Earth.
When I watched Hulk Hogan walking down the street all I could think of is that he seriously suited the role of an alien, and he didn't even seem to have make up on.
This movie does not stand apart and Christopher Lloyd steals the spotlight from Hogan for his acting ability.
Suburban Commando is a silly movie that tries to be something that it is not.
I would have to say this is probably my favourite Hulk Hogan film out of the ones he did.
Naturally you can always get that feeling with silly Christopher Lloyd and Shelly Duvall.Hulk Hogan plays Shep Ramsey, an interstellar warrior.
Plus how could you not laugh when Chris Lloyd finds out about Hulk's character and puts on the metal armor that he wore in the beginning of the film in space, Chris thinks that he's some kind of super hero just because he has this space armor on, yet cannot really move around in it.
|
tt0067372
|
The Tragedy of Macbeth
|
=== Act I ===
The play opens amidst thunder and lightning, and the Three Witches decide that their next meeting shall be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals—Macbeth, who is the Thane of Glamis, and Banquo—have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald, the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.
In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he shall "be King hereafter." Macbeth appears to be stunned to silence. When Banquo asks of his own fortunes, the witches respond paradoxically, saying that he will be less than Macbeth, yet happier, less successful, yet more. He will father a line of kings though he himself will not be one. While the two men wonder at these pronouncements, the witches vanish, and another thane, Ross, arrives and informs Macbeth of his newly bestowed title: Thane of Cawdor. The first prophecy is thus fulfilled, and Macbeth, previously skeptical, immediately begins to harbour ambitions of becoming king.
King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth, telling her about the witches' prophecies. Lady Macbeth suffers none of her husband's uncertainty and wishes him to murder Duncan in order to obtain kingship. When Macbeth arrives at Inverness, she overrides all of her husband's objections by challenging his manhood and successfully persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan's two chamberlains drunk so that they will black out; the next morning they will blame the chamberlains for the murder. They will be defenseless as they will remember nothing.
=== Act II ===
While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to take charge. In accordance with her plan, she frames Duncan's sleeping servants for the murder by placing bloody daggers on them. Early the next morning, Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife, arrive. A porter opens the gate and Macbeth leads them to the king's chamber, where Macduff discovers Duncan's body. Macbeth murders the guards to prevent them from professing their innocence, but claims he did so in a fit of anger over their misdeeds. Duncan's sons Malcolm and Donalbain flee to England and Ireland, respectively, fearing that whoever killed Duncan desires their demise as well. The rightful heirs' flight makes them suspects and Macbeth assumes the throne as the new King of Scotland as a kinsman of the dead king. Banquo reveals this to the audience, and while sceptical of the new King Macbeth, he remembers the witches' prophecy about how his own descendants would inherit the throne; this makes him suspicious of Macbeth.
=== Act III ===
Despite his success, Macbeth, also aware of this part of the prophecy, remains uneasy. Macbeth invites Banquo to a royal banquet, where he discovers that Banquo and his young son, Fleance, will be riding out that night. Fearing Banquo's suspicions, Macbeth arranges to have him murdered, by hiring two men to kill them, later sending a Third Murderer. The assassins succeed in killing Banquo, but Fleance escapes. Macbeth becomes furious: he fears that his power remains insecure as long as an heir of Banquo remains alive.
At a banquet, Macbeth invites his lords and Lady Macbeth to a night of drinking and merriment. Banquo's ghost enters and sits in Macbeth's place. Macbeth raves fearfully, startling his guests, as the ghost is only visible to himself. The others panic at the sight of Macbeth raging at an empty chair, until a desperate Lady Macbeth tells them that her husband is merely afflicted with a familiar and harmless malady. The ghost departs and returns once more, causing the same riotous anger and fear in Macbeth. This time, Lady Macbeth tells the lords to leave, and they do so.
=== Act IV ===
Macbeth, disturbed, visits the three witches once more and asks them to reveal the truth of their prophecies to him. To answer his questions, they summon horrible apparitions, each of which offers predictions and further prophecies to put Macbeth's fears at rest. First, they conjure an armoured head, which tells him to beware of Macduff (IV.i.72). Second, a bloody child tells him that no one born of a woman shall be able to harm him. Thirdly, a crowned child holding a tree states that Macbeth will be safe until Great Birnam Wood comes to Dunsinane Hill. Macbeth is relieved and feels secure because he knows that all men are born of women and forests cannot move. Macbeth also asks if Banquo's sons will ever reign in Scotland: the witches conjure a procession of eight crowned kings, all similar in appearance to Banquo, and the last carrying a mirror that reflects even more kings. Macbeth realises that these are all Banquo's descendants having acquired kingship in numerous countries. After the witches perform a mad dance and leave, Lennox enters and tells Macbeth that Macduff has fled to England. Macbeth orders Macduff's castle be seized, and, most cruelly, sends murderers to slaughter Macduff, as well as Macduff's wife and children. Although Macduff is no longer in the castle, everyone in Macduff's castle is put to death, including Lady Macduff and their young son.
=== Act V ===
Meanwhile, Lady Macbeth becomes wracked with guilt from the crimes she and her husband have committed. At night, in the king's palace at Dunsinane, a doctor and a gentlewoman discuss Lady Macbeth's strange habit of sleepwalking. Suddenly, Lady Macbeth enters in a trance with a candle in her hand. Bemoaning the murders of Duncan, Lady Macduff, and Banquo, she tries to wash off imaginary bloodstains from her hands, all the while speaking of the terrible things she knows she pressed her husband to do. She leaves, and the doctor and gentlewoman marvel at her descent into madness. Her belief that nothing can wash away the blood on her hands is an ironic reversal of her earlier claim to Macbeth that "[a] little water clears us of this deed" (II.ii.66).
In England, Macduff is informed by Ross that his "castle is surprised; [his] wife and babes / Savagely slaughter'd" (IV.iii.204–5). When this news of his family's execution reaches him, Macduff is stricken with grief and vows revenge. Prince Malcolm, Duncan's son, has succeeded in raising an army in England, and Macduff joins him as he rides to Scotland to challenge Macbeth's forces. The invasion has the support of the Scottish nobles, who are appalled and frightened by Macbeth's tyrannical and murderous behaviour. Malcolm leads an army, along with Macduff and Englishmen Siward (the Elder), the Earl of Northumberland, against Dunsinane Castle. While encamped in Birnam Wood, the soldiers are ordered to cut down and carry tree limbs to camouflage their numbers.
Before Macbeth's opponents arrive, he receives news that Lady Macbeth has killed herself, causing him to sink into a deep and pessimistic despair and deliver his "Tomorrow, and tomorrow, and tomorrow" soliloquy (V.v.17–28). Though he reflects on the brevity and meaninglessness of life, he nevertheless awaits the English and fortifies Dunsinane. He is certain that the witches' prophecies guarantee his invincibility, but is struck with fear when he learns that the English army is advancing on Dunsinane shielded with boughs cut from Birnam Wood, in apparent fulfillment of one of the prophecies.
A battle culminates in Macduff's confrontation with Macbeth, who kills Young Siward in combat. The English forces overwhelm his army and castle. Macbeth boasts that he has no reason to fear Macduff, for he cannot be killed by any man born of woman. Macduff declares that he was "from his mother's womb / Untimely ripp'd" (V.8.15–16), (i.e., born by Caesarean section) and is not "of woman born" (an example of a literary quibble), fulfilling the second prophecy. Macbeth realises too late that he has misinterpreted the witches' words. Though he realises that he is doomed, he continues to fight. Macduff kills and beheads him, thus fulfilling the remaining prophecy.
Macduff carries Macbeth's head onstage and Malcolm discusses how order has been restored. His last reference to Lady Macbeth, however, reveals "'tis thought, by self and violent hands / Took off her life" (V.ix.71–72), but the method of her suicide is undisclosed. Malcolm, now the King of Scotland, declares his benevolent intentions for the country and invites all to see him crowned at Scone.
Although Malcolm, and not Fleance, is placed on the throne, the witches' prophecy concerning Banquo ("Thou shalt get kings") was known to the audience of Shakespeare's time to be true: James VI of Scotland (later also James I of England) was supposedly a descendant of Banquo.
|
dark, realism, murder, violence, atmospheric, tragedy, revenge
|
train
|
wikipedia
|
The action is well mounted and paced so anyone would be able to follow it even if they are not able to completely grasp the language.THE NEGATIVE: Outside of a relentlessly bleak visual style that may be too much for some there really isn't anything negative about it.THE LOWDOWN: This is the best film adaptation to Shakespeare's work that I have seen.
Roman Polanski's blood-soaked version of Shakespeare's Scottish play was the video version of choice when we were studying this at school, in spite of it having a nude Lady Macbeth and witches (and Keith Chegwin in the cast - he's Banquo's son).Jon Finch has the lead and he is exceptionally good.
His Lady M is Francesca Annis, a spider of a schemer, also putting in a good performance.Less adequate are Martin Shaw as Banquo, Stephan Chase as Malcolm, and Sydney Bromley as the Porter, although Terence Bayler gives good value as Macduff.Perhaps this Macbeth is the first one to be truly cinematic, something that even Orson Welles couldn't achieve with Scots accents and Scandinavian settings.
To get the obvious out of the way- Roman Polanski directed Macbeth as the first film following the death of his wife, Sharon Tate, and unborn child at the hands of Charles Manson's gang.
Aside from the purging, as far as I can figure, Polanski was doing for himself by going all out in showing the frank and bloody depictions of violence and almost cleansing (as Lady Macbeth would do in madness) of blood on hands that could never come off, of the sort of psychological impact of violence and its aftermath, it was a bloody time in the world and in films.
It would practically be dishonest, in a sense, for Polanski not to show how grotesque the acts of murder that, for example, Macbeth's men do on MacDuff's family and servants, or the simple, sadistic carnage of Macbeth's final curtain call in the climax, considering the mood and controversies of the period.Compared to some of the really radical films of the year, however, Macbeth's story is as old and cherished as children's fables.
Yes, children, you all remember the story of ambitious young Macbeth, prodded on by the alleged prophecies of three weird witches, who murders the king by his own (and his wife's) accord, and soon goes mad as power grips him into overreaching his domain and believing himself to be invincible to all but a fleet of woods.
Yet even more incredible is that Polanski, as well as Kurosawa with Throne of Blood, enrich the material with the film adaptations, changing around some scenes, omitting some altogether, and offering brands of surrealism based on preferred styles.While Kurosawa stuck to the Noh method for much of his film, Polanski's Macbeth is an atmospheric milestone as far as concrete production design can go (never once does it feel like they used a fake castle, or much of a fake set even), and all the grays and dark Earth colors, especially when Macbeth goes to the witches a second time, blend into something that matches the psychological conundrum of the king of Scotland and his desperate wife.
But seeing Polanski take things further, with touches of the bizarre (the floating and illusionary dagger, the drops of blood in Lady's hands, and the spectacular scene of Macbeth seeing through the windows, shot in a hazy and pirouetting camera), and showing what was only alluded to in strange and exciting ways- the killing scene in the bedroom feels almost like the Psycho shower scene, missed stabs and the messy quality of it all, only from the guilty party's point of view.
This, plus the attention to detail in storytelling, the nuanced and gleefully over-the-top dialog provided very close to the original text, and even hand-held camera-work right out of something in Repulsion, makes this a work of daring for Polanski, not simply in the realm of elaborate fights (though there is that) or blood-shed (a lot of that) or decapitations (one or two gushing ones).Though not to forget as part of the success too, aside from the director's total control of mis-en-scene, are the actors.
I loved seeing the whole room of witches, most naked (thanks to Hugh Hefner mayhap), and it almost seeming as if a bare minimum of make-up was used.Bottom line, if you're looking for a hallmark of the dark literary drama, or a disturbing tale of the madness of power, or just a classic Polanski film, it's all here..
Dark, bloody and brooding version of Shakespeare's play about a doomed Scottish king who was, according to his wife, Lady MacBeth "too full of the milk of human kindness to catch the nearest way".
Then Zeffirelli made his Romeo and Juliet, showing Romeo's bare butt, even in the ad for the film, and we started getting the glimmer that Shakespeare had been a real person writing about other real people - then came Polanski's MacBeth.I won't lie and tell you that this is the definitive MacBeth - or even that it's a really great movie - all of the actors seem like they are way over their heads in this material.But Polanski's purely cinematic bravado pulls it off.
After committing the awful deed, Macbeth begins hallucinating, hearing strange omens of death and haunting words; his wife similarly becomes worried with Macbeth's bloodlust, and Duncan's son convinces himself that Macbeth was involved in some way with the killing."Macbeth" is a true tragedy, and chances are you already know a great deal about it as it seems to be a high school requirement that it be read by all students.
The remarkable thing about Roman Polanski's movie is that it is not only a painfully accurate retelling of William Shakespeare's story, but doesn't flinch when it comes to violence.According to IMDb's trivia section (and I can't honestly say how reliable this information is, mind you), Polanski included very violent scenes (such as Duncan's death, which is NOT detailed in the original text) because the movie was filmed around the same time period of Sharon Tate's brutal murder, and it was Polanski's way of venting stress and anger.
To say that this adaptation is a bit of a bloodbath is a bit of an understatement, but you cannot deny that this film from Roman Polanski is quite possibly the definitive film version of Shakespeare's play, which is very complicated to even contemplate transcribing to screen.
Any scene with the three witches, the murder of Macduff's family, plus the part when Macbeth sees Banquo's ghost was very well done.(I saw an amateur production of this, and not only was it disappointing, but that particular scene was the worst aspect of it) The performances were brilliant, Jon Finch(who did start off uncomfortable) is great on the whole as the treacherous thane-turned-king, and Francessca Annis was nigh-on-perfect as Lady Macbeth.
While the plot follows the play very, very closely, some stylistic flourishes are added (especially when MacBeth sips the witches brew) and the violence is increased.People have tried to say this film had some influence from the Manson murders.
Consequences come to a head and ultimately everything leads to a violent conclusion in a bloody final stand between Macbeth and the English Army.Roman Polanski has a history of making dark films.
'The Tragedy of Macbeth' may have struck a personal chord for Polanski as it was being filmed when his wife Sharon Tate was untimely murdered by the Mason Family.
Most notable is Finch as the torn Scottish king, who's conscience ultimately betrays him.'The Tragedy of Macbeth' may not be a brilliant adaptation of the popular play, but Roman Polanski has a certain amount of success in the way he films the ideas set out by William Shakespeare.
The things Polanski added work: Showing the murder of Duncan (and others) and the remarkable hanging of the Thane of Cawdor are examples of how a film, in the right hands, can sometimes give more than the stage play.
Shakespeare's great tragedy is skillfully adapted for the screen, as Polanski turns the stage play into a truly cinematic experience.
The Scottish Play was always my favourite of Shakespeare's tragedies and this, Polanski's first film after the death of Sharon Tate is EXACTLY how I imagined any film version of the story should look.
The grim, filthy setting of the Middle Ages is perfectly evoked; it really was this nasty, this cold, and this gory at that time and it makes perfect sense for Polanski to work out the horror of Tate's murder into this production.
Sure, there are a couple of gripes; Annis' Lady Macbeth does not go mad half as well as Judy Dench's did in a 70's T.V. adaptation and the violence is rather toned down in comparison with Shakespeare's original text but less is often more.
The effects are also very amazing and advanced for the time of filming and the final scene with Macduff and Macbeth is some real excellent cinema.
While the titular characters in the Bard's tragedies tend to be cut from the same ascending-to-descending code of ethics and allegiances, Macbeth (Jon Finch) is portrayed as a man whose ambition is first catalyzed by 3 witches, and reinforced by his even-more-ambitious wife (a luscious femme fatale played by Francesca Annis), and proceeds to infect his once-noble mind with notions of dominance and absolute power that dictate his demise.
Being the first film Polanski made following his wife's murder, there is a sense of the director's own demons being transposed into the internal monologues and asides of the conflicted Macbeth, as he attempts to rationalize his own deeds in the face of what he views as an unjust act (being passed over for the crown).
Vehement and inch-perfect approach of Roman Polanski towards Shakespeare's greatest play "Macbeth".
While watching his frighteningly dark and nihilistic take on Shakespeare's Macbeth, I think of just what a fascinating story the life of Roman Polanski is, and has become.
It is with the most pitch black sense of irony I realize that the film he made, in part one must assume, to deal with his own tragedy today mirrors his future lawsuit - towards the end of the movie it was scarily easy to draw the connection line between Polanski himself and Macbeth who, despite his frustration and angst, cannot escape the consequences of his crime.If justice truly is blind - and Polanski certainly doesn't express any other point of view in this film - then anyone with blood on his hands will get what's coming to him.
In a way, watching the movie feels like having a lobotomy.Naturally, much of this comes from the murder of Sharon Tate, which echoes throughout the entire movie, but while there are many obvious details making the movie so hauntingly personal, there is also a lot in the movie that simply tells Shakespeare's tragedy in an even more depressing light.
Yet that's the greatness of Roman Polanski's adaptation, not that it's the definitive rendering, but so potent and memorable.The key difference is that this is not Sir Larry's Shakespeare, but a bloody, anarchic version that strives to make the audience uncomfortable at every turn.
All bets are off here.It's impossible to watch Polanski's "MacBeth" without thinking of the Helter Skelter murders that informed the making of this film.
"Bring forth men children only" is MacBeth's dictum to his ruthless wife, but having him think it is far less powerful than hearing him say it to her face, especially with King Duncan's blood on both their hands.Still, Polanski does respect Shakespeare, hews very closely to the dialogue of the play especially in the first half, and finds unique ways of driving home the point that this is no Elizabethian tale of goodness triumphing over evil, but at best a draw.
Many of my classmates did have a sense of dread, thinking "What good is Shakespeare to me?" Then the teacher brought in this version of Macbeth, by Roman Polanski.
Jon Finch and Francesca Annis, cast age-appropriately, are excellent in the lead roles, but Polanski also gives us a superb supporting cast to frame the leads, injecting more character into the all too often faceless cast list: watch Ross expediently switch political alliances probably more often than he changes his underwear; see what could have happened to Donalbain, whose function disappears out of the play early in Act II; and watch the portrayals of the 3 leading weird sisters, which meet all the requirements of the scripted descriptions, and go a few steps further (have a drink out of that bubbling cauldron!!).
Finch just looks uncomfortably stricken while Annis acts coy and childish.All in all, Polanski's MACBETH is a decidedly thorny piece of work: since it was his first film following the murder of his pregnant wife Sharon Tate and friends by members of the Charles Manson cult, he seems to have had too much to prove here.
Polanski's original version of Macbeth is nearly perfect and is an excellent adaptation of Shakespeare for the screen.
Also very good is the dreamlike series of visions in the witches' den, which go for a warm, prickly fear rather than spooky chills.In coaching his actors Polanski seems to want to shear the production of all theatricality, treating Shakespeare's play as if it were a new screenplay rather than a thing of grand traditions.
Things definitely made much more sense the second time round, and although this film is visually dark and gory, I must say that Polanski's interpretation, and particularly his ending, is really interesting.
As well, the haunting bagpipes music that Polanski manages to throw in every now and again, was very effective in setting the mood of certain scenes.The acting was convincing enough, especially Macbeth (Jon Finch) at his "evil" phase, but most agreed that Lady Macbeth (Francesca Annis) was a bit too attractive and sweet-looking to be playing the part of the scheming and ambitious Lady Macbeth.
Roman Polanski's notoriously violent film of Shakespeare's notorious "Scottish play" doesn't quite satisfy as it should.
Roman Polanski's notoriously violent film of Shakespeare's notorious "Scottish play" doesn't quite satisfy as it should.
All in all, Polanski's "Macbeth" is a decidedly thorny piece of work: since it was his first film following the murder of his pregnant wife Sharon Tate and friends by members of the Charles Manson cult, he seems to have had too much to prove here.
Hugh Hefner put up the money for Roman Polanski's grim and gruesome adaptation of Shakespeare's MacBeth.
Roman Polanski's interpretation of Macbeth takes on the main character's pessimistic view of life and the play's own dull and melancholic tone to create a very unique and interesting look on Shakespeare's popular tragedy.
This movie was filmed a couple of years after director Roman Polanski's wife Sharon Tate, pregnant with their child, was killed by the Manson family.
Violence, gore, political intrigue, sex, nudity (albeit in all the wrong places), a director (Roman Polanski) subconsciously working out his grief and horror over a personal tragedy (the brutal murder of his pregnant wife Sharon Tate by the Manson family), and released in the early 1970's by Hugh Hefner's film division of Playboy Magazine (yes, they actually tried to make serious literate pictures before resorting only to soft-core porn!).
Polanski's adaptation of Macbeth is ,if not a perfect rendition of the great play,at least highly watchable and wonderfully filmed.Jon Finch turns in a very capable and realistic performance in the title role,and while he is no Ian McKellen,brings the human side of the character to brilliant life.
This Film, directed by Roman Polanski, is a visually brilliant interpretation of William Shakespeare's 'Macbeth'.
The Porter scene is just as funny as it is intended to be and the murders as gruesome.I recommend this movie to anyone who wants to have a better understanding of the play Macbeth or just want a good drama to watch.
Gee, do ya think Polanski knew that?) When I need a break from movies that fall back upon dizzying effects and mindless scripts, I watch my Shakespeare films again and again, and Macbeth is a top-runner in the rotation.
surely one of the best movie of Polanski,Macbeth is a very violent and bloody version of Shakspear'es story.
My Rating : 7/10Polanski is one of those auteurs that really 'gets' psychological trauma - be it 'Repulsion', 'Rosemary's Baby' or 'The Pianist' - his understanding and portrayal of horror, angst and shock is of the highest artistic order.'The Tragedy of Macbeth' which was filmed after the Manson family murder of his wife is a brutal, angry and violent retelling of one of Shakespeare's most famous plays and it really shows from beginning to end.A mad medieval play that feels accurate and with all the nastiness and brooding that only Polanski can do justice with.
There's no question that it's a visually stunning picture that manages to be realistic in regards to its graphic violence but it also does the hardest thing that any Shakespeare adaptation could do and that's appeal to those who normally wouldn't enjoy Shakespeare.I think it has to be pointed out that this here was Polanski's first movie after the murder of his wife Sharon Tate and their unborn child.
bugged me."Shakespeare wrote with Macbeth maybe his most creepy and dreary and evil play, and it is a great credit to Roman Polanski that he managed to turn this play into a captivating movie.
This movie adaptation of William Shakespeare's incredible story of Macbeth, the Scottish King, is portrayed excellently in this brutal, word-for word remake.
Make this be the next movie you watch, it is a must for any fan of film, Shakespeare, or Polanski..
The movie is an excellent adaptation of the play, this is true but the film making quality is mediocre.
Roman Polanski's Film Production of Macbeth (1971) is one of the worst movies I have seen based on Shakespeare.
|
tt0024475
|
The Prizefighter and the Lady
|
While working as a barroom bouncer, sailor Steve Morgan (Max Baer) impresses alcoholic ex-boxing manager "the Professor" (Walter Huston) with his skills. The Professor talks Steve into entering a prize fight with an up-and-coming boxer to make money for both of them.
While out training on the road, Steve is nearly run over by a speeding car that crashes into a ditch. He carries nightclub singer Belle Mercer (Myrna Loy) out of the wreckage. Though she is attracted to him, she refuses to have anything to do with Steve. He learns where she lives and goes to see her anyway. He is too cocky to be concerned when she reveals that she is the girlfriend of well-known gangster Willie Ryan (Otto Kruger). When Willie finds out, Belle reassures him she is in control of her emotions. Willie is not so certain about that, but is too shrewd to have Steve killed out of hand by his bodyguard, whom he jokingly calls his "Adopted Son" (Robert McWade). It turns out that he had cause for concern; Steve persuades Belle to marry him. Deeply in love with Belle himself and still hoping to get her back, Willie lets Steve live.
Steve quickly rises through the boxing ranks. However, he cannot keep from fooling around with other women. When Belle catches him in a lie, she tells him that she loves him, but if he cheats on her once more, she will leave him. While waiting for a bout for the heavyweight championship of the world, Steve performs in a musical revue. When Belle unexpectedly goes to his dressing room, she finds a woman hiding there. It is the end of their marriage. She gets her old job back with Willie.
Anxious to see the overconfident Steve humiliated, Willie finds out what is holding up the match with the current champion, Primo Carnera (playing himself), and pays $25,000 to set it up. When the Professor tries to get Steve to train properly (without women and liquor), Steve gets angry and slaps him, ending their partnership.
The championship bout is refereed by boxing promoter and former champion Jack Dempsey (himself). Belle, Willie and the Professor are all in attendance. For most of the ten-round fight, Steve gets pummeled by the much heavier Carnera. Finally, a distraught Belle urges the Professor to forget his wounded pride and go to Steve's corner to provide much needed advice. With his old friend and his ex-wife rooting him on, a heartened Steve makes a furious comeback in the final rounds. The match ends in a draw; Carnera retains his title.
Later, Willie enters Belle's nightclub dressing room and tells her she is fired. Then he brings Steve in and leaves the couple alone to reconcile.
|
romantic
|
train
|
wikipedia
|
In her biography, she admits that the only major mistake she made in her career was underestimating the raw physicality and animal presence, as well as the dominating personality, of heavyweight champion-to-be Max Baer for "The Prizefighter and the Lady".
Jack Dempsey, just seven years removed from his championship days, is the referee in Baer's climactic title fight with cinema---and actual world champion---Carnera.
When Baer and Carnera actually met for the championship, on June 14, 1934, at New York's Long Island City Bowl, Max entered the ring wearing not his own robe, but the one from the film...with Steve Morgan's name emblazoned on the back.
I think he might have beaten Primo." Whichever name he used, Baer knocked down Carnera a record 11 times in 11 rounds before the referee stopped the bout and awarded Max the crown.
This film is worth watching for the charismatic Baer, his exciting and entertaining battle with Carnera, and all those historic boxing figures..
We see him in semi-comic scenes as a braggart strong man; in love scenes with Myrna Loy in which something seems really to be going on between them, and in flirtations or affairs with other women; in a ten-minute "dance" number embodying fighter training techniques with a line of chorus girls; and finally in an only slightly abridged championship fight with the then heavyweight champ Primo Carnera, anticipating their actual battle a year later.
As I watched this film last night the thought came to me that he was born fifty years too soon; he could have been successful in the kind of roles recently played by Stallone and Schwarzenegger, neither of whom, in my opinion, has the range for which Baer showed the potential..
Though his character name was Steve Morgan, believe me this is the genuine Max.And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year.
In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston.
I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review.
But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts.
Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences..
The movie's routine plot involving the on-again, off-again romance and marriage between Myrna Loy and Max Baer seemed completely dwarfed by the drama of the final 25 minutes, which pitted Max Baer against Primo Carnera for the world heavyweight championship.
Max Baer is the prizefighter and Myrna Loy is the lady in "The Prizefighter and the Lady," a 1933 film also starring Walter Huston and Otto Kruger.
In "The Prizefighter and the Lady," as in real life, he fights Primo Carnera, as he would a year later.
The screen fight is very effective.There are several real sports figures in the film besides Carnero - Jack Dempsey, who helped Baer make a comeback later on when he started telegraphing his punches, and also James Jeffries and Frank Moran.
The way Hawks and Van Dyke tell their story is to the point, the acting by both Loy and real-life boxer Max Baer is vivid and engaging.
At least it seems that everyone involved was aware that heavyweight boxing champion of the world Max Baer could not act, and therefore the cast was filled with very capable players (Loy, Kruger, Huston).
Even though Max Baer was second billed, and is the center of attention of the plot, he actually gets very few lines or real acting scenes.
In spite of this danger, Morgan won't take no for an answer and pursues Belle, although with sparse dialogue and little finesse, making her succumbing to his charms all the more mystifying.So far you have your standard fight movie of the 1930's - a washed up promoter gets a second chance and an unknown natural gets an opportunity to work up to the championship, with a classy lady and a gangster thrown in for good measure.
Then there is a bizarre little musical number stuck in the film featuring Max Baer and a bunch of chorus girls with fight training gear as props.
Plus it's a chance to see Myrna Loy in a role that MGM would never have assigned her to after she really hit the big time the following year in "The Thin Man"..
Interesting piece of history as Max Baer learned enough during his boxing scenes with Carnera that he was easily able to beat him in their 1934 bout for the Heavyweight Championship.
Only to be pitted in real life the following year for a bona fide championship bout.Van Dyke's direction and his crew's camera work and editing for the climactic screen fight are all excellent.
The real surprise though is Baer himself, acting, boxing, singing, and dancing.
That's because this boxing film is unique in that it stars several real boxers--including several champions.
Max Baer and Primo Carnera were, at the time, the most famous active boxers--both having been champions.
Max Baer is the star of the film and does a pretty good job of acting considering he is NOT an actor.
Walter Huston as the failed alcoholic manager and |Otto Kruger as the sinister Gangster Willie Ryan.All surrounded by Myrna Loy cute as a pixie.The Broadway Show number starring Baer is an exhausting brilliant tour de forceThe fight scenes intense and realistic(save for over multitude of knockdowns) I counted about 15!This movie from 1933 has it all Romance Sex, Revenge and plenty of amazing cameos by the likes of Jack Dempsey, Jess Willars and Gentleman James Jeffries.
There is a lot to like about this movie, starting with the beautiful Myrna Loy, who is caught in a love triangle between a gangster and an up and coming boxer.
The boxer is played by real life heavyweight Max Baer, who is certainly as good an actor as most for the time period, and very interesting to watch.
I liked seeing Loy singing (though it may have been lip sync'd), and it was fun (and a little silly) to see Baer in a pretty long musical number later.
That's probably the beginning of where the film finds itself being a little too long, but it's really the big fight at the end with real-life champion Primo Canera which drags on.
They introduce a number of other real-life boxers, which may have been a thrill to boxing fans in 1933, but with the exception of Jack Dempsey, is less interesting today (at least to me).
Belle (Myrna Loy) falls in love with a dunce of a jock named Steven (played by real-life boxer Max Baer) - "A big kid" as Belle calls him.
Steven is a man who doesn't seem to know any better and Belle is fully aware of this but can't help that she has fallen for him; you really can feel the raw sexual attraction between these two, especially in their introductory scene in which Loy has nothing but a blanket draped over her.The third end of the triangle of this not so swooning love story is Willie Ryan (Otto Kruger) as Belle's original lover.
The Great Heavyweight Boxing Champ, Max Baer Wanted To Be A Movie Star..........
It would appear that this story and film were tailor made for "the Livermore Larruper" as he had co-starring status (along with Miss Myrna Loy) and basically just did himself.OBVIUSLY WE'RE TALKING a Boxing Movie here ("No sh*t Sherlock!), but it does manage to touch base with the Love Story, the Morality Play and the always popular Success Story.
The Heavyweight Champ, Primo Carnera, "the Ambling Alp" (himself) had third billing playing himself (who else, Schulz?)WELL NEEDLESS TO say, Max Baer never did achieve stardom in Hollywood; but did a lot of film work.
Myrna Loy is Belle, headline singer at a club owned by tough guy Willie Ryan (Otto Kruger).
Willie wants to retaliate against the iron-jawed palooka, but his love of Belle forces him to step aside and hope for her happiness.Max Baer is the center of this film.
And Baer performs with them, tap for tap.The end of the film includes a boxing match between the contender and the champ, featuring three boxing champions in the ring at the same time: Jack Dempsey (as the referee), Max Baer and Primo Carnera.
I think that because Baer really does sell the emotions of this guy - there are times that Dyke's camera just lays on his face as he thinks of something, and it feels real, like he's not faking it - and can deliver the dialog with a great amount of believability, he's a natural for the role.
Other actors around them are fairly standard (Walter Huston as the Professor is fine, but not as great as one might think), but it's just a pleasure to see Loy on screen in a role where she can be naturally beautiful and sexy and deliver a good song (albeit two different times which is odd) and yet is still interesting in the climax.By the final fight it seems fairly clear what the trajectory will be, but maybe that's not a bad thing and the director and writers get a lot of good, conventional movie mileage out of the fall and rise element in just this final fight.
It actually became intense, and I have to wonder if other boxing movies in decades to come (maybe even Rocky to a small extent) looked to something like The Prizefighter and the Lady as an example of how to do it.
I watched this film because of the involvement of 30s great W.S. Van Dyke and his oftentimes leading lady Myrna Loy, and I was more or less satisfied with his direction and her performance as Belle.
Also, Walter Huston does good work as Steve Morgan's manager, "The Professor", and I was particularly impressed with Otto Kruger's unusual performance as Willie Ryan, Belle's bitter ex.However, there is a black hole at the center of this film, and its name is Max Baer.
I'm sure it seemed like a good idea at the time to cast a real boxer as Steve Morgan -- and they could've done much worse, as Primo Carnera and Jack Dempsey evince toward the end of the film -- but I would've much rather seen a real actor in the role.I wish I knew more about what went with the director's chair on this film.
When muscular Max Baer (as Steve Morgan) shows his fisticuffs and strength in a bar, alcoholic fight promoter Walter Huston (as Edwin "Professor" Bennett) sobers up fast.
While training for his first bout, Mr. Baer rescues lovely nightclub singer Myrna Loy (as Belle Mercer) from a road mishap and invites her to the fight.
Nothing too revolutionary happens here, but the "big fight" ending at Madison Square Garden is more realistic than average; it features Baer, a real boxer becoming a concurrent movie star, fighting his actual rival Primo Carnera.****** The Prizefighter and the Lady (11/10/33) W.S. Van Dyke ~ Max Baer, Myrna Loy, Walter Huston, Otto Kruger.
Though I do not like boxing, finding it brutal and barbarous, I loved this movie about boxing.For one thing, seeing Max Baer was an experience.
Perhaps I shouldn't be surprised: After all, he had to be graceful in order to box and a boxer's routines included jumping rope.Baer was, according to the histories I've seen, actually a very nice man, but he plays a real rotter here and, alas, does it well.Myrna Loy had one of her best roles, and it was also an experience seeing her handle this, in my movie-watching career, different role.
One of the attractions of "The Prizefighter and the Lady" is its cast of boxing greats, who mostly do walk-ons as themselves.But the great Jack Dempsey, as himself, has a part as does the even greater Primo Carnera -- "greater" in that he is HUGE, his character (himself) weighing some 60 pounds more than the character played by Baer, Steve Morgan.The one serious complaint is this: Too much of the story of Morgan's climb toward the championship is told with the silly and over-worked gimmick of flashing newspaper headlines on the screen.
It features a formulaic love-story about a rising boxing star who falls for the girl of a notorious criminal.It are the sport elements that still provide the movie with some good moments.
Max Baer, Myrna Loy, and Otto Kruger deliver worthy performances in this curiosity of a film.
At the time of the film's production, Primo Carnera, who also made his screen debut in the picture, was the world's heavyweight boxing champion.
Hollywood Reporter notes that Baer was 'mutilated' for the first time in his two-year boxing career when he had two teeth knocked out during a staged fight.
According to the modern interview with Myrna Loy, Baer studied Carnera's boxing techniques during the filming and later used this 'scouting' information to beat Carnera.
Average boxing film featuring real life champs Baer, Carnera and Dempsey.
Co-produced and directed by W.S. Van Dyke, with an original story by two time Oscar winner Frances Marion, which was adapted by John Lee Mahin and John Meehan, this average boxing film features real heavyweight champion Max Baer with Myrna Loy in the title roles.
Robert McWade plays Kruger's trigger man.Upon discovering Baer, whom he thinks will be the next heavyweight champion, Huston's character sobers up and begins promoting his young, handsome fighter.
Kruger is only too happy to help Baer get his chance, setting him up for a beating by Carnera, after Loy returns to his lair.The climactic fight includes Dempsey as its referee.
In addition to Miss Loy, we have Max Baer, Primo Carnera, and Jack Dempsey, plus Otto Kruger, Jean Howard and Jess Willard.
Corbett as part of the movie, and how Max Baer used what he learned about Primo Carnera to defeat him and win the World Heavyweight Championship.
I know that Willie Ryan was a gangster (and not good), but spoilers ahead: He did not order people to get knocked off, and did fire Belle (Myrna Loy) from her nightclub singing position, so she could go back to her husband boxer Steve Morgan (Baer).
Without the principals involved it's just another romance gone wrong/sports story, but when you throw in the fact that there are five, count 'em, five former World Heavyweight Boxing Champions in the picture, well just the idea simply blows me away.Regarding the love story, it's rather improbable that a character portrayed by Myrna Loy would fall for a lug like boxer Max Baer, but that's the premise so you'll have to go along with it.
Gangster Willie Ryan (Otto Kruger) couldn't believe it himself, he was Belle Mercer's (Loy) main squeeze until Steve Morgan (Baer) showed up, and when Belle announces her surprise marriage to the fighter, Ryan had to ask her "Were you on the junk"?
Whoa, pre-Code remarks like that are always a sit up and take notice moment!Before we get to the picture's world title match, Max Baer genuinely surprises with talent that supersedes the boxing ring.
Seriously, I couldn't get over Baer's performance here, he had showmanship and style that belied his large, muscular frame.The story builds to an eventual boxing match between Steve Morgan and the real heavyweight champ at the time, Primo Carnera.
Like the premise of the same year's song and dance number, "She was a Chinese Teapot (But He Was Just a Mug)" from "International House", this pairs together the rather vulgar Max Baer with the glamorous but obviously bought-and-paid-for Myrna Loy. They meet by chance, but it is obvious from start to finish that her benefactor (a dour Otto Kruger) is unwilling to let her go without a fight.
Baer goes from rags to riches as a rising prizefighter, and like others before him, he is exploited in the media, practically becoming his own circus.Throughout all this are the musical numbers which tend to interrupt the more interesting dramatic action, basically stopping the film to show Myrna Loy (obviously dubbed) performing "Downstream Drifter".
But I love pre-code films of the early 1930s and I do like Myrna Loy, so I figured there might be a chance I'd enjoy the movie somewhat.
Well, it was one of the best films I've ever seen and for those who are wincing or gagging at that, let me say it's all a matter of opinion, folks.I've been reading the reviews here (I did not know Max Baer "killed" anyone in his boxing career) and I just have to laugh at some of the comments from those who couldn't get anything out of this.For example.
This is enough to make Prizefighter and the Lady the best fight film ever.I was terrifically impressed by Max Baer.
|
tt0014972
|
He Who Gets Slapped
|
Paul Beaumont (Lon Chaney) is a scientist who labored for years alone to prove his radical theories on the origin of mankind. Baron Regnard (Marc McDermott) becomes his patron, enabling him to do research while living in his mansion. One day, Beaumont announces to his beloved wife Marie and the Baron that he has proved all his theories and is ready to present them before the Academy of the Sciences. He leaves the arrangements to the Baron. However, after Beaumont goes to sleep, Marie steals his key, opens the safe containing his papers, and gives them to the baron.
On the appointed day, Paul travels to the Academy with the Baron. He is aghast when the Baron, instead of introducing him, takes credit for Paul's work himself. After he recovers from the shock, Paul confronts him in front of everyone, but the Baron tells them that Paul is merely his assistant and slaps him. All of the academicians laugh at his humiliation. Paul later seeks comfort from his wife, but she brazenly admits she and the baron are having an affair and calls him a clown. Paul leaves them.
Five years pass by. Paul is now a clown calling himself "HE who gets slapped", the star attraction of a small circus near Paris. His act consists of his getting slapped every evening by other clowns, and includes Paul pretending to present in front of the Academy of Science.
Another of the performers is Bezano (John Gilbert), a daredevil horseback rider. Consuelo (Norma Shearer), the daughter of the impoverished Count Mancini, applies to join his act. Bezano falls in love with Consuelo, as does Paul. Consuelo and her father, however, are planning to restore the family's fortunes with a marriage to her father's wealthy friend.
One night, during HE's performance, he spots the baron in the audience. The baron goes backstage and begins flirting with Consuelo, which she does not like. The next day, the baron sends Consuelo jewelry, but she rejects it.
When her father leaves for a meeting with the baron, Bezano takes Consuelo out to the countryside for a romantic meeting, where they declare their love for each other. Meanwhile, Count Mancini convinces the reluctant baron that the only way he can have Consuelo is by marrying her. The baron discards the heartbroken Marie, leaving her with a check.
Later, HE admits to Consuelo he, too, is in love with her. She thinks he is kidding and laughingly slaps him. They are interrupted by the baron and the count, who inform Consuelo she will marry the baron after the night's performance. When HE tries to interfere, he is locked in an adjoining room, where an angry lion is kept in a cage. He moves the cage so that, when he carefully opens it, only the door to the next room prevents the lion from escaping. HE re-enters the other room through the only other entrance (making sure to lock it behind him) and reveals his identity to the baron. HE threatens the baron, but the count stabs him with a sword.
The baron and the count try to leave but, finding the main entrance locked, open the side door, releasing the lion. The animal kills the count, then the baron. However, the lion tamer shows up and saves HE from the same fate. HE goes on stage and collapses. He assures Consuelo he is happy and that she will be happy, before dying in her arms.
|
tragedy, revenge, romantic
|
train
|
wikipedia
|
I think one could argue that "He Who Gets Slapped" is Lon Chaney's best film.
Lon Chaney's performance is heartbreaking, particularly when he carries the cloth heart that has been torn from his breast, but at other moments he is sadistic and vengeful, as when he lets the lions out to kill a scheming circus manager and a sotted aristocrat.
A celebrated circus clown, HE Who Gets Slapped, plots the punishment of two evil aristocrats.Lon Chaney, the Silent Screen's master chameleon, adds another portrait to his gallery of pathetic grotesques.
Uninhibited in his circus costume & makeup, he provides no doubt but that he, under different circumstances, could have become a marvelous big top clown.This was the first release of the new film company merger Metro-Goldwyn, thus making Chaney their first star, and was an important rung up the ladder for the two performers playing the young lovers.
Norma Shearer & John Gilbert would soon be major movie celebrities--here they give good account of themselves as the circus' daredevil & bareback riders, and as Chaney's truest friends (both unaware of his love for Miss Shearer).
In a film full of circus excitement, the director has given the young couple a moment of unexpected beauty: whilst on a picnic their innocent affections are noticed by a passing peasant, who gives the call of the cuckoo as the perfect grace note to their bucolic joy.Marc McDermott as a brutal Baron and Tully Marshall as a dissolute Count make villains well worthy of the harshest retribution.
Comic Ford Sterling plays one of Chaney's fellow clowns.The Studio gave this silent film fine production values, while director Victor Sjöström added little embellishments of cinematic flair, dealing with scenes of mysterious clown figures representing fate, which enhance the film..
As Andreyev's disappointed scientist turned circus clown, Paul Beaumont, Chaney makes the most of every scene he's in, and never disappoints.
You're genuinely glad, at an almost visceral level, when they wind up getting what they deserve in the end.I don't know who composed the music score used in the print seen on TCM, but it's excellent and really compliments the action.Victor Seastrom's moody direction is perfect, especially his use of a globe-spinning clown to serve as sort of a Greek chorus at various points in the film.
Getting Lon Chaney from Universal was a very wise choice (it'd be hard to see someone else in the part he played), the supporting cast which included Norma Shearer (future Best Actress Oscar winner), John Gilbert (future star of "The Big Parade" (1925) and "Queen Christina" (1933)), as well as notable character actors Tully Marshall and Ford Sterling, it is nothing short of splendid.
Lon Chaney's deep, gripping facial expressions, especially in his scenes with rival Baron Regnard (played by Marc McDermott) are the most expressive I've ever seen on film.
However, the style adopted by the two films' directors, Victor Sjostrom and Tod Browning respectively, is completely different and this goes for the characters Chaney plays, too.I had been instantly impressed by HE WHO GETS SLAPPED, and a second viewing only consolidates my high opinion of it.
The film - MGM's very first production, incidentally was considered highbrow material at the time, not only because it was helmed by a foreigner but also due to the unusually intricate nature of the plot (complete with a healthy dose of symbolism) and a clear emphasis on composition and lighting throughout (one amazing shot has Chaney alone in the circus arena when the lights are being turned off for the night, with the screen entirely black except for Chaney's painted face!).Chaney is superb as the humiliated scientist-turned-clown (drawing an interesting parallel to Emil Jannings in two Expressionist masterworks, Murnau's THE LAST LAUGH [1924] and Von Sternberg's THE BLUE ANGEL [1930]).
I cannot say for sure, but most of what Chaney was to accomplish in his famed collaboration with Tod Browning, on films like THE UNHOLY THREE (1925) and THE UNKNOWN, is already evident in this film - except that the actor here is less given to uncanny make-up design (which might have overshadowed his acting abilities at times), while the handling is altogether more sophisticated and artful!Only the middle section drags a bit, as it stresses the budding relationship between Norma Shearer and John Gilbert (though this is contrasted with her father's scheming with a lecherous Baron who, incidentally, turns out to be Chaney's deadly enemy!), but the rest is riveting stuff this film deserves to be better known, and I long for the day Warners gets to release a Box Set of Lon Chaney classics on DVD!!.
Though the film itself is an intermittently entertaining and inventive silent melodrama showcasing the very physical acting skills of Lon Chaney, a screen legend whose premature death in 1930 robbed cinema of a unique talent.
Here he plays obsessed scientist Paul Beaumont, whose work 'on the origins of mankind' is stolen by his devious patron, the Baron de Regnard (Marc McDermott) who also makes off with Beaumont's wife for good measure.Utterly devastated by life's savage cruelties, Beaumont literally runs away to the circus where he starts a new life as a clown.
Known as 'HE who gets slapped' or simply 'HE' for short his act consists of enduring nightly physical abuse at the hands of his impassive fellow clowns, to the explosive delight of the circus's boorish audiences: a more economic definition of schadenfreude (taking joy at the misfortunes of others) would be harder to imagine.But though HE (the character's "name" is capitalized in all inter titles) becomes a roaring success, it turns out that fate hasn't yet done with him he secretly dotes on Consuelo (Norma Shearer), a bare-back rider in love with her fellow performer Bezano (John Gilbert).
HE can just about stand this state of affairs but when the dastardly Baron returns to the scene and starts moving in on Consuelo, HE is spurred into a drastic act of revenge.Chaney gives a heartbreaking naturalistic performance, it's one his most toned down and believable work, possibly showing the most painful expressions to ever grace the screen.
Lon Chaney stars as a scientist who early on suffers in two ways: his discoveries are stolen by his benefactor (Marc McDermott), and then his wife (Ruth King) tells him she's leaving him for the same scoundrel.
The film also includes Norma Shearer early in her career (just 22 years old); she plays a new performer to the circus.
Struggling scientist Lon Chaney (as Paul Beaumont) is dedicated to proving his theories on the "origin of mankind." He is lucky to have found a wealthy sponsor in Marc McDermott (as Baron Regnard).
He becomes a clown called "HE (who gets slapped)"...Audiences love laughing at Chaney, especially when he is slapped.
The popular clown is attracted to beautiful bareback rider Norma Shearer (as Consuelo), but she is more interested in her athletic partner, John Gilbert (as Bezano).
Fortunately for all, Chaney gets the last laugh...The first film produced by the merged MGM (Metro-Goldwyn-Mayer) studios, "He Who Gets Slapped" turned out to be a spectacular start.
Chaney is marvelous throughout, as are Mr. Sjostrom and the MGM crew.********* He Who Gets Slapped (11/9/24) Victor Sjostrom ~ Lon Chaney, Norma Shearer, John Gilbert, Marc McDermott.
He Who Gets Slapped (1924) is an arty film, beautifully directed with interesting visuals and symbolism, but the aspect which always sticks with me is Lon Chaney's heartbreaking performance as the lovelorn scientist turned clown who sacrifices himself to save the happiness and virtue of aristocrat turned bareback rider Norma Shearer.The first time I saw this film, I sobbed all through the last fourth.
Shearer and John Gilbert as the innocent young lovers contrast greatly with the worldliness and cynicism of the older characters who hold the couple's fate in their greedy hands.While director Victor Sjostrom's best Hollywood work was undoubtedly The Wind (1928), I still prefer this film overall.
MGM's first feature film is this beautifully made, unforgettable silent starring Lon Chaney.
Stepping into the role created on Broadway by Richard Bennett, Lon Chaney stars in this film as a once famous scientist who chose the life of a circus clown out of shame.
But whereas Stewart was guilty of a mercy killing, Chaney leaves because he's found that his wife's been two timing him with a titled nobleman.Years later Chaney is a famous attraction at the circus in Paris and he's falling big time for young Norma Shearer who is a bareback rider and also a member of the nobility who has fallen on hard times.
It is not only far-fetched, but the act is not funny and would not provoke laughter in the real world.Having said all that, Lon Chaney remains one of Hollywood's best actors and towers over the cast in this film.
He Who Gets Slapped (1924) **** (out of 4) After being slapped and laughed at by his friend, a scientist (Lon Chaney) decides to join the circus as a performing clown where getting slapped can get him laughs but soon the past starts to catch up with him.
Norma Shearer and John Gilbert are very strong in their roles but there's no denying that this is Chaney's film all the way through.
The titles say that HE has won by learning to laugh at his misfortune, and by making others laugh at his feigned misfortune, that somehow by knowing that people are so stupid and vile as to laugh at a man getting slapped he has risen above all his past defeats, but at the same time, it's so totally clear that he has never put it behind him, and I don't know if it's pathetic or not when he tries to give his final monologue on the importance of love, and lets himself be slapped to death in the middle of a circus ring before he can finish, because I can never quite let myself feel that HE is pathetic enough himself, I can't quite decide how much of a heart HE has left, and I don't know how to weep for it once it's been buried.
***User reviewers nycritic ("Tears of a Clown", nycritic, 26 October 2005) and Ron Oliver ("Another Master Class From Mr. Lon Chaney", Ron Oliver from Forest Ranch, CA, 6 July 2004) both have great summaries.*** "He Who Gets Slapped (1924, Victor Sjöström)" is an early silent movie and a nearly forgotten treasure.
Historically, "He Who Gets Slapped" is significant because it is the first film released by Metro-Goldwyn-Mayer, making Lon Chaney, Sr. MGM's first star.
Here is the essential plot: Paul Beaumont (Lon Chaney), a brilliant (but struggling) French scientist, supported by Baron Regnard (Marc McDermott), an aristocratic benefactor, is working on a grand scientific theory vaguely similar to the work of Charles Darwin.
Lon Chaney's performance is top-shelf, he is masterful in depicting a sad clown driven mad by the many powerful forces oppressing him.Two rapidly ascending and future MGM mega-stars, Norma Shearer (as Consuelo) and John Gilbert (as Bezano) join HE's circus as horse riding performers.
Premise: A failed scientist punishes himself by becoming a circus clown whose act's mainstay is uttering platitudes, and then getting slapped for it.
Every time he is slapped or laughed at, the viewer can't help but feel the pain as well.The first half of the film doesn't focus on Chaney's character, instead building up the relationships of those around him.
His unrequited love for bareback rider Consuelo (Shearer) leads to his death at the hands of her dastardly father who, along with HE's long-time nemesis, are savaged by a circus lion loosed by HE.
HE WHO GETS SLAPPED (Metro-Goldwyn-Mayer, 1924), directed by Victor Seastrom, not only marked Lon Chaney's debut at MGM, but the honor for him to star in the very first MGM production.
With the exception of clown makeup, which covers more than half the film, his only other face of thousands in the opening part of the story is his.The plot: Paul Beaumont (Lon Chaney), is a brilliant but struggling scientist in Paris who loves his wife, Marie (Ruth King), deeply.
Later, Consuelo's father (Tully Marshall), penniless, hopes to live in comfort during his declining years, by plotting to marry off his daughter to Baron Regnard, who has since walked out on Beaumont's wife.
In spite of the interesting supporting cast of Norma Shearer and John Gilbert (minus his famous mustache), this is Lon Chaney's show all the way.HE WHO GETS SLAPPED, which occasionally plays on cable's Turner Classic Movies, is accompanied with a musical track with sound effects of clapping and laughter that originally was used for the 1973 PBS presentation of "Movies, Great Movies" (original air date: WNET, Channel 13, August 20, 1973, in New York City), the third movie listed in the 13-week tribute to MGM's 50th anniversary of MGM movies from the 1920s silent era.
The plot is slightly melodramatic by today's standards but Lon Chaney, Norma Shearer and John Gilbert give strong performances..
He plays Paul Beaumont, a failed scientist who has been slapped -- literally -- by the science community, his wife Maria (Ruth King), and her sponsor/lover, the Baron Regnard (Mark McDermott).
Here is when HE concocts a terrible revenge to protect Consuelo.A classic romantic setup with eerie undertones, HE WHO GETS SLAPPED is an excellent film which makes us feel pity for this mistreated man, portrayed by Lon Chaney like no one could.
In the first film produced by MGM, Paul Beaumont (Lon Chaney) plays a brilliant French scientist who has recently proved his theories on the origins of mankind.
With this phase of his life over, the crushed Beaumont abandons his past and escapes to the circus as the clown HE (who gets slapped).
There is a new circus performer – a bareback horse rider – the lovely Miss Mancini (Norma Shearer), known as Consuelo.
Edward Arnold and Bela Lugosi (as a clown) are reported to appear, uncredited, as extras in this film.Paul Beaumont (Lon Chaney) is a brilliant scientist who makes some (unnamed) earth-shattering discoveries while, unbeknownst to him, his wife Maria (Ruth King) keeps company with Beaumont's wealthy benefactor Baron Regnard (Marc McDermott).
Afterwards, he learns of his wife's infidelity and gets slapped by her as well.So, Beaumont punishes himself for his own stupidity by becoming a clown in the circus.
Unbeknownst to her, Beaumont, now known as HE (who gets slapped), has also fallen in love with her, something he didn't believe was possible given his unfortunate past.Baron Regnard happens to take in a performance and is overcome himself by Consuelo's beauty.
In his act HE is slapped around by the other clowns including his friend Tricaud (Ford Sterling).HE as he is now known, meets the comely young Consuelo (Norma Shearer) a bare back rider brought to the circus by her scheming father the broke Count Mancini (Tully Marshall).
You feel the emotions as he has his discovery taken from him, his desire for revenge and his self inflicted punishment as he allows himself to be humiliated during each performance at the circus.There's an interesting contrasting sequence where the Count is convincing the Baron (and his money) to marry Consuelo and the young couple frolicking in the countryside during a picnic.Norma Shearer and John Gilbert were on the verge of becoming super stars at the newly formed MGM studios at this time.
"He Who Gets Slapped" was the first film to carry the MGM logo and in addition to Chaney, as the young lovers, were two up and coming stars who more than fulfilled their promise - beautiful Norma Shearer and dashing John Gilbert.As scientist Paul Beaumont (Chaney) finally reaches the conclusion of his study on the evolution of mankind he is dealt a savage blow.
Humiliated, Paul Beaumont (Lon Chaney) disappears into self-exile and the anonymity of life as a circus clown.
Paul Beaumont is a scientist living in the villa of Baron Regnard.He wants to prove his theories on the origin of mankind.One day he is ready to go before the Academy of the Sciences.We find out his wife Marie has an affair with the baron.It is the baron presenting Paul's theories and is praised by all the men.Paul tries to shout those are his theories but the baron calls him insane and slaps him.They all laugh at him.Then he finds out about their affair and is called a clown by his wife.After years have passed, Paul has become a clown by the name of He who gets slapped.His comedy routine is to get slapped by all the other clowns in the act.And people love him.But he hates himself.Then in the circus joins a bareback rider called Consuelo, the daughter of Baron Mancini.The clown falls in love with the beauty.But she loves the daredevil rider Bezano.Then one day the clown sees the baron in the crowd.The girl's father wants her to marry the baron.The clown has to safe the girl she loves, safe her from a fate worse than death.Swedish director Victor Sjöström is the behind He Who Gets Slapped (1924).It's a wonderful movie showing the tears of a clown.Lon Chaney, the star of the silent era shines in the lead.He really pulls off the part of the sad clown.Norma Shearer is amazing as Consuelo.John Gilbert is great as Bezano.Tully Marshall does great job as Count Mancini.Marc McDermott is terrific as Baron Regnard.Ford Sterling is magnificent as Tricaud.Ruth King does very good job as Marie Beaumont.Also a certain Bela Lugosi is there as Clown extra.Although this isn't very sure, it's based on the resemblance of a particular actor to Lugosi.This is a very good film of the silent era.You feel for the clown.You feel for him when he tells about his feelings for Consuelo and she doesn't take him seriously because he is a clown.She even slaps him laughingly.The ending sequence is quite amazing.HE tries to prevent the baron from marrying Consuelo.HE gets stabbed by the count, but there is an angry lion HE has released.The count and the baron go into the room where HE has released the lion.They both get killed by the lion.HE collapses on the stage and dies in her arms.That's the end of this clown's story..
He joins the circus and becomes HE, a clown persona whose entire act is being ridiculed and slapped during every performance in front of a laughing crowd.
|
tt0398027
|
Down in the Valley
|
In the San Fernando Valley, rebellious teenager October "Tobe" takes a walk with her younger brother, Lonnie. The next day, Tobe goes to the beach with friends, and when they stop for gasoline, they are assisted by Harlan, a young man who affects a folksy, cowboy style. Tobe invites much-older Harlan to the beach. He accepts, which results in his losing his job. At the beach, they share a passionate kiss and, after returning to Harlan's house, they have sex. He takes her on a date, and the trio get something to eat. Later that night, they go on their "real" date, dancing and meeting up with Tobe's friends for another party, where Harlan takes drugs under the influence of Tobe. She returns home the next day; as she has returned home long after she was expected, Wade, her father, becomes enraged, and she retreats to her room. When she refuses to talk, he pounds on the door and leaves visible damage.
Tobe continues to see Harlan. Her father's rage increases, and he shatters her bedroom window. The romantically involved couple ride a horse that supposedly belongs to one of Harlan's friends named Charlie. Upon returning, Charlie claims he has never met Harlan and that the horse was stolen. The couple are held in police custody until Wade comes to pick up Tobe. She tells Harlan that they should no longer see each other. Harlan, however, is persistent and takes Lonnie shooting without Wade's permission. Wade, who is armed, orders Harlan to leave his children alone.
Mentally unstable, Harlan is evicted from his apartment after shooting at his reflection in a mirror, imagining a Wild West style "shoot-out". After an awkward incident at a local synagogue, where he is abruptly ushered out, he breaks into what is presumably the house of his father or foster father, who is revealed to be a Hasidic Jew. He leaves the letter he has been narrating throughout the film after taking multiple Jewish memorabilia, and the contents of a box, in a closet, inscribed with his name. He breaks into Tobe's house and packs a bag so that they can run away. When Tobe comes home to find him, she is dumbfounded, happy to see him at first. As she slowly realizes he is deranged, she tells him she does not want to leave her family and that he should go. As they argue, Harlan shoots her in the stomach.
When Tobe's father returns home to find Tobe alone on her bed, barely alive, he suspects Harlan, who has failed in an attempt at calling 9-1-1 and run away. Wade rushes Tobe to the hospital, where she is attached to a breathing machine and remains in a coma. Harlan, who is covered in Tobe's blood, then shoots himself in the side to conceal Tobe's blood and also make it look like it was Wade who had shot them. Harlan finds Lonnie and convinces him that it was really Wade who shot Tobe, and that Harlan was wounded while trying to stop him. Tobe regains consciousness at the hospital and Wade realizes that Harlan has taken Lonnie. At night while Harlan and Lonnie are by a fire, Wade, Charlie and a detective named Sheridan arrive. Harlan shoots Charlie before riding off with Lonnie.
They stumble upon a Western film set where shooting has just begun. Wade and Sheridan arrive with two more cops. During the shootout, Harlan guns down detective Sheridan and one of the cops. Harlan and Lonnie escape to a construction site, where Wade finds them and another shootout ensues. Wade shoots Harlan to death to the horror of Lonnie.
Later, Wade drives Tobe and Lonnie to a place where Tobe and Harlan had a pleasant day. Tobe is holding a box that contains her former lover's ashes. Her brother asks her what they should say about him. She replies, "Don't say anything, just think it," and scatters the ashes.
|
violence, murder
|
train
|
wikipedia
|
The Cowboy character played by Edward Norton seems so simple at first but as he is drawn into the family his character and the truth of his 'being' gradually unravels in ways that left me speechless at the end of the film.
Rory Culkin rounds out the supporting cast showing nice restraint in a confused young boy unable to differentiate good from bad as the good does what seems bad in order to protect and the bad puts on the façade of good to win him over.In the end, the real force of the movie is Edward Norton.
When he ends up in an old west film set and watches the extras dancing and enjoying life in its bear form, the ecstatic look on his face shows it all.
Morse and Norton are so effective in showing the dual nature of their characters that you end up feeling cheated never finding out what happened in their lives to get them to the points they are at when we are introduced to them.
To have a beautifully shot scene of Norton and Wood out in the country with a wonderful transition sequence involving a swing-set and then at the end progress to an outlaw gunfight chase is all at once jarring and effective, and yet insufficiently explained.
He may well be the American Michael Caine, moving between leading man and scene stealing supporting actor in film after film and at a performance level that rarely dips below "spot on." Evan Rachel Wood, while hardly stretching beyond her petulant, teen rebel persona, does a very credible job, as does Rory Culkin as Wood's younger brother.
The film is long (just over two hours), could use some editing, allows a rather pedestrian musical score to cover the dialogue far too frequently, and for much of the film the camera exposure makes everything so sun drenched (even for the San Fernando Valley where the story takes place!) that it feels bleached.
But those aspects feel secondary in the presence of some very fine performances by an excellent cast directed with vision by writer/director David Jacobson.Life is exceedingly boring in the bland town where Tobe (Evan Rachel Wood) and her little brother Lonny (Rory Culkin) live with their sheriff father Wayne (David Morse) - we never know why there is no mother around though Wayne brings in sleepover subs at random.
Tobe has girlfriends with whom she cruises guys and on one afternoon's trip to the beach she meets gas station attendant Harlan (Edward Norton), a drifter who claims to be a rancher form South Dakota and has all the genteel manners of a gentleman raised to respect women.
Harlan's dark side emerges and his cowboy play becomes real, gunshots are fired and the ending of the film is a mélange of old Western movie make-believe and contemporary tragedy of a young man out of joint with his world.Edward Norton gives a stunning portrayal of an out of touch drifter: we never know his background except for suggestions that his childhood was spent in detention homes, foster homes, and other dysfunctional modes of getting by.
The film is not without its flaws (as mentioned above plus more), but it manages to give Edward Norton yet another chance to demonstrate his considerable skills as an actor who can make the most peripheral characters stick in our hearts.
The performances are all top-notch: Norton is excellent as always, and Wood's character Tobe is perhaps the best realization of a teen ever committed to film.
For one thing, it was about 30 minutes too long- from the opening scenes when Tobe (Wood) meets Harlan (Norton) you know two things are guaranteed: they are going to fall in love, and something tragic is going to happen.
Problem is, the director throws in so much unnecessary filler (trippy scenes at a club, repetitive family squabbles) that the focus of the story gets off track.At its heart this film is a character study/slice of life piece.
Tobe, a teenage girl rebelling from her overbearing, violent but caring father Wade (David Morse) and Harlan, a wannabe cowboy with childhood abandonment issues who lives in a delusional world, hook up at a gas station; she is immediately smitten with his "aw shucks" attitude and his focus on her.
You know things are going to turn sour when these twisted lives intertwine, especially when we see that Harlan likes to act out old Westerns in his room, using real six shooters.
But when the tragic events finally do unfold, it's not in the manner I expected, nor hoped; plus the finale drags on to the point where I was praying for it to end already (not a good one to watch after midnight).This one had so much potential, and there WAS a lot to like about the film: the performances were stellar across the board, the cinematography depicted beautiful images of the new San Fernando Valley where it collides with the Old West, and the ideas were ambitious and commendable.
I'm a big fan of Ed Norton, and every single actor held there own, with especially strong performances by David Morse and the lovely Evan Rachel Wood.
In case you want to know the plot synopsis, it's a teeny bubble gum girl who took the gas station cowboy after being fired to the beach and get laid the same day, and a conflict exists between her father who tries to to separate her boyfriend twice her age because of his doubtful character.
I am not sure what caused the delay in its release, but for those of us who appreciate indie film-making and the importance of a decent story, it is well worth catching.Ed Norton's performance is right there with his best work ("Fight Club" and "American History X").
Also, watching Norton play with his guns is fascinating stuff.There is little more I can say about Evan Rachel Wood than what I have said in my comments on her other films ("Thirteen" "Pretty Persuasion", etc).
Watching Wood and Norton and Rory Culkin (so wonderful in "Igby Goes Down) grow into a near family pod is on one hand very cool, while on the other, downright creepy.Taking another in his grinding teeth and jutting jaw Mr. Intensity roles is David Morse, who has come light years from his timid wimp doc role in the fabulous TV series St. Elsewhere.
His character, Harlan, a lonesome yet psychotic cowboy working at a gas station, meets with this girl named Tobe (Wood)and it's love at first sight for both of the two.
This is disapproved by Tobe's father (Morse), who sees another side of Harlan right from the start, and things start to become tense.Edward Norton, he's always impressing the audience with his exceptional talent.
Edward Norton is quite good as Harlan, a drifter with cowboy fantasies, but after two extremely slow hours he seems to be doing a one note performance real well, which is a waste of his mercurial talents.
The screen comes alive when Norton is around doing his aw shucks shtick and also with the great David Morse, excellent as the kids' stepfather or guardian or something; the movie doesn't bother to explain what he is to those kids or why.
Evan R Wood is brilliant as an authentic teen working out stuff about life and boundaries, and uses her intelligence, where Harlan has lost his options in that area and functions off a thin script about life lived from minute to minute - and not in a good way.
Evan Rachel Wood creates a character in Tobe with whom the viewer has great sympathy because she is really a good-hearted teenager looking for her identity.
The naiveté that exists both in Harlan's simplicity and Tobe's youth ignites a brilliant chemistry that has made me unconsciously scout out local gas stations for my own Edward Norton-look alike cowboy to make out with on the way home from the beach.
In the second hour, the claims that the DVD jacket made of Harlan not being who he seemed were revealed without the fanfare or shock the we might more or less expect from an Edward Norton film.
Couple that with the fact that we are led on an uninteresting chase through the hills of the Valley, and this movie ends up leaving you an "oh, well, that was interesting" feeling and a definite craving for the first hour.
October 'Tobe' (Evan Rachel Wood) is a rebellious teen living with brother Lonnie (Rory Culkin) and father Wade (David Morse) in the San Fernando Valley.
The father and daughter relationship deteriorates but Harlan may be troubled as he tries to take her away.It's great to see Norton and Wood play these roles that are well within their range.
At the same corner lives a girl October (played by Evan Rachel Wood) who is stuck where melting concrete and never getting tired streets, a handful of unbothered friends, her, scared and most of the time left alone in his own shadows, younger brother Ronnie (played by Rory Culkin) and Wade (played by David Morse) who acts more like a canary coop keeper than her father is all that surrounds her.
Average!Round-Up: Edward Norton is another one of those actors that looked like he was going to have a promising career, but after some bad choices, his career hasn't been that great.
These kind of issues in the movie are not explained in a good fashion leaving tangling questions in people's minds.And at last at the ending quarter of the movie, Harlan wasn't ready to accept his mistake so he took a kid (Tobe's step brother) with him.
By chance, a lonely, simpleton cowpoke named Harlan (Edward Norton) pops into the life of a California valley girl named Tobe (Evan Rachel Wood).
Maybe it was the character of Wade I didn't like, but I found David Morse irritating as a rarely smiling, unsympathetic dad."Down In The Valley" is the story of an urban drifter who, through his own fantasies and self-image, impacts the lives of a typical urban family.
I really hope Evan Rachel Wood keeps acting in such great movies like this one!
As I have said before, the better and underrated movies are the ones that remain sight unseen.Edward Norton, Evan Rachel Wood, and David Morse lit up the screen like you would not believe.
Edward Norton's performance rates up there with that of 'American History X' and Evan Rachel Wood was somewhat typecast into the same role as the movie 'Thirteen', but that's OK...she did well.
Try and imagine a modern day western film taking place in bustling Los Angeles County, complete with an "Aw-shucks", white hat toting, young man in love with a girl who's not quite of legal age yet, and you'll come close to grasping DOWN IN THE VALLEY.The story is set purely in L.A. as we watch a cowpoke named Harlan (Edward Norton, THE ILLUSIONIST) walk into town wearing Levi's and a frayed rope draped over one shoulder.
Tobe (Evan Rachel Wood, THE MISSING) is a very pretty young high schooler who lives with her burly father Wade (David Morse, 16 BLOCKS) and her clingy brother Lonnie (Rory Culkin, SIGNS).
And Lonnie isn't Wade's son, being an adopted family member but still a significant part of their lives.One sunny day Tobe and her friends pull into a gas station to fuel up and encounter the "for real" cowboy, Harlan.
But when his steady psychological break starts showing, a terrible realization hits the audience; Harlan isn't Harlan at all.The film comes complete with panoramic views of the San Fernando Valley atop lush hills, giving us a truly western feel to the movie, and there's even a quick draw shoot out that'll both entertain and repulse most movie watchers.The only downside is the ending.
Some of the scenes dragged out, which was boring.Edward Norton's is picked up by Evan Rachel Wood aka Tobe at a gas station and invites him to the beach.
Sorry for the late contribution.Edward Norton shines as always and is very intense but restrained in this role, he is joined by stellar performances from Evan Rachel Wood as his slightly too young girl friend and David Morse as her slightly detached but caring father.
You root for Edward - the lost cowboy - and hope by God things will go his way.Although Edward plays a "lost cowboy" this movie is only Western in the sense that it plays in LA: modern day detachedness (if that is a word) played by Rachel meets old fashioned although misguided chivalry by Edward.This is an unbelievable piece of work worthy of more of our praise, no matter how you look at it!.
Edward Norton understates his portrayal of Harlan to the point of making any actual acting on his part nearly invisible for most of the film."Down in the Valley" is an emotionally engaging character piece from start to finish that tells a realistic story about family, love, and humanity in its stifling smog-filled Southern California locale.
The Cowboy character played by Edward Norton (who is amazing) seems so simple at first but as he is drawn into the family his character and the truth unravels in ways that left me at a stand still near the end of the film.
The Cowboy character played by Edward Norton (who is amazing) seems so simple at first but as he is drawn into the family his character and the truth unravels in ways that left me at a stand still near the end of the film.
The Cowboy character played by Edward Norton (who is amazing) seems so simple at first but as he is drawn into the family his character and the truth unravels in ways that left me at a stand still near the end of the film.
Down in the Valley Wow Edward Norton rocks the screen again playing a cowboy with a very layered and subtle performance.
Down in the Valley Wow Edward Norton rocks the screen again playing a cowboy with a very layered and subtle performance.
Down in the Valley Wow Edward Norton rocks the screen again playing a cowboy with a very layered and subtle performance.
Down in the Valley Wow Edward Norton rocks the screen again playing a cowboy with a very layered and subtle performance.
What starts out as a gentle country yarn, inoffensive and mildly enjoyable romantic tale changes pace as Edward Norton's initially charming Harlan gradually reveals more about himself and things take a turn for the sinister, as the film gradually changes from a southern romance to a modern wild western.An amiable rancher (Norton) wanders into town and charms a young girl (Evan Rachel Wood), seemingly rescuing her from a dead-end existence with her bad-tempered father with a whirlwind romance, but it gradually becomes apparent that there is more to this cowboy than meets the eye.Edward Norton a real chameleon actor (with changing facial hair to match) playing a country hick, accent slightly dodgy but maybe because he's merely trying to act the part without worrying about the accent.
However, with too many small changes it means we are never sure exactly where Harlan is coming from, and what seemed like a good performance from Norton gradually becomes confused.
Evan Rachel Wood is likable without ever really having a great deal to do other than bat her eyelids at Norton.Down in the Valley strikes as a slightly uneven tale due to its change of pace, and by never really making the protagonist's motives clear the audience's sympathies for the characters remain uncertain.
It bored me.A lot.No story,no climax,no anything.I think it's Norton's worst movie.I watched it with my friends,and,at the end,after approximately 2 hours of waiting for something interesting to happen,we looked at each other...and laughed.Why?Because this movie is not interesting at all.I could say it's idiotic and senseless.A lot of unfounded actions,a lot of exaggerated gestures.And the ending...just as disappointing as the rest of the film.It makes you wonder it the film even has a storyline.But it's not the actors' fault.It's the directors'.The actors are good,especially Edward Norton.He really does his job.And since he is my favorite actor,i'm going to give this...thing...6/10.
Starring Edward Norton, Evan Rachel Wood, Rory Culkin, and David Morse.
The boy, girl, her little brother, and a 'stolen' horse all fall in love with the movie western hero ideal as the closest thing to a real father.Westerns are about shoot-outs not raising healthy families at one point the cowboy has to navigate a situation for which he has no movie scene to use as a template.
He plays a delusional drifter who thinks he's a cowboy in the modern day San Fernando Valley, who falls for the beautiful young daughter (great performance Evan Rachel Wood) of David Morse (always consistent).
Edward Norton's surprisingly one-note performance, the same old father-daughter conflict, and the loving close-ups of guns in the protagonist's hands makes it obvious who's going to do the shooting as the film progresses.
Father David Morse doesn't like Norton from the gitgo, but Norton even makes a convert of Ward's younger brother Rory Culkin.It's a strange film, but with some fascinating performances by the cast members, especially Norton.
A good short film might have been made of such scenes, a meditation on what suburban sprawl has done to obliterate nature.I know a fellow (whose father played cowboy bit parts in Hollywood movies many years ago) who tried to create a horse-based life for himself in the Valley.
Later in the film, he meets up with the sexy Tobe, played by Evan Rachel Wood.
Down in the Valley is a movie that features Edward Norton, Evan Rachel Wood, David Morse and Rory Culkin.The story is about a romance between a teenage girl and a thirty-something drifter that takes the young woman down a dangerous and unexpected path in this independent drama.It was written and directed by David Jacobson.Tobe is a pretty 18-year-old whose father, Wade, is the sheriff of a town in California's San Fernando Valley.
|
tt0082507
|
Heartbeeps
|
Val Com 17485 (Andy Kaufman), a robot designed to be a valet with a specialty in lumber commodities, meets Aqua Com 89045 (Bernadette Peters), a hostess companion robot whose primary function is to assist at poolside parties. At a factory awaiting repairs, they fall in love and decide to escape, stealing a van from the company to do so.
They embark on a quest to find a place to live, as well as satisfy their more immediate need for a fresh electrical supply. They assemble a small robot, Phil, built out of spare parts, whom they treat as their child, and are joined by Catskill, a mechanical standup comic (which is seen sitting the entire film).
A malfunctioning law-enforcement robot, the Crimebuster, overhears the orders of the repair workers to get the robots back and goes after the fugitives. With the help of humans who run a junkyard, and using Catskill's battery pack, the robots are able to save Phil before running out of power and being returned to the factory. Brought back to the factory the robots are repeatedly repaired and their memories cleared. Because they continue to malfunction they are junked. They are found by the humans who run the junk yard and reassembled. In the junkyard they live happily and build a robot daughter. The film ends with Crimebuster, after only pretending to have his mind erased, continuing to malfunction, going on another mission to recover the fugitive robots.
|
romantic
|
train
|
wikipedia
|
If you have witnessed Andy Kaufman's slant on comedy, you may understand why I avoided this movie of his for years.
I had to rent it online when recently I finally got the courage to give it a try.My heart sank during the first few seconds of the movie.
There's barely a story here, with the bulk of the movie consisting of the robots wandering around...
But it seems odd that they spent time for the makeup when not bothering to present the rest of this world as a futuristic world (the vehicles of this world, for one thing, are present-day gas-powered vehicles.) It's even more odd to consider that no one involved with this movie realized along the way that this project was a train wreck..
Rent this if you want to be staggered by oddness, blown away by one of the most bizarre scripts, direction, and casting in the history of films.
Andy Kaufman went on David Letterman and apologized for this movie.
It's bad enough that you might want your money back, but it's stupid enough to keep you interested in watching it.I tortured my friends by showing them this movie.
I watched this movie one time, 20 years ago, but I still remember it fondly.
The movie is light-hearted, funny and insightful and is even poignant at times..
If you like bad movies, this one's a real treat.
Kaufman & Peters stagger around in robot costumes, escape slavery only to wander aimlessly, and find true robot love.
HEARTBEEPS is a movie about a pair of malfunctioning companion androids returned to the factory for repairs.
During the story, both androids slowly discover their love for each other and the desire to make the best life possible for the child they built together.
The android family now begins slow walk back to the robot factory, but their power packs are now running very low.The plot itself is fairly charming if you are not too impatient about the slow pace or the overly redundant dialog.
This isn't an action movie or even a sexy romance flick, but just a simple lightly romantic science-fiction movie with rather good makeup and nice special effects (but the effects are not plot-mover item for the story as is common with the movies these days).
I think this could be remade today (now that audiences are more accepting of science fiction in general) with a similar budget and a complex conceptually expanded script and succeed as a charming sci-fi family movie..
I really wanted to like this movie, but the pacing was just way too slow.It was a nice story, but it was really like watching a slug race.The movie would have been better served, if it had some more action.
My wife and I saw this in the theater when it first came out.There were only 3 couples there and we all walked out about the same time.This is the only movie I have ever walked out on.It was just painful to sit through.The theater actually stopped us on the way out and asked if we wanted a refund.Never had that happen before or since Pleae do not rent this You will really regret it I am really sureprised by the vote summary Perhaps personal tast has something to do with it.
Andy Kaufman and Bernadette Peters as robots who fall in love.
Little did I know that when I signed up the the "all pay channel" package with Direct TV that I would face a movie like this.
the movie industry has come a long way since the 80s!
I thought of this movie when i watched pluto nash...why..because both movies have randy quaid playing a retarded robot, this movie made years earlier but probably written by a screenplay writer that drank the same biotoxic coffee or something like that...Whoa...AVOID AT ALL COSTS even to pay tribute to the late great Andy Kaufman is hard to do here...find another film or just watch taxi reruns on latenight tv...his latka gravas character is so much more loveable...TANK YOU BERRY MUCH.
"I presume you are here for damage to your mental circuitry." - VALMike Nelson made me watch this...he mentioned it in his book, "Movie Megacheese." I asked myself, "Why would Mike Nelson steer me wrong?" I now know why the bots never trusted Mike Nelson.The music is by John Williams, which is probably part of his payment to the Devil.
In fact, I'm sure anyone who worked on this movie is probably in league with ol' Slewfoot, or is now cursed, from the Executive Director down to the guy who ran the catering truck outside the studio.
I saw this movie at the drive-in and on hbo in the early 80's and i still remember it!
So if there is anyone out there that works for a dvd company that can get the rights to this film or who works for the studio that made heartbeeps, really needs to release it in widescreen or special edition, it's a real good movie, i mean if anyone liked the movie Bicentennial Man with robin williams where he plays a robot trying to find himself you will love this movie, if you need a reference, i think its Bicentennial Man meets a love story!.
Really, we are all robots, programmed to respond certain ways to certain stimuli without thinking.
I say, THANK YOU Aqua (brilliantly played by Bernadette Peters) for making me stop and think about the awesome power of mother nature.
It's only when Val and Aqua begin to reject their programming that they begin to understand their true desire--to find love, and to flee the factory in search of a creative life.
I read some of the comments and a lot of the viewers didn't care for the movie.
That should have been a huge tip-off.I always thought that Andy Kaufman intentionally tried to make the worst movie ever, as that type of thing was his bag (think him as a wrestler)If you spend money to rent this, you would be better to just flush the money down a toiletIt is not even campy - it is just terrible.
Andy Kaufman and Bernadette Peters star as robots in a future time when domestic robotic servants are commonplace.
The cast includes Randy Quaid, Kenneth McMillan, Christopher Guest, Melanie Mayron, Dick Miller, Mary Woronov, Paul Bartel, and the voice of Jack Carter.
Despite all of that talent, it's pretty awful, with no real story, and the attempted jokes just land flatly, partially because I was expecting Kaufman's usual brand of humor and got something completely different.
It is easily the most unintentionally bizarre thing ever conceived on film, & though it's a genuine failure on multiple levels (So much so that Kaufman apologized & offered people their money back on a Letterman appearance) it's not without its charms.It's got some interesting cinematography, makeup effects by the acclaimed master of 80's FX Stan Winston & a wonderfully unprecedented synthesizer & orchestral fused score, composed by none other than the great John Williams, which lends the film some heart...beeps.Though I'm really surprised that Carol Kane didn't end up as the female lead, Peters & Kaufman bring to the film exactly what you'd expect, as well as they likely could, & there is a root of a story in there with some actual heart.
Watch it like a time capsule revealing something historical about a people who lived nearly half a century years ago & their vision of a future.
1981 was a strange time.I swear, Andy Kaufman had the absolute strangest career in entertainment of anyone who ever breathed.
If anyone else had made this movie, I'd think they had gone mental, but if you said to me Andy Kaufman made it, I'd be like "Oh...
Val (Andy Kaufman) is a high class robot damaged in an industrial accident.
The robotic acting forced on Andy and Bernadette leaves out the humor.
Andy Kaufman and Bernadette Peters star in this slightly futuristic romantic comedy, playing Val and Aqua.
Val & Aqua are joined by a comedian robot named "Catskil" (voice of Jack Carter) and a cute little thing dubbed "Phil".It might be just me, but personally I found this dopey movie rather endearing.
Some viewers find it too slow, but I thought the pacing was adequate enough; the harmless little movie only runs an hour and 18 minutes anyway.
The only thing this viewer didn't like was the fact that Christopher Guest and Melanie Mayron were wasted in minor roles.
Director Allan Arkush is one of many filmmakers who came out of the Roger Corman school, and his other credits include things like "Rock 'n' Roll High School" and "Get Crazy"."Heartbeeps" doesn't add up to much when it's all over, but it's still a pleasant enough diversion.Six out of 10..
The first time I saw this movie I had rented it for my daughters.
I was looking for a family type movie we could watch together.
My girls are grown now, but I own the movie and we still watch it occasionally.Bernadette Peters is beautiful and Andy Kaufman is a riot.
Listening to the wise cracking robot "Catskill" tell terminally unfunny jokes makes the worst Jackie Mason movie seem like "Oscar" material.
And while in the abstract these comments are not as funny as the jokes from the Catskill robot in this movie.
(Critics of Quaid should see him in "Goya's Ghosts", that is is they can recognise him!) Heartbeep's is heartwarming - and if Kaufman didn't see the touching humanity in this flick, then that is another thing to spill grief over, as his work is not unappreciated by some.
I can't believe I actually remember seeing this movie in the theatre because I was only 5!
Must not have been that good of a flick... But I do love Andy Kaufman and I'mtrying to rent all of his films from Netflix, but they don't carry heartbeeps.
Well, I LOVED Andy, and Heartbeeps; it was given short shrift, PR-wise, and editing/writing, too.
Runaway Robot!" ( which was also the poster in front of the 3 movie theaters I saw it at --NOT the nice little color poster on this site, with headshots of all the cast, and cartoon of Crimebuster --which really wasn't THAT good--they OUGHT to have used an action scene from the film itself--didn't they have an onset photographer?
A poster is supposed to HELP a prospective audience decide if they want to SEE the movie--there were SO many people who couldn't get into their sold-out choice, and wanted to know WHAT Heartbeeps was about--and that poster didn't help!
) There was NO trailer for the film: only a slide at one theater, consisting of the word "Heartbeeps" inside a heart-shape, with a Cupid's arrow through it, and one that was a totally black picture: just Andy and Bernadette's voices saying "Val-Com!
My pleasure center is malfunctioning!" "So is mine; do you think we ought to tell our owners?" THAT is no help to people who hadn't been aware of the movie.During the filming, Andy told reporters that he couldn't eat, once his plastic lips were applied, so he would "load up on breakfast, and fast" during the day's shoot.
The one thing that critics had liked of this film was Williams' score--yet it was NOT available for purchase!
If I can ever get a scanner, and time to type out the articles, I'd like to create a Heartbeeps tribute site.
I liked the movie, and don't care what dissenters say!
The only trouble with the film, was, that near the end, it was messed up, logic-wise: the robots ran away from the factory to have the freedom to decide their own fate, make their own choices; yet, when the junkyard owners tell them that Phil needs to go TO the factory, to have a "purpose" programmed into him, they don't even question it; they just glance meaningfully at each other, and they go.
Along the way, each of the adults lose battery power, and "die." They aren't REALLY dead, as they are robots, and only need new batteries, yet it is treated as "death," with little Phil crying over them, and rolling away.
Phil never gets back to the factory, and gets "a purpose!" AND of course, the junkyard owners COULD'VE driven them, or given them all battery recharges, with back-up batteries; but the real point was to have this poignant scene, where the robots all wore down, and Phil is left to cry.
I absolutely loved this movie.
I guess I would recommend watching this movie high on enough drugs to reduce you to the mindset of a 6 year old, and then you should be fine..
At the time this movie was made, Kaufman's break-out TV series, Taxi, had just been cancelled and he had just been diagnosed with a rare large cell carcinoma in his lungs.
Bernadette Peters had just come off playing a cupie-doll airhead against Steve Martin's moron in "The Jerk" and Heartbeeps seemed like a good follow-up role.
The unlikely allies of the robots, Val, Aqua and the Catskill Performer, while being pursued by a crazed police robot, makes for a simplistic, yet classic tale of good vs.
'Heartbeeps' belongs on a short list of strange bad movies of which you have never seen their like and are likely to never see again.
It is easy to dismiss a movie that is a total waste of time but even through it falls on its face you have to give this one points for trying.Somewhere in the future two robots named Val (Andy Kaufman) and Aqua (Bernadette Peters) wonder what else might be out there in the world besides a droll existence playing butler and hostess to their owners.
'Heartbeeps' is a very stupid idea for a movie.
Val and Aqua, our robot heroes, have dialogue written entirely in programing speak.
A lot is working against 'Heartbeeps' and yet the film is saved from the bomb rating it probably deserves.
Appropriately enough with the make-up and the dialogue everything seems artificial in 'Heartbeeps', Kaufman is able to take the material to a very emotional and human level.I am a fan of Andy Kaufman.
I can't think of a better actor than Andy Kaufman to tackle this kind of role.The rest of the film is pretty boring and underdeveloped.
The film's greatest flaw is that there is no real impetus for the adventure these robots undertake and thus their discovery of a kind of humanity does not really have an impact because we don't really see a before and after.
I would have liked to have seen them drop some of the robot mannerisms as they become human because what makes these Pinocchio stories interesting is the sense of transformation.Kaufman is what makes this film worth a view because otherwise it is pretty bad.
'Heartbeeps' really serves as a reminder of the fact that we lost Andy Kaufman far too soon.
I'd like to think that with better roles tailored to his strengths he could have reached great heights as an actor..
I remember that it played incessantly...and I watched it each and every time.
I think that that very quality may have contributed to the detriment of "Heartbeeps" because sweetness and sincerity are anathema to the accepted Kaufman persona.
Regardless, both he and Bernadette Peters were wonderful in this film, as were Jack Carter as the voice of "Catskill" and...very weirdly...Jerry Garcia as the voice of "Phil".
It's funny, it's touching, it's the perfect date movie for people who love sci-fi and romantic comedies.
It's the first robot romantic comedy.
I think couples will enjoy this movie and will want to watch it over and over again.
even if you don't find this movie appealing in a cutesy-poo, charm sort of way, you'll probably still find it a little off the wall and more than a bit absurd.besides the usual babyish, sentimental group that always gets hooked into popular schmaltz, and i've met many of those, some of us get hooked into this for the pure peculiarity of the story.
as any fan of this cult comedy knows, it's about a couple of silly little robots who decide to run away and start a family together.
but for some of us the appeal is strong and obviously with most, on a intuitive feeling level.Andy Kaufman's style of comedy was fairly idiosyncratic, personalized and individual to a point of egomaniacal.
he was a young man suddenly thrown into the spotlight, like so many young performers, and either he had too many ideas, or knew too little what to do with all the attention, because all fame seemed to do was make Kaufman retreat more inwardly and become, at times, almost incomprehensible.
i enjoy Kaufman but i can't always say i get him half the time.
he was a very hard celebrity to make a actor out of because his performance skills were so different and hard to place in just anything.i can't imagine a better film for Kaufman than 'Heartbeeps'.
not to mention he seems eerily robotic and unreal in his role as Val the house Bot. i also can't imagine a better leading lady for him than the incredible Bernadette Peters.
without her and Kaufman this film would have been impossible.there's also a couple of funny cameos by 'Rock'n Roll' high school stars Woronov and Bartell.
they don't have much to do, but they are hilarious as spoiled rich, yuppie-types who are perplexed by the robots who crash their party.this quaint movie memorabilia reads a little like 'Wizard of Oz', meets artificial intelligence meets Woody Allen's 'Sleeper' or something like that.
the only real cliché here though, is to call this little movie a enigma.
a lot of people will probably find this movie hard to get used to because of it's kookiness.
for other's, like myself, the real enigma is why this film is so appealing i just can't resist it.
|
tt0090436
|
The Adventures of the Galaxy Rangers
|
The show is set in the future, some time after the year 2086, when two aliens from the planets Andor and Kirwin travel to Earth to search for allies against the expansionist Crown Empire led by the Queen of the Crown. In return for the help, the two aliens gave mankind construction plans for a hyperdrive device. After this key event in human history, interstellar travel flourished and a huge number of colonies emerged in distant star-systems. Alongside the growth of human activities in space, criminal activities also grew, and the new colonies required defense against various threats, including the Crown Empire. A group known as "BETA" (Bureau for Extra-Terrestrial Affairs) was founded to cope with these tasks, with a "Ranger" division being a part of it.
Most of the colonies portrayed in the show specialized in either agriculture or mining "star stones". Many of the planets on the show have names that evoke ideas of a Western setting, Nebraska, Mesa, Ozark, and Prairie being a few.
BETA is shown to be the major military and exploratory arm of Earth. The organization's headquarters are on Earth. BETA sustains several bases on and around Earth, such as the Longshot Research Facility in the Grand Canyon and the BETA space station in Earth's orbit.
The Series-5 Brain Implant, or S5 is implied to be the closest mankind will ever get to merging with cybernetics. The S5 implant enables a dramatic boost of innate abilities due to its unique conversion of bio-electrical power generated by alpha radiation stored within the badges worn by the Galaxy Rangers.
The Crown Empire, also known as the "Crown," is ruled by the Queen of the Crown, whose intentions and motivations are described as being evil. She controls a large number of planets in a vast section of the galaxy, all of which she rules as a cruel tyrant. The Queen controls her empire using creatures called Slaver Lords with whom she has a psychic link. Slaver Lords derive their power from the psychic energy of other beings. After the Empire encountered humans, the Queen discovered that they were more suitable for energy extraction than any other previously encountered species.
|
psychedelic
|
train
|
wikipedia
| null |
tt0067487
|
La notte che Evelyn uscì dalla tomba
|
Alan (Anthony Steffen) is a wealthy aristocrat who has just been released from a mental institution following the death of his wife, redheaded Evelyn. Having caught Evelyn making out with an unknown man prior to his institutionalization, the psychotic Alan begins luring redheaded strippers and prostitutes to his home to torture and kill them, as a means to deal with his grief and inability to get revenge on his deceased wife.
Alan attends a séance in which the medium contacts Evelyn, causing Alan to faint. Alan's cousin (and only living heir) Farley offers to move into the mansion to take care of him. Farley takes him to a strip club and Alan takes home Susan (Erika Blanc), one of the strippers at the club who disappears after barely escaping with her life. Afterwards, Farley believes that Alan would be cured of his instability if he replaces Evelyn with a new bride that resembles her. On Farley's advice, Alan moves to London to get away from his home and marries Gladys (Marina Malfatti), another redhead.
Gladys finds herself being haunted by strange goings on at her new home and being shunned by Evelyn's brother and Alan's invalid aunt, whom Alan has taken in as staff at his mansion. Gladys tells Alan her suspicions that Evelyn faked her death to escape Alan and run away with her lover. Alan's mental state continues to unravel as Evelyn's brother and Alan's aunt are each killed by a mystery killer and when he sees a zombified Evelyn beckoning to him from her tomb, he breaks down completely.
When Alan is taken away for permanent institutionalization, Gladys and Farley celebrate as they had been trying to push Alan back into insanity, with Farley supposedly impersonating Evelyn, so that Farley would gain control of Alan's fortune and estate. After they toast their success, Susan, the stripper that Alan had taken home, appears. Farley reveals that Susan was the one impersonating Evelyn and that the champagne Gladys is drinking has been poisoned. Farley stands by as Gladys attacks and kills Susan before succumbing to the poison.
However, Alan appears along with Richard, the doctor who treated him for his first breakdown. Alan had suspected he was being manipulated and had faked his most recent breakdown to lure out the conspiracy against him, after Alan discovered proof that Farley killed Evelyn after she refused to leave Alan for him. Farley tries to escape and in the ensuing fight, a bag of sulfur-based fertilizer falls into the nearby pool. The pool turns to acid and Farley falls in, horribly burning him. Pulling him out of the pool, Farley is arrested and Alan manages to get away with his crimes.
|
insanity, cult, horror, murder, sadist
|
train
|
wikipedia
|
His friend and doctor talks him into remarrying to ease his mental anguish, and that's a piece of advice that he takes upon meeting the ravishing Gladys...Despite the fact that this film is very much a piece of schlock cinema, the director appears to have taken it very seriously, and the result is a film that puts a lot of emphasis on the plot and characters, and ultimately this means a stronger show as Miraglia takes time to draw his audience in, rather than just showing blood and nudity and leaving it at that.
Emilio Miraglia's "The Night Evelyn came out of her Grave" is an entertaining slice of perversely manipulative and seedy Gothic Euro-horror.
This creepy Italian thriller tells the story about a widowed lord who still suffers from the memory of the death of his red-haired wife Evelyn who betrayed him.
So the aristocrat lures red-haired prostitutes into his castle to take revenge on his dead wife again and again: He whips them before he kills them.But he's obviously not the only whacko in this film, because after he has found a new wife - a blonde woman this time - he seems to be getting better, but strange things happen and there's even a gloved killer who murders a couple of people in quite nasty ways.This film from the director of the fine Giallo "La Dama Rossa Uccide Sette Volte" (1972, see also my comment on that one) is a clever blending of gothic horror elements (a creepy castle, mysterious events taking place and an empty coffin that suggests that Evelyn indeed came out of her grave) and a typical Giallo story (gloved killer, nasty murders and some surprising twists during the climax).
Italian horror/suspense film about a wealthy English lord who cruises pubs and taverns for girls with red hair just like his recently deceased wife Evelyn.
Alan is a rich playboy haunted by the memory of red-headed Evelyn, his dead and unfaithful wife.He brings red haired prostitutes to his gloomy castle where they are whipped and killed.But when he marries Gladys,the terrible things begins to happen:his brother-in-law Albert is buried alive,aunt Agatha is fed to the foxes and Evelyn herself seems to pop out of her crypt with a sexy body and grinning skull face.1971's "The Night Evelyn Came Out of the Grave" is an enjoyable and stylish giallo with lovingly-photographed murders and plenty of sleaze.Every killing is associated with nudity and there is a lot of Gothic mood throughout.The location sets including a decrepit castle,a shadowy mausoleum and a sinister torture dungeon are truly creepy.The film is worth seeing for Erika Blanc's sensuous coffin striptease alone.9 out of 10.Fans of Italian gialli should give it a look!.
Nice mix of giallo an Gothic horror, brought to you by Emilio Miraglia, writer/director of Red Queen Kills 7 Times.
Maybe Miraglia likes red, as this is a tale of a dead red-headed wife, and a series of red-headed prostitutes brought home by the rich widower, Lord Alan Cunningham (Anthony Steffen).Not only does Alan bring a lot of redheads home to his castle, which means a lot of flesh for your enjoyment, but he has a propensity to engage in a little sadism while he is at it, as Susan (Erika Blanc) finds out.After Susan, he meets Gladys (Marina Malfatti) at a party.
Alan (Anthony Steffen), an English multi-millionaire with a few screws loose (thanks to his first wife's infidelity and untimely death during childbirth), entices sexy, red-headed women to his castle, offering them bundles of cash to stay the weekend.
Their wedded bliss is short-lived, however, thanks to Alan's iffy mental state, which becomes increasingly fragile when his dead wife Evelyn starts to appear outside his window and a spate of gruesome murders occur within the castle grounds.So let's recap: a groovy 70s Euro-horror with loads of tasty women in various states of undress; spooky Gothic retreats and misty graveyards; a sadistic rich psycho with a penchant for drop-dead gorgeous babes with cracking bods; several vicious murders (including a great bit where one victim has her head bashed in with a rock and her entrails eaten by foxes).
Stylish, yes; but as slow as molasses at times.And then there's the bits that are just too damn silly, possibly even for a giallo: the death by poisonous snake bite (surely one of the most bizarre choices of weapon ever); Alan's Aunt Agatha, an old crippled relative who is played by a pretty young woman; the hiring of a group of identical curly headed blondes as maids; the poor attempt at convincing the audience that the film is set in England (mentioning 'pounds' and hiring a crap police uniform for one of the extras is not enough); and then, of course, there is the unlikelihood of finding a bag of sulphuric acid laying next to a swimming pool...'The Night Evelyn Came Out Of Her Grave' isn't a total waste of time (how could it be, with so much female flesh on show?), but there are much better giallo's out there.
THE NIGHT EVELYN CAME OUT OF THE GRAVE (Emilio Miraglia - Italy 1971).I only watched this delirious piece of Euro-tosh in the way of Alpha Video's dreadful DVD-release (looks like an extremely bad video-transfer), but from what I saw, not nearly interesting enough to purchase No Shame's recent DVD-release.
And don't pay attention to the ridiculous cover shown here, it's not taken from this film (some girl holding the head of a Jim Carrey look-a-like).Spaghetti Western star Anthony Steffen sports a hip hairdo and assumes the role of Lord Alan Cunningham, a man haunted by the memory of his dead wife Evelyn.
Soon, a number of "outsiders" begin to suspect something fishy is going on in the castle and Lord Cunningham's treatment might not have been that successful after all.Director Emilio Miraglia tries to blend Gothic horror with Giallo conventions with limited success.
"The Night Evelyn Came Out of the Grave" is great title, at least.** La notte che Evelyn uscì dalla tomba (8/18/71) Emilio Miraglia ~ Anthony Steffen, Marina Malfatti, Erika Blanc.
More giallo than horror despite the title and although one tires a little of the hero talking to the phantasm of his dead wife there are some great set pieces and super imagery.
Troubled aristocrat Alan Cunningham lures red headed prostitutes and strippers to his castle, to torture and kill them as a means of coming to terms will the death of his beloved wife Evelyn.
Then again, if this film is a Gothic horror as the haunting suggests, why is there's also a gloved killer going around murdering the cast?This a lengthy, gorgeous looking, trashy giallo with many a braless lady on display to keep you awake while the film develops a plot.
He soon after decides to marry a local ex-stripper, but their marriage is plagued by unusual events on the property, many of which are centered around the dilapidated tomb where Evelyn's body lay.Oft noted for its unique blend of Italian giallo and Gothic horror, "The Night Evelyn Came Out of the Grave" is one of the more under-appreciated films among its peers.
Not only does it look the part, but it also is rife with themes and concepts unique to Gothic literature (psychological instability, family feuds, the supernatural).Die-hard fans of giallos and your everyday horror-goer alike will find something to enjoy here, as there is a bit of everything across the board: a chilling atmosphere, fantastic twists and turns in a surprisingly elaborate plot, some fairly disturbing gore, and a couple of jump scares even.
The sets at times evoke those of a Hammer picture, and the film is also steeped in color that would make Argento or Bava proud.Anthony Steffen plays the unstable Lord Cunningham quite well, toeing the line between despicable and horrendous, while Marina Malfatti plays his newlywed wife living in the shadow of Evelyn.
The only real issue I have with the film is that it ends too abruptly; it's as though the writers didn't know where to end it, and it ultimately feels like a lost opportunity.Overall, "The Night Evelyn Came Out of the Grave" is an overlooked gem.
He tours local bars and dives, scouring for lovely red-heads willing to come back to his decaying castle in the country, where he seduces them, then tortures and kills them.This is the first of two giallo films directed by Emilio Miraglia, and both revolve around a woman named "Evelyn" who has died.
Just because it's not a favorite doesn't mean it isn't worth watching.A very wealthy, widowed English Lord lives in a castle and isn't coping very well with the death of his red-headed, cheating wife, Evelyn.
At times incoherent, this Italian Gothic horror piece has a wealthy aristocrat (Steffen) suffering from a psychotic in-balance that causes him to lure pretty red-heads and lookalikes of his deceased wife Evelyn to his dilapidated castle, for S&M and more.
His doctor (Rossi-Stuart) is concerned about his condition and recommends he find a new wife - which he does in Malfatti, but things quickly deteriorate between the newlyweds when "Evelyn" appears to rise from her crypt.Disjointed in parts with hokey special effects and poorly contrived plot set-ups, it's often described as "giallo", but I'd disagree with that definition being applied.
The first of Emilio Miraglia's "Evelyn" films, "The Night Evelyn Came out of the Grave" is one hell of a sexy, creepy and ultimately beautiful slice of Italian horror, that is considerably superior to it's much highly praised successor "The Red Queen Kills Seven Times".Just like "Queen...", this one combines elements of Gothic horror and gialli.
The ethereal, ghostly images of Evelyn's ghost wandering half naked through castle grounds, accompanied by Bruno Nicolai's haunting soundtrack are a good example of this - bearing an entrancing, lyrical quality to them.That being said, the 'giallo' part of the story is the total opposite, being sleazy, predictable and often unintentionally funny.
This one goes more into the horror realm than the typical themes of the genre.Lord Alan Cunningham starts this movie off by running away from an insane asylum, a place he's been since the death of his redheaded wife, Evelyn, who he caught having sex with another man.
Alan nearly kills another stripper before Farley gives him some advice — to get over Evelyn, he should marry someone that looks just like her.
Alan selects Gladys (Marina Malfatti, All the Colors of the Dark) as his new wife and comes back home.Sure, you meet someone one night and marry them the next.
A wealthy English lord is suffering a mental breakdown following the death of his red-headed wife, Evelyn, whom he feared was cheating on him.
A wealthy English lord is suffering a mental breakdown following the death of his red-headed wife, Evelyn, whom he feared was cheating on him.
But a series of strange events involving the possibility that his first wife has returned from the grave seems to send him over the edge.The Night Evelyn Came Out of the Grave is one part Giallo and one part Gothic horror.
Overall, "The Night Evelyn Came Out Of Her Tomb" is a sleazy, original and stylish Gothic Giallo that no Italian Horror lover should miss..
"The Night Evelyn Came out of the Gave" features all the basic ingredients that make Italian horror fanatics' mouths water, and it is in fact pretty good, yet it doesn't leave you with that fantastic feeling of total amazement like so many other gialli/Gothic films do.
Director Emilio Miraglia offers a largely compelling giallo-plot, but with the atmosphere & set pieces of a typical Gothic horror production!
The wealthy Lord Cunningham has the strange habit of luring red-headed beauties to his castle, suffering from a vision of another redhead running naked through a meadow, and subsequently killing the gals barbarically with a whip.
This Italian semi-horror movie starts out very much like a soft core porn movie and turns into a mystery that has a few to many loose ends to be good, that and the fact it is rather dull just makes this film rather unwatchable for my tastes.
Lord Alan Cunningham(Antonio De Teffè)is a nutjob{seen early on trying to escape an insane asylum}, with this castle slowly succumbing to ruin, likes to kill various hookers who resemble his deceased wife Evelyn, a woman who betrayed him for another man, with those red locks.
While the memory of Evelyn is almost devouring his whole existence, Alan tries his best to find true love and believes he has with Gladys(Marina Malfatti, who spends most of the film naked..that's probably her lone attribute since she isn't a very good actress), who agrees to marry him after a very short courtship which should probably throw up flags right away{there's a key moment of dialogue where she knows exactly to the very amount what he is worth}.The only real person Alan can confide in is his doctor from the hospital, Dr. Richard Timberlane(Giacomo Rossi-Stuart).
NIGHT EVELYN CAME OUT OF THE GRAVE, THE (1971) *½ Antonio De Teffé (as `Anthony Steffen'), Marina Malfatti, Erika Blanc, Giacomo Rossi-Stuart, Roberto Maldera.
More giallo than horror movie, Evelyn is the story of a wealthy, slightly insane London playboy who is haunted by images of dead wife.
I always had expression that 'The Night Evelyn Came out of the Grave' was a straight Italian horror, but it was a giallo all along!
True giallo ending that can't be predicted at the beginning of the film.What makes this film really interesting is the fact, that Lord Cunningham, the original killer doesn't pay for his crimes and turns out to be the hero of the movie!
I love it.So, movie in nutshell: 'The Night Evelyn Came out the of Grave' is really beautiful giallo with interesting plot with lot of titties.
Lot of them.I can recommend this one for all those who loves giallo or Italian horror flicks!I give 'The Night Evelyn Came out of the Grave' 8 whip-lash out of 10.Seacrest Out!.
"The Night Evelyn Came Out Of The Grave" is, in some ways, a quintessential giallo - it has nearly everything the genre is known for: a colorful title, poor English dubbing, lots of nudity, a decidedly chauvinistic / anti-feminist bent, a ludicrously convoluted plot, a series of murders, and a pervading sense of trashiness (a corpse is fed to a cage full of foxes in this one!).
For the first hour or so, nothing really happens in the plot of this movie except two murders; the twist at the end almost redeems the film, but then there is another, and another: you begin to get the impression that Miraglia threw in everything but the kitchen sink, without really knowing what he's doing.
Italian director Emilio Miraglia's second film, "The Red Queen Kills Seven Times" (1972), had previously impressed me as one of the most perfect giallo pictures that I had ever seen, when I first saw it six years ago, so I had a feeling that I was going to enjoy seeing his first.
But because of that earlier film's title--"The Night Evelyn Came Out of the Grave"--I was somehow expecting something more on the order of a supernatural/ghost story.
'The Night Evelyn Came out Of the Grave' is a fantastically atmospheric Giallo film directed by Emilio Miraglia and is drenched in perversion and sadistic to boot and focuses on the arc types of the genre such as sex, murder and mystery.
The film follows the sordid life of Lord Alan Cunningham whose not only rich and handsome but also a raving lunatic whose just been released from the psychiatric hospital seemingly cured after the death of his wife Evelyn who was also having many affairs and driven to madness of her betrayal he murders young women.
Okay for much of the runtime it is pretty sluggish, but when it gets to the last act, then it becomes manic and you question everything you've seen so far.Not only a Giallo but it also mixes in a supernatural thriller into the narrative which really fits in well with its Gothic setting and along with a score by Bruno Nicolai which is just majestic as well as captivating and sets the tone to the movie perfectly, as well as the beautiful scenery and art direction and set pieces which makes this a well and truly beautiful movie to look at.Anthony Steffen takes on the tortured role of Lord Cunningham the well to do psycho who only wants to find love, romantically demented Anthony Steffen makes the role his very own as he puts an equal amount of effort into being sympathetic as well as sadistic and therefore bringing a hefty duality to the character and pulling it off beautifully making you feel disgusted as well as understanding him battling his madness, as well as carrying the entire film on his shoulders with such ease.
Then there's Marina Malfatti as the newlywed Mrs Cunningham, extremely beautiful and sympathetic, she brings a lot to this role and often almost steals the show from the male lead and completely breath taking with her intense screen presence as you find yourself rooting for her as she delves deeper into the mystery of the estate and Alan and you are left fearing for her life.All in all 'The Night Evelyn Came Out Of The Grave' may not be one of the most graphic entries in the Giallo genre, but it does have an intriguing plot and enough mystery and suspense to keep horror fans happy and plus it is one of the stronger and original entries you will find in this genre..
Why does he sudden stop killing( Lord Cunningham murders several red heads in the first part of the film) after he marries the second Lady Cunnigham?
This Italian-made attempt at Gothic Horror takes place in England— except most of the characters have jet black hair and Mediterranean complexions, and they drive on the right side of the road.The plot: Alan Cunningham, a wealthy English lord, has just been released from an insane asylum.
|
tt0015224
|
Peter Pan
|
Set in London, circa 1900, George and Mary Darling's preparations to attend a party are disrupted by the antics of their boys, John and Michael, acting out a story about Peter Pan and the pirates, told to them by their older sister, Wendy. Their father, who is fed up with the stories that have made his children less practical, angrily declares that Wendy has gotten too old to continue staying in the nursery with them. That night, they are visited in the nursery by Peter Pan himself, who teaches them to fly with the help of his pixie friend, Tinker Bell, and takes them with him to the island of Never Land.
A ship of pirates is anchored off Never Land, commanded by Captain Hook with his sidekick, Mr. Smee. Hook boldly plots to take revenge upon Peter Pan for cutting off his hand, but trembles at the presence of a crocodile, which consumed Hook’s hand and is eager to taste the rest of him. The crew's restlessness is interrupted by the arrival of Peter and the Darlings. Tinker Bell, who is very jealous of Pan’s attention to Wendy, persuades the Lost Boys that Pan has ordered them to shoot down Wendy, which Tink refers to as a “Wendy bird”. Tinker Bell's treachery is soon found out, and Peter banishes her. John and Michael set off with the Lost Boys to find the island's Indians, who instead capture them, believing them to be the ones responsible for taking the chief's daughter, Tiger Lily.
Meanwhile, Peter takes Wendy to see the mermaids. The mischievous mermaids delight in tormenting Wendy but flee in terror at the sight of Hook. Peter and Wendy see that Hook and Smee have captured Tiger Lily so that they might persuade her to disclose Peter's hideout. Peter and Wendy free her, and Peter is honored by the tribe. Hook then plots to take advantage of Tinker Bell's jealousy of Wendy, tricking her into revealing the location of Peter's lair. Wendy and her brothers eventually grow homesick and plan to return home. They invite Peter and the Lost Boys to return to London and be adopted by the Darling parents. The Lost Boys agree, but Peter is so set against growing up that he refuses, presumptuously thinking that they will all return shortly. The pirates lie in wait and capture the Lost Boys and the Darlings as they exit, leaving behind a time bomb to kill Peter. Tinker Bell learns of the plot just in time to snatch the bomb from Peter as it explodes.
Peter rescues Tinker Bell from the rubble and together they confront the pirates, releasing the children before they can walk the plank. Peter engages Hook in single combat as the children fight off the crew, and finally succeeds in humiliating the captain. Hook and his crew flee, with the crocodile in hot pursuit. Peter gallantly commandeers the deserted ship, and assisted by Tinker Bell's pixie dust, flies it to London with the children aboard. However, the Lost Boys decide to return to Never Land rather than be adopted in London. Mr. and Mrs. Darling return home from the party to find Wendy not in her bed, but sleeping at the open window. Wendy awakens and excitedly tells about their adventures. The parents look out the window and see what appears to be a pirate ship in the clouds. Mr. Darling, who has softened his position about Wendy staying in the nursery, recognizes it from his own childhood.
|
fantasy, action
|
train
|
wikipedia
|
Barrie agreed to allow Famous PlayersLasky to make a movie version of his 1904 Christmas pantomime Peter Pan, he laid down some pretty stiff terms.
Not only was he to have casting approval, but the title cards were to use as far as possible the dialogue of the stage play; the plot line was to keep to the original Three-Act structure; the characters were to be those of the playnone were to be eliminated and additional characters were not to be introduced; and above all, the characters were to fly realistically.
Sir James also insisted on writing a long Preface to the movie in which he made the point that Peter Pan was a pantomime and needed to be accepted as such.
The picture was a huge success anyway and catapulted eighteen-year-old Betty Bronson (whom Barrie himself had chosen for the lead) into celebrity status overnight.So to really appreciate the picture we need first to understand what a panto is and what Barrie did to change or modify its structure and traditions.By the turn of the century, the annual Christmas pantomime had become a very elaborate affair.
Of course, pantos always had plenty of real children milling around the stage, but the leader (who had practically all the lines) was a young adult (even though he or she might be a impersonating a character supposedly ten or twelve years younger).
Barrie intended that Mr Darling and Captain Hook always be played by the same actor.
Unfortunately, both Brenon and Paramount jibed at this idea and finally convinced Barrie that on a motion picture set, it was impractical.The principal change (and it was a brilliant one) that Barrie made to the traditional structure was not to turn the Dame into a dog (Dames had often played comic animals in the past) or even to restrict the Dame's frolics to Two Acts (although top-billed, the Dame's role was often not all that large.
Now we can appreciate the movie for what it is: not just a filmed pantomime but one that goes beyond the restrictions of the stage to make the spectacle more spectacular, and the special effects even more wonderful and startling.Also we can now enjoy the way the movie is cast and played.
However, super-sexy Betty Bronson makes an ideal Peter Pan (it's important that the character be lasciviously attractive yet act as if she is totally unaware of this factand this Miss Bronson accomplishes remarkably well, no doubt due to Brenon's meticulous direction).
Even though her stage age is around twelve or thirteen, she is not only the leader of the children, but a genuine mother figure and is supposed to look just a few years younger than the actress playing her mother, in this case twenty-two year old Esther Ralston.
Forty-five year old Cyril Chadwick fits the bill nicely.It's a tribute to Brenon's skillful yet sensitive direction, James Wong Howe's beautiful photography, Pomeroy's fascinating special effects and the enduring charm and cleverness of Barrie's fairy tale that the movie is just as enchanting in 2007 as it seemed to appreciative worldwide audiences in 1925..
Peter Pan---An Enchanting Silent Film For All Ages.
After watching the Kino DVD of PETER PAN, I was delighted to have this most charming of silent films finally available in a quality video release.The picture quality, which was subtly tinted amber and blue, will disappoint no one, although it looked more like a really good 16mm print than a 35mm to me.
A great deal of the magic in PETER PAN was supplied by cinematographer James Wong Howe.
Betty Bronson, who convincingly plays a child although we never forget that she's really a grownup woman, gives a performance that is unusually `fey' and she seems to have fully developed every muscle in her face that can cause an adorable look to radiate to the viewer.
Ernest Torrence as Captain Hook will remind everyone of their grandfather while he comically menaces Peter and the Lost Boys, but remains the perfect gentleman with Wendy------complete with courtly bowing and a flourish of his handkerchief .
She (played by George Ali) is the delight of the film.PETER PAN is filled with magical touches that never seem to go too far or become foolish.
It wouldn't have worked with many silent films, but for PETER PAN it was marvelous------a tribute to Carli's ability to match a narrative theme with it's programmatic musical compliment.The "value ads" are production stills from the film along with a poster and lobby card.
Mayer are more than just interesting.A title card at the very beginning tells the audience that the acting may seem whimsical to an adult but that "all the characters are seen with a child's outlook on life.....even to the adults in the story.
PETER PAN was directed by Herbert Brenon with a screenplay written by Willis Goldbeck, based on the story by J.M. Barrie.
He is also credited with popularizing the name Wendy, which was very uncommon before he gave it to the heroine of Peter Pan. When he died he left the rights to this story and all it's future profits to the Great Ormond Street Hospital for children.
This filmed version of Peter Pan, the very first (of eleven so far) opened Christmas week, 1924.
Paramount, like every other studio, looked on its films as disposable product.
Everson, one of the great silent film historians, never tired of rhapsodizing Peter Pan or its glowing star, Betty Bronson.
James Card, curator at George Eastman House and one of the great heroes of film preservation, longed to see this childhood favorite with a desperate nostalgia.
One of the best-liked silent movie stars both on and off the screen, Mary Brian plays Wendy.
And the family's pet dog Nana was such a good actor that in real life he was called George Ali. As for the lead role of Peter Pan, it was the author James Barrie who selected Betty Bronson, then an unknown to play the coveted role after he turned down silent superstars Mary Pickford, Gloria Swanson & Lillian Gish.
(And she could fly!) It is surprising when you see how lavish the sets, costumes and special effects are that the budget for this film was only $40,000 and I think this is much better than the 1991 version which cost $70 million dollars to make.
I would like to read a quote from the New York Times, from MORDAUNT HALL, one of their toughest critics written Christmas week of 1924 – "That wonderful ecstatic laughter, tinkling and beautiful, just the laughter that Barrie loves to hear, greeted Herbert Brenon's picturized version of "Peter Pan" yesterday afternoon in the Rivoli.
It was laughter that reminded one of the days of long ago when one believed in a sort of Never Never Land, when the smiling sun on an early morning made one dance with joy over the dew-covered grass, when the fragrant Spring flowers sent a thrill through one's youthful soul, when one gazed at a real fish in a shallow rippling stream and expected to hook it with a bent pin, when one thought that after all it might be possible to fly.
PETER PAN like the WIZARD OF OZ has helped remind adults of what innocence we all shared back when we were children.
This is a very entertaining adaptation of the story of "Peter Pan", and the production, particularly in the visual effects, is rather impressive for its time.
The cast is a good one, with a lot of enthusiasm for their roles, and the whole movie has a lively pace to go along with the interesting story and plenty of good visuals.Betty Bronson delivers everything that you could expect as Peter, and it's easy to see why J.M. Barrie himself chose her for the role.
In what seems to have been her first screen role, Mary Brian is appealing as Wendy.It sticks mostly to the essentials of the familiar story, which is usually appealing to children while potentially quite interesting to adults, for different reasons.
Peter's desire to remain a boy, and the offbeat nature of the fantasy world, make the story much more than a whimsical daydream.The visual effects, particularly the 'flying' sequences, work very well for their time, and they must have been very exciting for the movie's original audiences.
The fantasy story is combined with just enough reality (back at the Darling home) for it to fit together nicely."Peter Pan" is a movie and stage perennial, so there is no shortage of versions to choose from.
But this one is very enjoyable, and it is certainly recommended for anyone interested in seeing a silent movie version of the story..
While the sets are much the same on the ocean, the fantasy is left intact with children conquering bitter pirates.The real fantasy of this film is how George Ali, in his only film role, makes a costumed dog seem so realistic.
To me, the story here & the moral are more defined than the later Walt Disney animated version of the same story.If you want to make a great home movie night, watch this film, then watch "Finding Neverland" starring Johnny Depp made years later.
I would like to add that Esther Ralston, as Mrs Darling, is one of the most beautiful women I have ever seen on film.
The story of Peter Pan, the boy who never grew up, who comes to the Darling house searching for his shadow and meets the three children (Wendy, Michael, & John) and takes them back to Never Never Land and to the Lost Boys.
This film has such a childlike magic charm that gives it a different appeal to the Disney & Mary Martin versions of the story.
Only problem I felt, was the film lost some of its magic after Peter and the children left the Darling house.
I really didn´t know about that there is a silent movie PETER PAN.
A biography about James Mathew Barrie and after that they showed the silent movie from 1924.
When it comes to pure entertainment, there are very few silent movies that come close to PETER PAN.
This whimsical story is also exceptional because I think that adults would enjoy the film at least as much as kids.
Second, when they showed the home of Peter and the Lost Boys, it was a magical and wonderful place with giant mushrooms for chairs, glowing jack-o-lanterns as lights and the coolest beds I've ever seen.
The story just looked wonderful and had among the best set designs and stunts of any silent films and I would rank it among best best of the age, such as THE CABINET OF DR.
Four different times in the movie they made reference to this--such as the Lost Boys singing patriotic American songs when they were caught and another time when Wendy told her brothers to "act like proper American gentlemen".
As often (KIng Kong, Snow White), the 1st try is the better for ever: so Peter Pan visual magic doesn't come from Disney but from this old, silent, BW one!
A bit like next year Phantom, i'm amazed by the fantastic sets, so real and so poetic and nothing done with CGI :) : the bedroom, the lost boys island, the mermaids, the beach, the pirates ship!
The story is really about child fantasy: adventures and parental love and for sure, the cast is amazing: it was good to meet again Mary Brian and that was a surprise to find a girl as Peter!
This is arguably the best translation of 'Peter Pan' to the big screen, and I say this almost 100 years after its release!The story is as true to the original stage play as any other version filmed, with the dialogue on the inter-titles being particularly accurate, and acting performances are tender, sincere and all strike just the right note.This film would be a fantastic introduction to silent cinema for anyone interested in getting a taste of it; and definitely one that would captivate the children.
The mind of a child can be a strange and fascinating place, and this early silent adaptation of Sir James Barrie's famous play looks at times almost as if it were written and directed by a team of precocious kids.
Rarely seen today (after being unfairly eclipsed by the animated Disney version), the film imagines Never Never Land as a strictly pre-adolescent dream world filled with innocent childhood fears and longings: friendly Indians, evil pirates, hungry alligators, all saturated in a sort of mock Freudian surrealism, with even the vicious pirates pining for mommy.
Adding to the oddness is the sexual ambiguity of the title character, played by a sprightly Betty Bronson (looking more like a tomboy than a young lad refusing to grow up), and some wonderfully fervent Victorian patriotism (caught by Captain Hook, the children begin defiantly singing 'My Country, 'Tis of Thee').
i now own every peter pan film ever and this one is really one of my favorites.
i love the fact that it is a silent film with the subtitles and cheap effects.
it was practically right on the button of jm barrie's play and book, not the adapted for little kids story.
if you're into the peter pan movies, this one is a must see.
you can see the true story of peter pan and experience what it was like to make a movie back in the 1920s.
Only a splotchy, hypo-stained, black and white print survives today, and much of the film is obscured, leaving only a hint of its original beauty.The first Barrie, Brenon and Bronson project, Peter Pan (1924) was nearly lost altogether.
Employed by Eastman Kodak after World War II, Card discovered existing prints of several features previously considered lost, among them Paramount's Peter Pan, stored across the hall from "
the old screening room for student organists." A chubby, perpetually smiling sound technician named 'Chum', who preferred the abandoned screening room to his digs at the YMCA, had been showing the films at parties.
DeMille directed no less than Gloria Swanson.Paramount began its search for the lead in Barrie's Peter Pan (1924), with a casting call of epic proportions.
Betty Bronson was a gangly young dancer who, as James Card observed, had a "
seventeen-year-old, unactressy face."An author's participation in performing arts brings with it a sense of authenticity.
Anna May Wong (The Thief of Bagdad 1924, Piccadilly 1929), played the mischievous wild little Indian, Tiger Lily, while twenty-three-year-old Esther Ralston, was an image of serene motherhood as Mrs. Darling.
Broadway veteran George Ali, who specialized in animal parts, played Nana, family dog and nurse to the Darling children.
Mary Brian in her first screen role as Wendy, was smitten with Peter, the object of Tinker Belle's ire, and mother to the Lost Boys.
So many images from this film have appeared in later versions of Barrie's play.
Mermaids lie sunning on the beach (Catalina Island), while Hook feeds a clock to the crocodile, and the indians hunt a lion.Although a more complex treatment was developed, Paramount wisely remained close to the play, using Barrie's original text for the inter-titles, with only minor changes made to 'Americanize' the characters.
I admit it was also pretty odd how Peter Pan was played by a woman.
Peter Pan still leaves to be with the fairies, though.
This film is unlike any peter pan film I have seen.
It is like watching The very first Peter Pan theater show on the big screen.
The special effects and costumes are different then other films I have seen that were made during this time period.One of the scenes that is truly captivating is when Tinkerbell attempts to find Peters Shadow.
58 yrs old George Ali was amazing as Nana the dog but probably as crocodile.Betty was good as Peter Pan but why couldn't they have got a sweet looking boy instead of a girl.Our girls were bit ewed by girls kissing each other so much, wonder if the kids 88 yrs ago felt the same.Perhaps those kids were lot more innocent and believed into her being a boy.We had a lady playing harp live during the movie and had a QA session after the movie which was great for kids as they had so many questions.All in all absolutely a delight and a MUST WATCH for ALL..
I am a fan of Maude Adams, the first American (1905) to play Peter Pan on the stage.
They were both women playing a boy's part.Betty looked quite masculine, but I had to remember that she was female when she kissed the women on the lips.
I have also seen PP both as a stage play and as a beautiful ballet.
The ballet Peter was played by an adult male.For finally being able to see "Peter Pan 1924" (silent movie, with sepia coloring and beautiful music), I am totally fascinated.
it's a must own for any fan of Barrie's children's classic and for anyone who loves silent movies.
kinda freaky, but i was definitely impressed.todays audience are bound to crack a few snide jokes about the numerous scenes of actress Betty Bronson as Peter, kissing and snuggling the other female performers.
i know on stage that Peter is traditionally played by a woman, but these scenes do make you smirk a little and think, "lez be gay".it's also fun to get a chance to view the legendary, but seldom known these days, Ana may Wong as Tiger Lilly.the only real problem with this delightful classic is the Americanization of it.
no offense to America, but this is a English story and to Americanize it and have the children sing "my country 'tis a thee..", is all wrong for the English 'Peter Pan'.still, this is a wonderful adaptation and even for a silent movie, amusingly quaint.
there's plenty here for any adult viewer who is sentimental and nostalgic about Barrie's 'Peter Pan' and loves old, archival cinema.
|
tt0804425
|
Pinky Dinky Doo
|
Pinky is a seven-year-old girl who lives in Great Big City with her parents, her four-year-old little brother, Tyler, and their pet, Mr. Guinea Pig. When a problem arises, Pinky says,"That gives me an idea" and Tyler says, "Pinky, are you going to make up a story?" and Pinky will say, "Yeserooni positooni!" and dances her way to a cardboard box called her Story Box with Tyler and Mr. Guinea Pig and uses a piece of chalk and her imagination to tell a story. During the made-up story, Pinky must Think Big, at which point her head swells up like a balloon and she comes up with an often wacky solution to the problem while singing "If I have a problem and don't know which way to go, I think and think and think and think and suddenly I know!". In "Tyler Dinky Doo to the Rescue," "Two Wheel Dreams", Tyler's Big Idea(Grand Finale)" and "Go to Bed, Tyler!", Tyler does the thinking. In "Shrinky Pinky", it was Mr. Guinea Pig. In the second season, Pinky uses the Story Pad, a notebook in which Pinky draws pictures for her newer made-up stories, whenever the Story Box is not available.
This show helps viewers increase their vocabularies with its Great Big Fancy Word, which is featured several times during the episode. It also addresses problem-solving skills as well as the basics of narrative stories—character, dialogue, plot, details, main idea and sequence of events. After Pinky tells her story and solves the problem of the day, kids are invited to play an interactive game on the Cheese Sandwich toy, where they review details about the story. At the end of each episode, Pinky says, "I love to make up stories. I'll bet you can make up a story too." In each episode, there is also a "Great Big Fancy Word", which varies with each episode, but when somebody is about to say the word, Mr. Guinea Pig will blow a trumpet and then the character says the word.
This series was created by Jim Jinkins, who originally made up Pinky's adventures as bedtime tales for his children. The Executive Producers are Jinkins and David Campbell. It is a production of Sesame Workshop, Cartoon Pizza, Keyframe Digital Prod. Inc, and Abrams Gentile Entertainment. According to Nick Jr., Pinky Dinky Doo is the network’s second series (first original series) dedicated to enhancing early literacy.
The original American version was initially shown on CBeebies in the UK, but more recently the show has been redubbed and broadcast with British English accents. There is also a Spanish version on Univision.
In 2016, it was rerun on HBO on HBO Family
|
psychedelic
|
train
|
wikipedia
|
Yep, you *definitely* don't see that kind of show everyday.. That's a mighty fine 9 out of 10 over there, and if you need to know to what kind of shows I reserve the honour of a 10 out of 10, check out the Backyardigans. Not that the Backyardigans have a LOT more going on than Pinky does, and that's why they are just one star apart. And see, Pinky Dinky Doo is one heck of an original show, and I don't think I can really compare it to any other children's show. The Backyardigans are right-wing conservative and traditional compared to this show's hyperactive and reckless style of creativity and originality. Perhaps not innovation, but who needs that?Pinky is a heck of a character. And I'm generally not too excited by the "main" characters of shows. When characters are designed to steal the spotlight, they always run the risk of becoming overbearing. Pinky doesn't. Pinky is not overbearing because she has no fear in being silly, ridiculous and downright outrageous with the stories she makes up in the "story" box, whenever her little brother Tyler faces some kind of problem. Usually she's the centre of the story, and just like Tyler, is faced with some kind of problem to solve. Some of them are rather normal-sounding, like a missing musical instrument or daddy not taking his special shirt to a reunion; others are just bizarre, like a sudden surge of silly hairdos all over the town, or people who have to wear food on their feet and eat shoes. This means that the episodes all follow a moderately strict formula, but believe me, that's only for the better - I'll explain later. Every story presents a new, big fancy word ("vanished", "exasperated", "xylophone", "voracious" and so on), which every time is introduced by a little trumpet fanfare by Pinky's adorable mascot, Mr. Guinea Pig, and the story's main problem is resolved as Pinky "thinks big", rather literally. As the story reaches its end, she, Tyler and Mr. Guinea Pig play a few games on a cheese sandwich... Wha? See, that's why the formula works: the show is quirky to the extreme, in almost every aspect. You hardly ever know in which weird direction the episode will turn, even if you already guess what'll be the next plot point. And it's not just the wildness of Pinky's stories, you know. The animation is done a bit in South Park style, in which most of the characters and scenery look like handmade drawings coloured with crayon, but with the jarring, hilarious inclusion of realistic photographs (the cat portraits next to the kids' beds alone are worth the price of admission already). When reasoning about what to do next, Pinky will often come up with absurd ideas that come to fruition in big thought balloons, and there are several other little quirks that easily become memorable if you really get into the show. Add to that the trumpet fanfare, the catchy-as-I-can't-believe-this-is-possible "Yessarooni Positooni" main tune, the jaunty Caribbean-style music (with a sitar!) and the "cheesy game show" sung vignettes before each cheese sandwich game and you have a kind of show you don't see everyday.That is Pinky Dinky Doo, highly recommended to anyone with a sense of humour, as well as anyone with kids who want them to watch smart and fun entertainment: vocabulary, stimulus to the creativity, healthy humour and imagination never harmed anybody, and Pinky knows that. And, yes, believe them whey they sing that every story rocks. They do.. Great vocabulary builder!. I have to admit, when I first saw the ads for this new show I thought it was just another stupid kiddie show. My 5 year old daughter started watching it and it quickly became one of her favorites.Pinky Dinky-Doo is a young girl who makes up stories to entertain and help her little brother. Pinky's stories are sometimes a little "out there" but whenever she talks about something that is impossible in reality she always clarifies it by reminding us that she is telling a made up story. In each story Pinky is confronted with a minor problem which causes her to "think big" to figure out the solution.The animation isn't that great , but the stories are cute and a different, often complex, vocabulary word is used throughout each show. My daughter has a speech disorder and does not speak as well as the average 5 year old, but she now understands the meaning of such words as scrumptious, predicament, agenda, and voracious. Despite her speech problems, I am willing to bet that she will have the best vocabulary of anyone in her kindergarten class this fall.. Pinky Dinky Doo is wonderful for toddlers imagination. My three year old loves Pinky Dinky Doo. She sings the songs and loves to play the activities that Pinky Dinky Doo asks. I love the catchy songs and creative stories she makes. The songs are so fun I catch myself signing them myself. I think this is a great show for any toddler to help educate their listening skills and imagination seeing Pinky is always thinking of a story to tell. We have to set our DVR everyday to make sure we don't miss Pinky Dinky Doo.I wish we were able to purchase Pinky Dinky Doo merchandise seeing she wants a Pinky Dinky Doo birthday and haven't the heart to tell her I can't find anything to decorate her party. Great job on this cartoon she loves it and so do I.. Really cute, fun, entertaining, and educational show. Wow! This is a really cute, fun, entertaining, and educational show. I said that because I watch this on Noggin with my 1½-year-old nephew from time to time. It's hard to say which show on Noggin is the best. If I had to pick, this would definitely be one of the cutest. Still it's really cute, fun, entertaining, and educational. Before I wrap this up, I'd like to say that the people at Noggin really know how to reach a toddler's developing mind. Now, in conclusion, if you have children, nieces, or nephews, I strongly recommend this really cute, fun, entertaining, and educational show. I guarantee you that they will enjoy it.
|
tt1182921
|
Ninja
|
Casey Bowman is an American orphan who was adopted into a martial arts dojo in Japan. Because of his perseverance and desire to master bushido, he earns the respect of the dojo's sensei and his daughter Namiko. However, the dojo's top student Masazuka becomes bitter over Namiko's friendship with Casey until one morning, during a sparring match, he loses his temper and nearly kills Casey by throwing a katana at him. In defense, Casey scars Masazuka below his right eye. As a result of his actions, Masazuka is banished from the dojo by the sensei.
Years later, Masazuka becomes an assassin under contract with an American conglomerate called Temple Industries, which itself runs an underground criminal cult known as "The Ring". He returns to his former dojo and claims in vain the sensei's succession as sōke, but the sensei refuses to oblige. Anticipating an invasion by Masazuka, the sensei assigns Casey and Namiko to guard an old chest called the Yoroi Bitsu, which contains the suit and weapons of an ancient ninja. Before Masazuka storms through the dojo and murders the sensei, Casey and Namiko manage to take the Yoroi Bitsu to New York City, where they keep it safe at Triborough University's vault with the help of the sensei's friend Professor Garrison. They are tracked down by Masazuka, who sends Temple's thugs to take down the couple. While Casey and Namiko are on the run from the thugs, they are framed for the murder of Professor Garrison and arrested. During their interrogation, Casey is ridiculed by Detective Traxler (Todd Jensen) for his story of a ninja for causing the deaths of many innocent bystanders, yet the very ninja slips inside the station under disguise. Masazuka cuts the power in the precinct and takes down several police officers in the dark before incapacitating Namiko. In the midst of the chaos, Casey saves Traxler from being gunned down by Masazuka before the assassin leaves the premises with Namiko, while Casey himself disappears.
After receiving a tip-off through a member of Temple's thugs, Casey storms through Temple Industries, retrieving Masazuka's phone number from the firm's president. He calls Masazuka and sets up a meeting place to exchange the Yoroi Bitsu for Namiko's life. Casey then rushes to the university to retrieve the chest and don the ninja suit and arsenal. At a construction site, Masazuka releases Namiko once the Yoroi Bitsu is lowered from a crane, only to discover the chest emptied of its contents. The two men prepare for a final showdown, but members of The Ring stage an ambush under Temple's orders to kill the trio. Casey, Masazuka and Namiko dispatch the thugs before Masazuka uses a blowgun to shoot a poison dart at Namiko and taunts Casey with the antidote bottle. Masazuka, however, drops the bottle, forcing Casey into a fit of rage. As an NYPD helicopter flashes its spotlight on the fight, Masazuka uses a ninjutsu technique to blind Casey with the reflections from his katana and disappear in front of him, but Casey uses his instincts to counter-attack and impale Masazuka from behind. Casey is saddened that he is unable to save Namiko, but upon remembering his sensei's teachings of a ninja's katana possessing the power to both kill and heal, he discovers that the handle of his katana contains the antidote. Within seconds, the antidote neutralizes the poison as Namiko awakens. Before they leave, Casey grants Masazuka's wish for decapitation.
The next morning, Traxler informs Casey and Namiko that Temple has been arrested and The Ring has been broken. He then hands them their passports, telling them to leave New York for good. The couple return to Japan to pay their respects to their late sensei and continue running their dojo.
|
revenge, murder, violence
|
train
|
wikipedia
|
"Ninja" takes a similar formula and story from those ninja movies from the 80's and combines it with a hard hitting and acrobatic fighting style seen in today's martial arts movies.
This movie was a lot of fun and if you grew up watching ninja and martial arts movies in the 80s like me, you will definitely enjoy it..
Scott Atkins delivers the goods big time as the hero ninja Casey further cementing him as a go to action guy.
These guys are loosely involved with the main ninja bad guy who has a nasty scar, ooh nasty.You've got your Sensai betrayal, high tech ninja sh*t, stupid copper, traditional weaponry, beautiful girl and even a cameo from Batman.Could this film be any better?
The choreography is also well directed, which means you can actually appreciate every Japanese Ju Jitsu movement in this movie.Conclusion: A cool flick to watch with guys.
Give it a chance, if you want to see an above the average martial arts action film, with good direction and great (Ong Bak style, no wires and CGI) fight scenes, just please do not watch it for the acting..
I have been wanting to see a new ninja movie (that's good) for a long time, and I was impatiently waiting for this one to be released, seeing that it's a Nu Image/Millennium film (they make above average direct-to-DVD movies) and that it was to be directed by action expert Isaac Florentine.
Granted, I could list some flaws, such as the fact the Boaz Davidson screenplay contains elements that will be familiar to those who have seen other ninja movies in the past, and it has the hero on several occasions dragging the female lead behind him despite the fact she's an accomplished fighter like him.
The movie is slickly made, well-photographed and lit, and the chosen Bulgarian locations manage to pass off as New York (believe it or not!) The fight scenes are pretty brutal and exciting, resulting in some great splatter (though I wish the blood and gore had not been mostly done with CGI).
Yes, this movie is far from great art, but if you are looking for ninja action, this movie delivers..
Scott Adkins' Ninja: a very good movie with couple of flaws.
But despite its faults, I love this film and will be watching it time and time again (actually although I gave both of them same grade, I like this movie slightly better than Blood and Bone, because of my favoritism of Ninja movies )..
After all of these old Michael Dudikoff and David Bradley ninja films, finally something new this way comes.Now, I like this movie because it's cool and simple.
Now, let's see
being an low budget action film, don't expect some super script, super plot, or good acting at all.
Well, Ihara didn't leave some good impression as a villain
he is just jealous for being expelled from dojo, because he wanted to become a master and best ninja around, but circumstances brought him to the mercenary world.
The other interesting things are camera work, filming sets, I like the dojo very much, although it's not a real ninjutsu dojo, because, seems to me, that that dojo have more martial arts than one, if you look at the styles, there are definitely Karate, Judo, Jujitsu, Aikido, etc.So, overall, I recommend this decent stuff, it's good for action fans and for martial arts movie fans..
thought this movie is only a year or so old,it does sort of echo martial arts movies from the eighties.it's very action packed,and very stylish.unlike many movies of the genre,there actually more than a just a thread holding the story together.there a quite few spectacular fight scenes,and there a couple of fairly graphic deaths.i wasn't too impressed with the acting at first but then it improved as the movie progressed.the ending was a bit too predictable,in my opinion.but still,this was a good movie,overall.it was fast paced,and enjoyable.i'd watch it again.maybe not right away,though.would i recommend it?.absolutely.for me,Ninja is a 7/10..
Not only did it pay the perfect tribute to the Ninja and Martial Arts classics of the 80's and 90's ,but it took things to a whole new level with the creativity and choreography!
I honestly believe that anyone who is a true fan of Scott's or even Ninja movies in general will definitely love this film!
The acting was right on par with what you would expect to see in a martial arts action film.
For those that have commented that the last fight was a let down, I would really like to know what movie you were watching?
Along the time I've grown up, i've put aside action movies because we start to like more complex arguments and not much of explosions.However sometimes i like to watch some action movie, to steer way and to vary a little, so today I saw this movie and at the beginning it was sort of fun, besides the very same argument of most ninja movies, and its is not so bad after all.The thing that cripled me to come here make a comment, and believe me I'm not someone who comes here to make comments, furthermore to read, but this time it was way far so i must tell Who is the smart guy producing this that it is so mad, trought most of the fighting lines in the movie a sword can beat a pistol.
Its action scenes and fights are inventive and fun to watch, but the villain is nothing new or exciting.
The man is in great shape and totally sells the character of Casey Bowman, an American orphan raised in a Japanese dojo to become a ninja warrior.
If you've liked Adkins in any of his other movies, then this one is definitely worth a watch.
It's also recommended for those that are looking for a martial arts movie with good fights..
Kinetic and Semi-Slick Fun. A crackling good try at a new Ninja Movie release, this one has all the expected fights and flaws that Fans have come to expect.
It is a non-stop Action Movie and the Ninja handle is there for a background Story and is included in parts of the fighting but not all.It is a hybrid of sorts and not pure in in its Title's intent.
But that would put an end to the ever present elongated choreographed Kung-Fu Dance that could be called the "Hero vs Everybody at Once" part.Overall Worth a Watch for Action Fans and B-Movie Lovers..
Yesterday i saw NINJA.I am very impress to see this flick.Scott Adkins's performance is very good.Action sequences is also impressive.Story is just OK.This movie is much better than NINJA ASSASSIN in every term.Film location are good.Script are also good.Music is suit the film.The Most good thing in the movie is Scoot Adkins's action and performance.All the stunts seances are original.Plot of the story is also good.Train seances are very good and impressive.
In one such respectable establishment (Dojo) the noble art of killing is taught by Sensei (Togo Igawa) and amongst his students are his daughter Namiko (Mika Hijii), the ultimate pupil Masazuka (Tsuyoshi Ihara), an American orphan Casey (Scott Adkins), and a lot of cannon fodder.Namiko is probably the strongest and most potent fighter of the three easily beating Casey in combat in the beginning of the movie.
Unfortunately she also has a severe weakness: in various key life threatening situations she forgets she is a trained deadly martial artist and indulges into the age-old tradition of screaming her face off playing a helpless female victim (albeit maybe this is a sinister ninjutsu ploy to distract the opponent and to make enemies ignore Namiko?).Masazuka is set to take over the dojo from Sensei, but envious of the attention Casey receives from the ninja master, he loses himself during a training combat and attempts to kill the hapless American.
However still stricken with regret and full of spite he decides to take over by force the legacy of Sensei's ninjutsu, Yoroi Bitsu, an armoured chest that contains the weapons of the last Koga Ninja.Fighting ensues, carpets of blood and bodies populate the streets of the movie and the good guys fight the bad guys...The plot is totally nonsensical.
But unlike the very enjoyable "Ninja Assassin" it fails to take a tongue and cheek approach and just feeds us a bad movie with a bad plot with some exceptionally terrible acting...
in this time and age my expectations are not so low as that.Despite some terrible acting (fronted by Scott Adkins and Mika Hijii) which reminded me of a Nigerian nollywood movie I watched a couple of days ago I must however commend a very convincing Tsuyoshi Ihara, who does a great job as the main protagonist..
I agree with some review that this film does take the concept of the old America ninja film's & makes it better for todays martial art film's & with Scott Adkins playing the lead role make's the martial arts fight scene so much better.What this film does as well, is capture the true beauty of Japanese martial arts & the way of a samurai fighting with the sword.
It also capture the culture of tradition, discipline & training of Japanese martial arts which really set a realistic tone for the film.I find this film brilliant done those who say that Scott Adkins can't act seriously haven't got a clue in acting because you give any actor the right role, that where the acting skills shine through with the right storyline & character.This is a brilliant made film, the fight scene are amazing with Ariel combat kicks special the one scene with Scott Adkins really show homage to the great Bruce lee with taking on a lot of guy on at once just one hell of a brilliant fight scene.This is one film I recommend you watch if you loved the 80s America ninja or grow up on martial arts of that theme this one wont disappoint..
The depiction of the Japanese culture is very authentic, although no such school of ninja really exists, the scenery, the outfit all are what students of kobudo (ancient martial arts) actually wears in their dojos.The quality the producer and the director put into this movie shows.
However things just don't get as planned when another student goes renegade against their former master and seeks to take the armor for himself.Don't expect any surprises in the storyline, it is the action which counts!Scott Adkins is Casey and although most of critics will say that his acting is not good, I found it pretty convincing.He acts with nerve and besides that his stunts and choreography are stunning, much more than someone would expect to see in a DTV production.
Nu Image films has raised the level for action movies with its latest productions (Command Performance and Rambo) and the funs of this kind are sure that more good work will come.Tsuyoshi Ihara and Mika Hijii perform also pretty good.
NINJA is a low-budget but kick-ass action vehicle for British martial arts star Scott Adkins, who continues to wow with his own unique brand of high-kicking, tough-punching martial arts fighting.
Of course, various bad guys are soon after him.Anyway, don't worry about the story; focus instead on the plentiful action, both ninja and otherwise.
Of course, Isaac Florentine has directed loads of these things and I suspect he's starting to get rather good at this.The cast is about average for a DTV martial arts flick; Adkins is slightly wooden but an absolutely brilliant fighter, so you forgive him.
This really is a below average ninja movie, from the dialogue to the acting to the action, almost everything is just way too cheesy and lame.
The main reason I decided to watch this was because I enjoyed "Undisputed 2 and 3" and was entertained by Scott Adkins performance, mainly fighting choreography in those movies.
This isn't a terrible ninja movie, but there is a lot of flaws and the script is just laughable at times.
It's quite scary when the Ninja movies of the 80s are better than what they make today.The girl who is suppose to be a ninja,and the love interest of our hero ,can't fight her way out of a wet paper bag.
Just so they can prolong the part where she is damsel in distressThere are lot of bad things to say about some of the ninja movies that came out in the 80s.
This film is a throw back to 80's action flicks with an emphasis on martial arts and the Ninja subculture.
This movie showcases Scott Adkins amazing martial art skills and stunt work.
Anyone who grew up watching 80's action movies and ninja movies will enjoy this film.
Overall I found this movie enjoyable and I hope they continue making sequels as long as Scott Adkins is the main hero/character..
American films about ninja are never good, but I thought that since Scott Adkins was in it, it was worth checking out.Unfortunately, the ludicrous beginning only set the scene for the badness to come, as clichés gave way to thoroughly inept acting and comic-esque villains who were infinitely more cheesy than intimidating.Honestly struggling not to turn it off after 10 minutes, I somehow lasted 30 until the pain got the better of me and I thought I owed it to myself, as a decent human being, to watch something else instead.Nut shell: if you want martial arts, action, suspense or even tolerable acting, check out something else..
There is also a girl that the hero falls in love with by the end of the movie after the obligatory climatic fight scene.In addition to the above there are so many things about the plot that just didn't make sense to me that I can't remember all of them.
like many of you, i enjoyed watching ninja movies when i was a kid and this one hit the spot, it actually brought back some good memories.
I gave it 3 stars because it had some decent action scenes, that were not all close ups like in so many of the new movies!
Look, I know martial arts doesn't have a nationality, but it's been a long time since I saw a westerner do such a good job in a screen fight.
Though the flaws don't make this a terrible movie, they do deter from some of the film's positive aspects.The film tells the tale of American orphan Casey who is raised into a clan of ninjas and rivaled by an equally powerful warrior.
I'd actually watch it again for the same reasons I sometime watch "American Ninja", i.e. so I don't forget the lines like:Soldier-Sir, have you ever heard of ninjitsu, the ancient art of assassination?
Not a great story, the action though is entertaining, lots of stunt moves but a kind of overused beginning for Ninja movies, corny ending with a kind of disappointing final showdown, a couple of actors a tad bit over-the-top that makes the dialogue a little funny from time to time.
Overall I'd give it say 7 out of 10, it's not a GREAT Movie, but its fairly good if you're looking for a movie with action and little story to it.
No wonder there was a Ninja 2 (2013) - fans clearly wanted more, and we can see why.Like any good action movie, Ninja actually has a strong, central hero in Adkins (and his trusty sidekick Hijii) as well as a super-evil baddie.
Ihara makes a great foil for Adkins as he plays the bad ninja - the guy who was expelled from the dojo and proceeds to break from ancient ninja tradition by using cheats like night-vision goggles.
This sets the stage for the action we are about to see.Ninja delivers the goods - cool ninja violence and a panoply of engaging fight scenes.
If we have ONE criticism it's the over-use (or use, period) of CGI - and because it's Nu Image, we all know what this looks like - but Ninja gets a pass because all the rest is good, and because it's in that Florentine style we all know and love: exaggerated motions and big, oversized actions.
Ninja 2009 Trailer gave me so much expectations, it delivered some great scenes and looked like a true Japanese ninja-themed motion picture.
After 30 years of ninja being around, this movie look more like an Scot Adkinss advertiser.
First, I thought "another ninja movie, how original..." but the good reviews made me watch it and, I must say, it wasn't a disappointment.
They were more close to real martial artists then any other ninja movie, making it quite believable it could be real.
The plot is nothing new or original-and goes like this: an American who was orphaned in Japan is brought up as a ninja.
whatever.I thought the baddies were particularly cheesy and it added a nice throw back feeling to the movie!All in all, if your stuck for some old school ninja action, check it out, it's a laugh..
But, at several points, it felt like it could have gone either way.Now, while Ninja is everything you've been trained to believe a film with ninja in the title can't be (namely good), there are a few points of contention I had with it.
I have watched so many ninja movies over the years, so, the thought of another modern one excited me.
No, I have nothing against fighting like that, but I do when they are suppose to be ninjas!!!
It had all the stuff a ninja movie should have.What would those things be?A somewhat thin storyline with lots of fight scenes.
You'll think Godfrey Ho is back and working for Nu Image as good ninja Adkins must fight bad ninja Tsuyoshi Ihara (following Sho Kosugi's career path?) in New York (obviously sets in Bulgaria).
this is a warning to fight film fans who are looking for good martial arts.
|
tt0039816
|
Seven Were Saved
|
In 1945, several months after the end of World War II, Army nurse Susan Briscoe (Catherine Craig) is taking an amnesia victim, who was imprisoned by the Japanese, to the United States via transport aircraft, piloted by Captain Allen Danton (Richard Denning). The passengers include the Japanese Colonel Yamura (Richard Loo), who is on his way to Manila to face war crime charges. Also on board is a couple, the Hartleys (John Eldredge and Ann Doran) who were married on the day they were liberated from a Japanese prison camp.
During the flight, the colonel tricks a guard and breaks away from his guards, grabbing a gun and shooting a crew member and the co-pilot. The colonel struggles with Allen at the controls and causes the aircraft to plummet into the sea. Once the aircraft is declared missing, Air-Sea Rescue pilot Captain Jim Willis (Russell Hayden), Susan's fiancé, begins a desperate search over the Pacific Ocean. He flies countless missions until, running a fever due to malaria, he is grounded.
The eight survivors of the crash have managed to inflate a life raft. After carefully assessing their situation, Allen, who has suffered a head wound, declares that they may have to attempt the 600-mile journey to the nearest island while hoping for rescue. In the first day at sea, Mrs. Hartley realizes that the amnesia victim, called Mr. Smith, is really her former husband, Philip Thompson (Keith Richards), who was thought to be dead. The Hartleys now face a dilemma as they may not be married legally.
During the evening of the third day, Smith slips overboard without anyone noticing, but suspicion is cast on Harley, who was supposed to be on watch. In the ensuing argument fomented by Yamura, the boat capsizes and the seven survivors fight for their lives in the ocean. After losing the sail and oars, the survivors realize that without food or water, their chances for survival are slim. When repairing a leak with chewing gum, Sergeant Blair (George Tyne) is attacked by a shark, but Lt. Martin Pinkert (Byron Barr) jumps into the water to distract the shark and allow Blair to get back onto the raft.
On the fifth day, Susan discovers Allen is blind from exposure to the sun, and the two conspire to keep the raft drifting on course. Air-Sea Rescue is about to cancel further searches when Jim sneaks onto a Boeing SB-17G "Dumbo". He locates the survivors, dropping a motorized boat nearby, but the seven in the raft are too emaciated and weak to paddle to the boat. Jim dives into the water, inflates a small raft and launches the rescue boat to the life boat, eventually bringing everyone on board to safety.
The rescue is complete when a Consolidated PBY Catalina flying boat airlifts the survivors back to their base. While Jim thinks that Susan has fallen in love with Allen, she reunites with him as they both bid Allen goodbye.
|
violence
|
train
|
wikipedia
| null |
tt0081063
|
Little Miss Marker
|
The film tells the story of "Marky" (Shirley Temple), whose father gives her to a gangster-run gambling operation as a "marker" (collateral) for a bet. When he loses his bet and commits suicide, the gangsters are left with her on their hands. They decide to keep her temporarily and use her to help pull off one of their fixed races, naming her the owner of the horse to be used in the race.
Marky is sent to live with bookie Sorrowful Jones (Adolphe Menjou). Initially upset about being forced to look after her, he eventually begins to develop a father-daughter relationship with her. His fellow gangsters become fond of her and begin to fill the roles of her extended family. Bangles (Dorothy Dell) - girlfriend of gang kingpin Big Steve (Charles Bickford), who has gone to Chicago to place bets on the horse - also begins to care for Marky, and to fall in love with Sorrowful, whose own concern for Marky shows he has a warm heart beneath his hard-man persona. Sorrowful, encouraged by Bangles and Marky, gets a bigger apartment, buys Marky new clothes and himself a better cut of suit, reads her bedtime stories, and shows her how to pray.
However, being around the gang has a somewhat bad influence on Marky, and she begins to develop a cynical nature and a wide vocabulary of gambling terminology and slang. Bangles and Sorrowful, worried that her acquired bad-girl attitude means she won't get adopted by a "good family," put on a party with gangsters dressed up as knights-of-the-round-table, to rekindle her former sweetness. She is unimpressed until they bring in the horse and parade her around on its back. Big Steve, returning to New York, frightens the horse, which throws her, and she is taken to the hospital. Big Steve goes there to pay back Sorrowful for trying to steal Bangles but is roped into giving Marky the direct blood transfusion she needs for her life-saving operation. Sorrowful, praying for her survival, destroys the drug which, administered to the horse, would have helped it win the race but killed it soon after. Big Steve, told he has "good blood" and pleased to have given life for a change, forgives Bangles and Sorrowful. They plan to marry and adopt Marky.
|
romantic
|
train
|
wikipedia
|
A Tremendously Overlooked Diamond of a Film!.
Though there may be a tendency to compare the 1980 version of "Little Miss Marker" to the 1934 version (with Shirley Temple as The Kid), writer/director Walter Bernstein captures the very essence of the 1930's with his screenplay and direction, respectively.
One of the reasons I loved the 1980 version is the set designs and the vivid colors of the film.
But even more importantly, I loved Walter Matthau's performance as Sorrowful Jones.
He has great one-liners that only add to this gem of a film.
Of course, nobody plays a sidekick better than Bob Newhart, who plays Regret.
Newhart and Matthau made a great team in this movie, and I wish they had worked on more films together.
I love The Kid (played by one-time film actress Sara Stimson), for she adds a cuteness to her character that is similar to Shirley Temple's "Kid", but yet is different in that her character displays quite a bit more innocence.
Julie Andrews is more than believable as Amanda Worthington, as she tries to soften the two men in her life.
And one should not forget Tony Curtis, who is perfect Blackie.I regret that this movie didn't make more money at the box office, because it did capture the lives of the poor majority and privileged minority during the Depression very well.
And it is funny and just a fun movie to watch.
Little Miss Marker is one of my favorite films (added to the already long list) because it looks great cinemagraphic-wise, the script is well done, and the performances are very, very good.
I find it interesting that this version of the famous Damon Runyon story is the first to be released on DVD (2004).
Don't miss this chance to buy it and own it.
You won't be sorry..
Cute But No Cigar.
This was a nice 1970's movie even though it was made in 1980.
The little girl who played The Kid,(Viola Kates Stimpson) appeared to be a seasoned actress even though this was her first and last movie role.
Too bad, because she showed a great presence on the large screen.
Walter Matthau playing the cantankerous unhappy bookie who falls for The Kid was believable and quite touching.Supporting characters Tony Curtis as the mobster killer with his muscle Brian Dennehy , as well as Bob Newhart playing Walter Matthau's right hand man, and rounding up the stellar cast, Julie Andrews, whose horse farm was slowly being taken over by the mobster Tony Curtis, were all great supporting actors.This is very light movie fare, and you won't need any facial tissues for any sad tug at your heart string scenes, but what you will get is a 70's style THE STING type movie that is enjoyable for the whole family..
No Shirley.
Little Miss Marker got its fourth and final film version with Walter Matthau as the screen's biggest grump since Ned Sparks perfectly cast as Sorrowful Jones.
Curiously enough the third remake entitled 40 Pounds Of Trouble had Tony Curtis as the hero.
Here he's the villain.And even more curious Matthau and Curtis had worked together previously in Goodbye Charlie where Tony Curtis was top billed.
Just the fickle fortune of the movie game.The story is set back in the Depression Era and Andrew Rubin leaves his daughter Sara Stimson in lieu as a marker with bookie Matthau.
Later on he drowns himself in the river and Matthau is stuck with her.
But she proves invaluable to winning rich widow Julie Andrews.
And she softens the heart of the old sourpuss as we've seen in many a film.As for Curtis he's got a couple of deals with Matthau reluctantly going along.
And when they go south Matthau has some decisions to make.Matthau does well indeed stepping in the shoes of a role played by Adolphe Menjou, Bob Hope, and Tony Curtis.
One would not think of Julie Andrews and Walter Matthau as a screen time, but as it turns out she compliments him beautifully.
Curtis was now making the transition from leading man to character actor and he's very good.Note also Brian Dennehy and Bob Newhart as aides to Curtis and Matthau.
They act as seconds in a very silly duel on one of the New York piers.
And Lee Grant is nicely cast as a judge in Family Court of the Depression at the end of the film.Sara Stimson of course is no Shirley Temple, but none of the other little girls who succeeded her from the first version are either.
It's the main weakness of this and the other two succeeding films.
Still this one is worth a look..
Horse Memories.
I was actually present at CalExpo (home of the California State Fair) in the late summer of 1979 during the shooting of "Little Miss Marker".
The horse racing scenes and much of the "ranch" scenes were filmed there at the time of a significant equestrian show, and my dad appears as an extra in at least one scene.I first saw the movie in early 2007, so it brought back many memories--"Smokey and the Bandit" was in general release at the time, Julie Andrews appeared in Blake Edwards' "10" the year before "Little Miss Marker", and in "S.O.B." the year after (wherein she briefly bares her breasts for the audience in a fit of exasperation) so LMM represents a clear break between the 70s and 80s for ME.
The word "DIVORCE" comes to mind.Ironically, LMM is itself a VERY ENJOYABLE film.
Just be aware that there are some underlying emotional themes that may unpredictably affect folks in their late 30s and early 40s..
That lovable old grouch proves he does have heart..
A great period atmosphere filled with excellent physical details and a bouncy musical score that screams the 1930's makes up for the flaws of this family film that seemed rather dated in the turbulent early 1980's.
it was a return to family films for Julie Andrews for the first time since "The Sound of Music", and interestingly enough, she takes a secondary part.
Who better in 1980 to play the role of the cynical Sorrowful Jones than the rubber faced Walter Matthau who had been playing grumpy old men since he was a grumpy young man?
This fourth version of the Damon Runyon story is sweet and enjoyable, but once the first fraction of family sought, it quickly disappeared.In her only film appearance, Sarah Simpson is an instant scene stealer as the young tot who is left by her gambling father as a marker so he can go out and collect money that he owes Matthau.
of course, daddy never makes it back, leaving the girl for math how to raise, and what day help of pretty horse owner Andrews, he begins to learn that underneath his W.C. Fields child-hating facade is a sweet sentimental man easily taken in by her charm, and equally enamored of the lovely Julie.Demoted down to the role of the mobster, Tony Curtis (previously Sorrowful in 1962's "40 Pounds of Trouble") still shows his sparkle, commanding every moment he is on screen.
Bob Newhart, Brian Dennehy, Lee Grant and Kenneth McMillan play smaller roles, but pretty much melt into the background anytime math out, Andrews and Simpson are on screen.
It is a pleasant diversion but really nothing exciting, which explains why this has become a rather obscure footnote indeed careers of its stars.
The abundance of films at the time with nostalgic themes also worked against its favor.
It is still a pleasure to see you again after all these years, having gone to see it in its brief release that unfortunately word-of-mouth couldn't help.
Today, fans of Matthau and Andrews have either forgotten about it or didn't even know of its existence.
For them, then, it is a real treat..
fun little race track caper.
The recurring theme music is almost "What a Day for a Daydream", with a jazzy twist.
Walter Matthau is "Jones", the grouchy old bookie, and when someone owes him money, they leave their daughter as collateral.
Supporting roles by Julie Andrews, Tony Curtis, Bob Newhart, Brian Dennehy.
Its a fun, cozy little film, but sadly no big magic.
The best things about this film are the premise...
someone's little daughter as an I.O.U., and the nicknames of the various cast members.
Newhart is "Regret", Matthau is "Sorrowful Jones", Lee Grant is "the Judge", and Sara Stimson is "the Kid".
Don't forget Randy Hermann as "Fleabag Hotel Clerk".
Based on a story by Damon Runyon, which has been remade several times.
Jones and Amanda race a horse, and might fall in love in the process.
The poor little girl is always asking when her dad is coming back, and Jones never knows what to say...
so of course, "the Kid" goes looking for dad on her own.
Jones finally has to tell her the truth, and that ain't easy.
It's a fun, low-key caper.
"Hopscotch" was the OTHER film Matthau made that year, and it's SO much better.
Some fun names in Little Miss Marker.
Needs to move a little faster, or something.
Both Andrews and Matthau had won Oscars for earlier roles.
This one isn't bad...
just not great.
|
tt1087900
|
Baiohazâdo: Anburera kuronikuruzu
|
Underneath Raccoon City exists a genetic research facility called the Hive, owned by the Umbrella Corporation. A thief steals the genetically engineered T-virus and contaminates the Hive with it. In response, the facility's artificial intelligence, the Red Queen, seals the Hive and kills everyone inside.
Alice awakens naked in the bathroom of a deserted mansion with amnesia. She dresses, checks the mansion, and is subdued by an unknown person. A group of Sanitation Team commandos led by James Shade breaks into the mansion and arrests Matt Addison, who just transferred as a cop in Raccoon P.D. The group travels to the underground train under the mansion that leads to the Hive, where they find Spence. The commandos explain that everyone in the group except Matt is an employee of the Umbrella Corporation, and Alice and her partner Spence are security guards for a Hive entrance under the disguise of a couple living in the mansion. Five hours prior, the Red Queen had shut down the entire facility and released a gas which killed everyone inside, flooded the labs, and destroyed the elevators, also causing Spence and Alice's amnesia.
At the Queen's chamber, a laser defense system kills Shade and three more commandos. Despite the Red Queen's urgent pleas for the group to leave, Kaplan disables the Red Queen systems, and the power fails, opening all of the doors in the Hive. This releases the zombified staff and containment units containing Lickers. When everyone regroups, they are ambushed by a horde of zombies and a gunfight ensues. J.D. perishes as the group becomes overwhelmed. A bitten Rain retreats with Kaplan and Spence; Matt becomes separated from Alice, who starts regaining her memories.
Matt looks for information about his sister Lisa and finds her zombified. Alice saves him, and Matt explains he and Lisa were environmental activists, and Lisa infiltrated Umbrella to smuggle out the evidence of illegal experiments. Alice remembers she was Lisa's contact in the Hive but does not tell Matt. The survivors reunite at the Queen's chamber, and the commandos explain they have one hour before the Hive traps them inside automatically. Alice and Kaplan activate the Red Queen to find an exit. To force her cooperation, they rig a remote shutdown. As they escape through maintenance tunnels, zombies ambush them, and a reanimated J.D. bites Rain before getting killed. The group reaches safety, but Kaplan is bitten and separated.
Alice remembers that an anti-virus is in the lab, but they find it missing. Spence remembers he stole and released the virus. He hid the T-virus and anti-virus on the train. Spence is bitten by a zombie, which he kills before trapping the survivors in the lab. He retrieves the anti-virus, but is ambushed and killed by a Licker. The Red Queen offers to spare Alice and Matt if they kill Rain, whose health is fading and who has been infected too long for the anti-virus to work reliably. As the Licker attempts to reach them, a power outage occurs. The lab door opens to reveal Kaplan forced the Red Queen to open the door. The group heads to the train, where Alice retrieves the T-virus and kills a reanimated Spence before escaping with the others.
On the train, they inject Rain and Kaplan with the anti-virus. However, the Licker is hiding on the train and attacks them, clawing Matt and killing Kaplan. In the ensuing battle, Alice subdues the Licker before Matt is attacked by a now-zombified Rain. He shoots Rain dead, causing her head to hit a trapdoor button, opening it and dropping the Licker under the train which ultimately kills it for good. At the mansion, Matt's wound begins mutating. Before Alice can give him the anti-virus, the mansion doors burst open and a group of Umbrella scientists seizes them. They subdue Alice and take Matt away, revealing he is to be put into the Nemesis Program.
Some time later, Alice awakens at the Raccoon City Hospital strapped to an examination table, with no memory of what happened since her capture. After escaping, she goes outside to find Raccoon City abandoned and ruined. Alice arms herself with a shotgun from an abandoned police car as the camera pans out.
|
violence
|
train
|
wikipedia
| null |
tt1786716
|
The Lord of the Rings: Aragorn's Quest
|
=== Background ===
The game is presented against the background of the history of the One Ring. At the dawn of the Second Age, after the defeat of the Dark Lord, Morgoth, the elves of Eregion forged the nineteen Rings of Power to help themselves, the dwarves and men rule Middle-earth. However, the elves were unaware that Sauron, Morgoth's closest ally, had survived his master's defeat, and in the guise of Annatar had been the one who taught the Elven-smiths, led by Celebrimbor, how to forge the Rings, whilst, in secret, he forged his own One Ring in the fires of Mount Doom, a Ring far more powerful than any of the others. However, in order for the One Ring to be powerful enough to control the other Rings, Sauron had to transfer most of his power into it. As soon as he put it on, the elves became aware of his ruse, removing and hiding their Three Rings, which Celebrimbor had forged without Sauron's aid. Sauron waged war on the elves, conquering much of Middle-earth and killing Celebrimbor. Thus began the Dark Years, when Sauron took possession of the remaining sixteen Rings, giving seven to the dwarves and nine to men in an effort to corrupt them. The dwarves proved relatively immune to the powers of the Rings, acquiring only a greed for gold, and becoming unconcerned with events in the wider world. Men proved less resilient, and the nine kings given the Rings become the nine Ring-wraiths, or Nazgûl, led by the Witch-king of Angmar.
In his ongoing efforts to conquer Middle-earth, Sauron regained the allegiance of many of Morgoth's servants from the First Age, and successfully corrupted Númenor. However, in doing so, he expended a great deal of his power, and lost the ability to ever again assume a pleasing disguise. Returning to Mordor, he regained his strength, eventually capturing Minas Ithil. However, realizing that if they did not join together, Sauron would destroy both men and elves, Elendil, High-King of Arnor, and Gil-galad, High-King of Noldor, formed the Last Alliance of Men and Elves, and attacked Sauron in his fortress, Barad-dûr. The alliance was victorious, with Isildur cutting the One Ring from Sauron's hand. However, although presented with a chance to destroy the Ring forever, Isildur, already beginning to succumb to its corruption, chose not to do so. As such, although Sauron's physical form was vanquished, his spirit, bound to the Ring, survived. Some time later, Isildur was attacked and killed by a band of orcs, and the Ring was lost in the river Anduin for over two thousand years.
Meanwhile, during the Third Age, a still weakened Sauron covertly established a stronghold at Dol Guldur. In response to this undetermined evil, the Valar sent five Maiar to Middle-earth. Taking the form of wizards, they were led by Saruman. Unsure of the origin of the evil power in Dol Guldur, the wizard Gandalf was sent to investigate. However, Sauron hid from Gandalf, waiting for four hundred years before returning. Around the same time, the One Ring was found by a Hobbit named Sméagol, who became utterly corrupted by it, living in the caves of the Misty Mountains, and physically transforming into a creature known as Gollum. For five hundred years, Gollum was consumed and corrupted by the Ring. Eventually, Gandalf was able to determine the evil presence in Dol Guldur was indeed Sauron. Gandalf reported back to the White Council, but Saruman dissuaded them from moving against Sauron. Only when he learned the One Ring may be in the vicinity of the Gladden Fields did Saruman agree to attack Sauron, hoping to find the Ring himself. The Council drove Sauron from Dol Guldur, unaware that he knew the Ring had been found. Just prior to Sauron's departure, the Ring passed to another hobbit, Bilbo Baggins, who used it to assist in the victory of elves, men and dwarves at the Battle of the Five Armies. Sixty years later, Gollum was captured by orcs, and taken to Mordor, where he was tortured into revealing the owner and location of the Ring; Bilbo Baggins of the Shire. In the meantime, Bilbo had left the Shire to live in Rivendell, and upon the advice of Gandalf had (very reluctantly) given the Ring to his nephew, Frodo Baggins. With the information given him by Gollum, Sauron, still unable to take physical form, thus sent the Nazgûl to the Shire to retrieve the One Ring. Frodo, and his friends, Samwise Gamgee, Peregrin "Pippin" Took and Meriadoc "Merry" Brandybuck managed to escape the Shire and head towards Bree.
=== Plot ===
The game is set fifteen years after the War of the Ring. Sam (voiced by Sean Astin) is now Mayor of the Shire, and is preparing a party for Aragorn, now King Elessar of Gondor (voiced by Viggo Mortensen, using sound samples from the films). While awaiting his arrival, Sam tells the story of Aragorn's adventures during the War to his four children, Elanor (Mary Mouser), Frodo (Eric Artell), Merry (Bridger Zadina) and Pippin (Elan Garfias). The game alternates between Sam telling the story, and Frodo helping him prepare for the party.
The story begins with Aragorn having met the Hobbits in Bree and successfully hidden them from the Nazgûl. They head for Rivendell, and camp at Weathertop. However, during the night, they are attacked by the Nazgûl. Aragorn is able to temporarily fend them off, but Frodo (Yuri Lowenthal) is stabbed with a Morgul blade. The party continue towards Rivendell, closely pursued by the Nazgûl, and with Frodo "passing into shadow." They soon encounter Arwen (Jennifer Hale), who takes Frodo and rides on ahead. She crosses the river Bruinen and as the Nazgûl attempt to cross after her, she uses elven magic to cause the river to rise, washing them away. She enters Rivendell, taking Frodo to her father, Elrond (Jim Piddock), who heals him.
Meanwhile, a council has been called between the Free Peoples of Middle-earth to determine the fate of the One Ring. The council decide the Ring must be brought to Mordor and cast into the fires of Mount Doom. A fellowship of nine is formed to accompany the Ring; Frodo, Sam, Pippin (Kieron Elliott), Merry (Eric Artell), Gandalf (Tom Kane), Aragorn, Boromir (Steve Blum), Legolas (Crispin Freeman) and Gimli (John Rhys-Davies). The fellowship set out, attempting to cross the Misty Mountains vis the Pass of Caradhras. However, a storm called forth by Gandalf's former friend, the wizard Saruman, now an ally of Sauron, closes the pass. The fellowship decide the only way past the Misty Mountains is to go under them, via the dwarven mines of Moria.
Upon entering Moria, Gimli is devastated to learn rumors regarding Balin and the dwarves are true; they have been wiped out by orcs. The fellowship fight their way to the Chamber of Mazarbul, where they find the tomb of Balin, and a record of how the mines were lost. Fighting their way through a hoard of orcs and trolls, they are attacked by a Balrog. They flee, reaching the Bridge of Khazad-dûm, where Gandalf defeats the Balrog by destroying the bridge as it stands on it. However, as the Balrog falls, it catches Gandalf with its whip, pulling him down after it.
The fellowship leave Moria and pass through Lothlórien. Soon thereafter, they are attacked by a party of Uruk-hai. Frodo and Sam set off to Mordor alone, Boromir is killed, and Merry and Pippin are taken prisoner by the Uruks. Aragorn, Gimli and Legolas set out in pursuit across Rohan, heading towards Saruman's home in Isengard. The trio catch up to see the Uruks wiped out by the Rohirrim, led by Éomer (Chris Edgerly). The Riders tell them that they did not see the hobbits, but suggest that they may have fled into nearby Fangorn Forest. Moving through Fangorn, the trio encounter Elder (Bob Joles), an Ent, who tells them the orcs of Isengard are using the wood of Fangorn to construct weapons and siege towers. They help Elder destroy two construction camps, before he goes to tell the other Ents of Saruman's treachery. Meanwhile, continuing to track Merry and Pippin, the trio encounter Gandalf, resurrected by the Valar to aid in the coming war. He tells them Merry and Pippin are safe with the Ents, and instead, they must travel to Edoras, where the king of Rohan, Théoden (Brian George), has had his mind corrupted by Saruman's magic.
They reach Edoras, and Gandalf is able to expel Saruman from Théoden's mind. Théoden decides to take the people of Rohan to Helm's Deep to stand against Saruman's oncoming army. As Gandalf rides to gather the Rohirrim, the others take shelter in the fortress. Soon, an army of 10,000 Uruk-hai attack. They breach the outer walls, and as Arargorn, Legolas, Gimli, Théoden and the remainder of the Rohan warriors prepare to make a suicide charge, Gandalf arrives with a vast army of Rohirrim, attacking the Uruk-hai from behind whilst the others attack from the front. Saruman's army is decimated. Meanwhile, the Ents march on the tower of Orthanc in Isengard, destroying it, and putting an end to Saruman's involvement in the war.
Followed by Théoden and the Rohirrim, Gandalf races ahead to Minas Tirith to aid Gondor in facing Sauron's army. Meanwhile, Aragorn enlists the support of the Dead Men of Dunharrow, before also heading to Gondor, reaching Minas Tirith in time to aid the defense of the city. Sauron's army is able to breach the walls, and the Witch-king of Angmar faces Gandalf and Aragorn in battle. The Witch-king defeats them, but before he can kill them, the Rohirrim arrive, and he heads to confront them. Aragorn and Gandalf leave the city, joining the Battle of the Pelennor Fields. During the battle, Théoden's niece Éowyn (Eliza Schneider) kills the Witch-king. Following this, the Dead Men of Dunharrow destroy Sauron's army.
With Minas Tirith safe, the army ride to the gates of Mordor to distract Sauron, keeping his eye away from Mount Doom so as to allow Frodo and Sam approach with the Ring. As anticipated, Sauron sends a massive army to confront them. With little chance for victory, they aim only to give Frodo enough time. As the battle rages, Frodo and Sam reach Mount Doom and destroy the Ring. With that, Sauron's tower, Barad-dûr, collapses, and his army is destroyed. Gandalf rescues Frodo and Sam with the help of the Great Eagles, and Aragorn is crowned king of Gondor.
Back in the present day in the Shire, Sam finishes his story just as Aragorn and Arwen arrive. Aragorn presents Sam with the Star of the Dúnedain, and the party begins.
|
good versus evil
|
train
|
wikipedia
| null |
tt0112638
|
Carrotblanca
|
General Pandemonium (Yosemite Sam as Major Strasser) gets a frantic call from Foghorn Leghorn saying that a secret German document has been stolen, and immediately heads for the Carrotblanca nightclub---the Cafe Au Lait Americain. At the nightclub, Usmarte (Tweety Bird as Ugarte, depicted like Peter Lorre), the actual thief, convinces Bugs Bunny (as Rick Blaine) to take the document.
Meanwhile, Sylvester Slazlo (as Victor Lazlo) and his wife Kitty Ketty (Penelope Pussycat as Ilsa) arrive at the club. Ketty attracts the unwanted attention of Captain Louis (Pepé Le Pew) but she scratches him and throws him into the wall. Ketty, who is the ex-girlfriend of Bugs, asks Daffy Duck (as Sam) to play her favorite song. General Pandemonium suspects Sylvester may know about the document and binds him in his office. Ketty pleads with Bugs to help Sylvester out of this. Though Bugs is initially reluctant due to the fact that Ketty broke his heart, he goes to the General's office nevertheless and confuses the General himself into jail.
The story climaxes with Sylvester and Ketty escaping on the plane for Toronto, New York City and Cucamonga, as Bugs watches them go... except that they find Louis on the plane working as a steward. Louis asks Ketty, "Coffee, tea, or moi?", causing her to jump out of the plane in fright, seemingly without a parachute, landing right in front of Bugs. They kiss, then the parachute opens, covering them.
The Warner Bros. Family Entertainment logo appears with "That's All Folks!" written on top of it. Tweety pops up and says (in Peter Lorre's voice) "That's All Folks!" and the cartoon ends off.
This cartoon contains the Looney Tunes-logo, but the Merrie Melodies-leader can be heard.
|
flashback
|
train
|
wikipedia
|
Delightful spoof on the original classic!.
I first saw this film in the theaters when it was released in 1995 and loved every second of it!
Viewing all the wonderful Warner Brothers characters in a parody of such a timeless masterpiece makes this cartoon short a real gem.
I especially enjoyed Sylvester as Victor Laszlo and Tweety as Ugarte.
My only real fault in this was how short it was, but to come again, its running time is typical for that of an average Warner Brothers animation.
All in all it is very amusing, well-worth seeing, and highly recommended to the whole family, as can be said for the original classic: Casablanca..
A Wonderful Cartoon.
In an inspired decision, this cartoon was included on the new two-disc special edition of Casablance that was released in August 2003.
It's worth more than just one look as many of your old favorites - Bugs, Daffy, Yosemite Sam, Foghorn Leghorn and others - stop by for cameos or larger roles.
I thought the best casting was Pepe LePew in the Claude Rains role, though Tweety's Peter Lorre impression is priceless.
(These are two characters, incidentally, whom I usually have little use for.) A very worthy successor to the great Warner Bros.
cartoons of the 40s and 50s, and a great homage to one of the greatest movies ever made..
Riot!
Excellent spoof of Casablanca (1942) and marvelously funny..
This cartoon spoofs Casablanca wonderfully, and reuses the Scarlet Pumpernickel's formula for putting various stars in unlikely roles.
Tweety is weird but funny as Usmarte and does an excellent Peter Lorre impression.
The animation is of the new, plastic sort.
But if you consider the animation of other cartoons these days, the weird digital sheen loses importance.
Bugs apparently likes Penelope, which is strange, I must say.
CAT and RABBIT?!!?
Anyway, it's a cartoon, and such cartoons like The Scarlet Pumpernickel (1950) quite disregard the species.
Funny and filled with laughs, with more of the dramatic story sense than most.
Highly recommended..
Best film of 1995.
Hysterical!
A great tribute to CASABLANCA and to the Looney Tunes history as well.
Wonderful use of every Warners cartoon character imaginable (a la Chuck Jones's great SCARLET PUMPERNICKEL).
A joy from start to finish.
And don't miss Tweety Bird's great Peter Lorre impression.
Cornyblanca.
I really don't care for many of the Looney Tunes cartoons made after the classic era and even less for those made from the '90s on.
This is one of the more well-regarded and I can't for the life of me see why.
It's a parody of Casablanca that tries to shoehorn in every character they can, even if they're only in it briefly.
So it was seemingly targeted at an older audience that not only had seen a lot of Looney Tunes but had seen Casablanca, as well.
Obviously you don't have to be older to know Casablanca but, let's be real, there aren't a lot of kids who have seen it or would even want to.
That was as true in 1995 as it is today.
The animation is showy but hollow.
The voice work is the usual weak Blanc mimicry the later Looney Tunes have.
The biggest problem with it is that it's just not funny.
I didn't laugh once when I first saw it twenty years ago and, seeing it again today, I'm still not laughing.
I love Looney Tunes and I love Casablanca.
I appreciate that the effort behind this was sincere but I'm not really going to bump its rating up because of that.
I just don't like it and I don't really understand why the heck they made it..
Hilarious spoof.
"Carrotblanca," parody of the classic "Casablanca," is a hilarious spoof of the latter.
Just about everyone turns up for this funny film.Bugs plays the Rick part, and Penelope (the cat persistently followed by Pepe le Pew) plays the Elsa part (although named Kitty.) Sylvester plays Laszlo, and Daffy plays a hilarious Sam (Not Yosemite Sam, but the piano-player.
Yosemite's a Nazi soldier for this round.)This mini-movie has many hilarious moments from Bugs' first line to the absurd part in which Tweety is cast.
At some points it seems Daffy steals the show (try forgetting about the "I thought I told you never to play that song" section) but otherwise Bugs is the one to watch.My only complaint is that it goes rather fast.
Of course, all the Looney Tunes shorts run an average of 7 minutes, but you'd think a spoof of a 102 minute film would be worth at least a 30 minute episode..
Cameos galore from characters great and small throughout.
This short is welcome and enjoyable for many reasons and on many levels.
It's a good spoof of Casablanca, it's as hilarious as the best of the work Warner Brothers did in their heyday and half the fun is in spotting the characters in small roles or as extras (waiters, sitting at tables, etc.), as with The Scarlet Pumpernickel or the glorious Who Framed Roger Rabbit?, which used the same concept.
Excellent short of recent vintage which maintains the spirit of the old shorts.
Glad to see that it's available.
Well worth watching.
Most recommended..
Brilliant.
Carrotblanca was like all the classic Bugs Bunny, Daffy Duck, and so on cartoons.
In a mere six minutes or so, they spoofed a classic movie.
Bugs Bunny is funny after decades of comedy, and Daffy Duck is always the foolish clown.
The use of Tweety, Yosemite Sam, Pepe le Pew, Sylvester, and Foghorn Leghorn is also a nice touch..
Colorful Spoof With An Unexpected Ending.
The first thing I noticed in this Looney Tunes takeoff on "Casablanca" is the fantastic artwork.
Man, this looks beautiful!
The second thing quickly apparent is that this cartoon is going to include a ton of Looney Tunes characters, all congregating in the "Cafe Au Lait Americain" establishment in "Carrotblanca."With Bugs Bunny playing Humphrey Bogart; Daffy Duck as Sam the piano man, Tweety as Peter Lorre, Yosemite Sam as a Nazi general, etc., this is a hoot - really fun to watch.
Of course, the more you know the movie Casablanca, the more you'll laugh at this.
However, to be honest, I didn't find it hilarious, just mildly amusing and, of course, clever.
With only seven or so minutes to work with, they had to rush the story so the ending is a bit goofy...but, hey, it's a cartoon, and they're supposed to provide us the unexpected!.
Fun short, now available on DVD.
You can view this animated short if you purchase the Casablanca 2-disc Special Edition DVD.My only complaint about the short is that it is, well, too short.
They could have extended the storyline to put in more gags and references.
I'm also a little upset that they left out classic lines ("beautiful friendship") and a semi-important character (Ferrari, which could have been played by Elmer Fudd).Otherwise, it's a fun little short that fans of the movie (and WB cartoons) will enjoy.
It would have been interesting to see how the original WB artists/writers of the "Casablanca" era would have done it, compared to this 1995 version..
affectionate animated tribute.
Bugs Bunny in charge of Rick's café?
This spoof of, of course, the 40s film 'Casablanca' sees our carrot-chewing hero as the fortune-hunting, love-sick exile who meets the love of his life again when she walks into his bar.The strength of this cartoon isn't just in the details - they are a perfect reflection of the original film - but in the casting of well-known WB 'toon characters as the main players in 'Casablanca', for example Tweety Pie as Ugarte (the squeaky-voiced role originally played by Peter Lorre).Better than 'Rabbit Hood', Bugs's take on 'The Adventures of Robin Hood'.
These little shorts are inspired additions to the DVDs of the original films - keep 'em coming..
Sh*te - utter sh*te.
In Casablanca, Bugs Bunny runs an American bar and only looks out for himself.
When he is given secret papers that will help defeat the rule of General Pandemonium.
However when Bugs falls for Kitty, the wife of the leader of resistance, things change for him and he finds himself having to put himself on the line.I have nothing against the updated Loony Tunes cartoons, but I do have something against cartoons that are unfunny, poorly developed and simply weak.
Here the idea of a spoof on the film Casablanca sounds like it could be OK but it is a terrible, horrid mess.
The plot copies the plot of Casablanca in a very condensed form but does nothing of merit with it.
With so many little details to add in, the plot never stops long enough to be funny.This is made worse by the sheer volume of characters crammed in with nothing to do.
Only Tweety's impression of Peter Lorre is funny - but even that had been done better by a Loony Tunes character that used to be Lorre.
None of the rest of the characters really work - their voice work is poor at best, horrid at worst.
They rush past the screen with so little time that they never make an impression - it's like the film is expecting the recognition of characters to be enough to replace laughs or fun.With barely a single laugh to it, a plot that is an uninspired mess and characters who don't sound like themselves or act like themselves this cartoon is about a bad a film from Loony Tunes as I have seen.
It's not the fact that it is a modern cartoon that bothers me - it's the fact that it is a sh*t cartoon.
Avoid this like the plague..
Casablanca in 5 minutes where Bugs "sticks out his cottontail for no one".
Casablanca is one of my favourite films of all time, and when I heard Looney Tunes had done a spoof on it I was enthused.
So I gave it a shot, and I really liked it.
My only real problem is that the cartoon is too short, consequently the story which is absolutely timeless felt rushed.I also admit it isn't quite as good as the Looney Tunes cartoons made in the 1940s-1950s with Mel Blanc immortally doing the characterisation.
Nevertheless, it is hugely enjoyable, with excellent colourful animation and wonderful music.
But the real stars of course were the toons, Tweety's Peter Lorre impression was hilarious and Bugs takes on the Humphrey Bogart role with style.
Penelope(named Kitty here) was lovely in the Ilsa role, but the real joys were Pepe LePew and Yosemite Sam. The voice acting is well done, while Joe Alaskey is not quite as good as Mel Blanc he does a great job with the voices of Sylvester and Daffy.
Greg Burson is okay as Bugs (he doesn't quite nail it as Blanc did) but is much better as Pepe LePew and Foghorn Leghorn.
Maurice LaMarche is superb as Yosemite though, and Bob Bergen is great as Tweety.
And while she doesn't say much, Tress MacNeille is nice as Penelope.All in all, a hugely enjoyable spoof to a classic.
Yeah, they changed the ending, but so what?
The cartoon is funny, that's all that matters really.
9/10 Bethany Cox. It's only five minutes long, isn't it?.
It's not brilliant and it's not very funny but you could do worse.
It's only about five minutes long, so it's' not as if you're wasting a lifetime.The plot is a send-up of Casablanca with Bugs Bunny in Bogie's role.
I liked Tweety's impersonation of Peter Lorre and the end sequence with the plane (Sylvester impatiently waiting in the plane).The "film" has a few laughs and it's a good concept -- the animation is poor and characters are all-over-the-place but you could still do a lot worse as far as animation is concerned.I originally saw the short years ago but recently watched it again on my Casablanca DVD.
I'm not sure I'd want to watch it again but, for what it is, it's not too bad.It's watchable..
Nice Homage.
Carrotblanca (1995) *** (out of 4) As an actual movie I don't think this Looney Tunes short works that well but as a send-up as CASABLANCA it's right on the mark with an all-star cast playing those famous roles.
You've got Bugs in the role played by Bogart, Tweety in the role of Lorre, Yosemite playing Rains, Daffy playing Sam, Kity doing Bergman and Sylvester playing Henreid.
The casting is perfect but the story itself is rather weak but I guess this should be expected since the movie is really just trying to play homage to CASABLANCA.
Of course, with just a seven-minute running time you can't get every scene in so we're left with the introductions, the first meeting between Bugs and Kity and of course the famous ending, which gets a new twist.
The highlight is certainly the first meeting because it's rather funny seeing how close they got it to the original movie.
The main reason this film works so well because the casting is just downright perfect and they manage to give all the Looney Tunes characters certain things that perfectly match up with the human counterparts and especially Tweety and Lorre..
If you can't remake a classic, why not parody it?.
"Carrotblanca" is a wonderfully funny parody of the classic 1942 romance drama "Casablanca", starring all of our favorite Looney Tunes characters (i.e., Bugs Bunny, Daffy Duck, Tweety, Sylvester, Pepe Le Pew, etc.).
The original film starred such Hollywood luminaries as Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Peter Lorre, Conrad Veidt, and Sydney Greenstreet, so the Looney Tunes characters take on some of their respective roles.
Some people might refer to this cartoon parody as "from riches to rags", poking fun at a true black-and-white live-action classic with a lowbrow cartoon, but I don't look at it that way.Here are my favorite moments from "Carrotblanca" (don't read on if you haven't yet seen it).
Bugs Bunny shows off his usual brilliance as he puts his own snap to some of Richard "Rick" Blaine's (Bogart's) classic lines ("Of all the juice joints in all the towns in all the countries in all the worlds, she picks this one"; "I stick my cottontail out for no one"; "Here's looking for you, kid"); his "hill of beans" speech at the end, which gives us the impression that Bugs is finally setting aside humor for seriousness, is merely interrupted by Sylvester (taking on Paul Henreid's role).
Daffy Duck (portraying Dooley Wilson's pianist/singer character Sam) is amusing not only in his own literal interpretation of "Knock on Wood" but also in his one-note rendition of Kitty's favorite song.
Tweety (playing Peter Lorre's character Ugarte) is absolutely hilarious as he puts on Lorre's face and adopts his accent.
Bugs is especially funny when he disguises himself several times while interrogating Yosemite Sam (playing Conrad Veidt's role Maj. Strasser).In addition to the more famous Looney Tunes characters in "Carrotblanca", look closely and you'll see many minor second-stringers in the background.
I'm also impressed with the black-and-white lighting & shading during the final airport scene, giving the cartoon a 1940s aura.
Some of the voice acting (especially for Yosemite Sam) may not be as authentic as the deceased Mel Blanc's, but I can overlook that.
And I would recommend that you watch the original "Casablanca" before you watch the cartoon, lest you completely miss out on a lot of the humor..
A Spectacular and Hilarious Tribute!.
Spectacular!
A hilarious spoof of the enchanting movie "Casablanca".
I was amazed at how fully a cartoon captured the movie's sentiment.
I loved everything, the characterization, the story, and the gags.
Bugs Bunny confusing General Pandemonium (Yosemite Sam) into jail was very reminiscent of countless classic cartoons, and the same with Daffy Duck as Sam (the piano player).
Tweety as Ugarte (eh-he-he) was PRICELESS!!
But Bugs Bunny as Rick was the best.
I never would have guessed it, but he was perfect for the role.
My only complaint is that it was too short.
There should have been a good bit for all the story and history, and then a good bit for action and all the classic pranks.
So maybe 10-15 minutes instead of seven?
However, it was still a great and very funny tribute!.
Warner Bros.' feature film CASABLANCA, often voted the best flick ever .
. was most notable for its warning to American men NOT to fall for double-dealing, duplicitous, back-stabbing, false, two-timing, fickle, untrue, flighty foreign chicks.
By and large, CASABLANCA was successful in its Messaging, as the French-accented Jackie Kennedy was the closest brush that Americans had from 1942 until this past Friday with the Terrifying Prospect of having a Foreign First Lady NOT fully vetted by anyone given the run of Our People's White House.
However, by 1995 Doonesbury Comic Strip Artist Gary Trudeau had publicized National Buffoon Donald J.
Rump's "Run for the Presidency" so widely that Warner Bros.
felt it incumbent to bring their Looney Tunes Animated Shorts Seers division out of mothballs to remake their iconic World War Two feature as a brief cartoon warning America even more explicitly of Rump's Loose Cannon Proclivities.
Casting Penelope Pussywillow as Femme Fatale Ilsa ("Kitty" here, or the future Melancholia Rump, in Real Life) and Bugs Bunny as CARROTBLANCA's failing casino owner Rick (this is Bugs' ONLY portrayal of Rump himself, a sorry task usually relegated to Porky Pig, Daffy Duck, Pepe LePew, Foghorn Leghorn, Tweety Bird, Taz, Bosko, Buddy, Egghead, or Yosemite Sam) Warner warns that if Ilsa bails out on Victor (Sylvester Cat here) in favor of Rick, then Putin will gain America's nuclear access codes from Melancholia.
A word to the wise: Better stock up ASAP on those Haz-Mat anti-radiation protective suits (like the home invaders wear in E.T.) for EACH member of you family!
|
tt0993789
|
Un conte de Noël
|
Junon Vuillard is Abel Vuillard's wife, and the iron-willed matriarch of the Vuillard family. Junon held her family together through many tough times, and although her willpower helped the family survive and prosper, it also has left many bad feelings among her children. Junon is still a handsome woman, and though her husband (who owns a small fabric dying plant) has become obese and clearly aged, he retains a remarkable clarity, acceptance, tolerance, and unconditional love for his family, and it is clear that he and their love for each other is the lynchpin that holds an otherwise fragmented family together, albeit uneasily.
The couple has three children, all grown and in their 30s. Their eldest daughter is Elizabeth, who is a successful playwright who is married to an equally successful man, Claude. They have one child, 16-year-old Paul, who is mentally ill and taking powerful medication to control his psychiatric problems. The couple's middle son is Henri, who drinks too much and has always fought and argued with other members of the family. He has a new girlfriend, Faunia. Ivan is the couple's youngest son. He is married to Sylvia, and they have two sons, Basile and Baptiste. Henri and Ivan are close friends with Simon, their cousin who was raised with them after the death of his parents. Simon works in Abel's small fabric dying plant, but is an avid and skilled painter in his spare time. He is also an alcoholic who has gotten in trouble many times for brawling in public. All three men dated or were interested in Sylvia at one time, but they manipulated her to think that only Ivan loved her; she married him and grew to love him. The Vuillard family's other son, Joseph, never appears alive in this film but is its core throughout, and the presence around which everyone's psyches revolve: he died of leukemia when he was six years old, despite a desperate effort to save his life by procreating another child who could be a bone marrow donor for him. It may be that part of the siblings' poor relationship is the resentment they feel toward one another for not saving Joseph's life.
Six years prior to the Christmas gathering that is the heart of this film, Henri faced bankruptcy. Elizabeth paid off his debts, but demanded that he never see her again, meaning he was left out of family gatherings as well. Henri kept his promise. The specific reason (if there is one) for this banishment remains unanswered to the very end, but there is much speculation on the part of the family members throughout the film about what precipitated it, including incest.
Just before Christmas, Junon learns that she, too, has leukemia and does not have long to live, though she is offered the potential of a longer lifespan if she gets a bone marrow transplant. Her family gathers at the Vuillard home in Roubaix, a small city in the north of France. The family immediately falls to bickering. Junon asks her children if one of them (or possibly Paul) will donate bone marrow to her that will allow her to survive. Henri and Elizabeth cruelly fight with one another, and Henri begins drinking heavily and hides Paul's medication. Paul fears that the blood test he will have to undergo may also reveal that his father is not his biological parent. Henri initially refuses to have the blood test, because, he claims, he has never loved his mother. Faunia, who is Jewish, has agreed to spend some time with the Vuillards before leaving to spend the holiday with her own family. Her honesty and gentleness have a moderating impact on Henri, and she manages to spend two days with the family before finally leaving.
On 23 December, Rosaimée visits the family for dinner and fireworks. Rosaimée was Abel's mother's friend, although it is suggested that perhaps the two women were lesbian lovers rather than "just friends." Rosaimée tells Sylvia that Simon stopped seeing Sylvia because he believed that she would be happier if she fell in love with Ivan. This deeply upsets Sylvia, who feels betrayed and manipulated by Simon. Henri finally has the blood test without anyone's knowledge, and discovers he can be a donor. He decides to do so despite his coldness toward his mother. Simon disappears on Christmas Eve and begins drinking heavily in local cafes, and the entire family rushes out into the snow to find him. Sylvia discovers him in a distant cafe, and she confesses that she knows Simon loves her. She and Simon spend several hours talking, then return to the Vuillard home and make love. Paul tries to tell Henri about his fears. Henri convinces him that he is not his father, a fact reinforced by the blood test, and reassures Paul that he is not a moral failure for being afraid. The man and boy begin to bond, and Paul begins to improve almost overnight. On Christmas Day, Abel and Elizabeth discuss Elizabeth's longstanding depression, and Abel reads to her from the prologue to Friedrich Nietzsche's On the Genealogy of Morality about how well we know – or don't know – ourselves. Abel suggests that Elizabeth fears death, and that has led to her caution and depression.
The film ends with Ivan casually discovering that his wife has had sexual intercourse with Simon (they make no real effort to hide it, waking up together in bed the next day and greeting her children from there as they come bearing tea), but the effect on him is not revealed – he seems remarkably blase, almost as though he has expected that this would happen one day. Sylvia seems to love Simon just as he loves her, and it is suggested that the two have agreed to become lovers. Paul decides to stay behind with Henri, who is having a positive effect on his mental health. Henri donates his bone marrow to Junon, but she announces, seemingly before there would be medical evidence of this, that her body will reject the transplant. Elizabeth speculates that Junon will live, but Henri is shown flipping a coin in the hospital in front of his mother and not revealing the answer.
|
flashback
|
train
|
wikipedia
|
Arnaud Desplechin uses Robert Altman's impressionistic approach to film-making taking multiple characters, plots lines then adding Altman's playfulness with cinematic technique to dazzle the viewer with a rich mix of ideas and allusions.
During an introduction to the cast of characters at the beginning of the film, the death of a young infant early in the family's history suggests that interpersonal problems will result, but it can't be the sole reason for the pathologies represented.
And as the bizarre begin to assemble for a very strange Christmas homecoming the delight we feel for being onlookers instead of participants is palpable in the audience.I should warn that this is not a film in the tradition of "Home Alone" or "A Christmas Story." You may wait a long time for the Baby Jesus to arrive here (as the children on the screen do).
An overly long and incredibly too talky dysfunctional family drama about a clan reuniting for one Christmas to see which if any family members will have bone marrow that's compatible with that of the matriarch, played by a chilly Catherine Deneuve.
I never felt vested in anything that happened to these people, and I greeted the ending with the curiosity of one who has spent a lot of time with something and simply wants to finish it rather than with any real concern for what the ending would be."A Christmas Tale" falls into the trap of too many family dysfunction dramas: We all have our own families to deal with in real life, so if we're going to spend 2-3 hours listening to the petty whining of someone else's, it better damn well be worth our time.Grade: B.
All the actors are wonderful, but I must say that Amalric, who almost always plays this type of character in Despleshin films (Kings and Queen, My Sex Life, etc.) is terrific in this film.
The rest of the cast, Deneuve, Rousillion and Cosigny are all terrific.I love how the script deals with so many subjects, not only of the family history and Junon's need for a donor, but also touches on everything from mathematics to philosophy to literature, to all types of music, religion, and all geared towards how all these things enhance, and does not consume, the life of the family.
I got to hand it to the filmmaker, Arnaud Desplechin, at least on one significant point: A Christmas Tale is like a big book faithfully adapted to the screen, only in this case non-existent, and it has that wonderful if imperfect feeling of surrounding oneself with the world and atmosphere and attitudes of a family where the dysfunction runs deep and clear, emphasizing Tolstoy's classic "no one unhappy family is the same" credo.
His film is also sometimes a big melodrama, folded around a cancer story not unlike a more serious (yet sometimes lighter version of) The Royal Tenenbaums, and centered so firmly around the family during that crazy but loving-despite-everything time of Christmas you'd swear Desplechin watched the first hour of Fanny & Alexander too many times to count.At the same time A Christmas Tale in very much a French film, is attitude and approach to narrative and occasionally nearing that dreaded P-word (pretentious) in being 2 1/2 hours of incidents and confrontations and little details and twists.
A lot happens with the Vuillard family over a few days, but in it uncovers a whole can of worms involving a banished son (Mathieu Amalric, who thankfully is maybe the centerpiece of the ensemble in terms of being the black sheep like Anne Hathaway in Rachel Getting Married), a depressed daughter (Anne Consigny who, despite being effective in a one-note performance, is also so shrill and cold as a character it's hard to feel anything for her, at all, despite her plight of losing her older brother as a child), and a cousin who has loved his cousin's wife ever since he got him, Ivan, the youngest Vuillard brother, to hook up with her so many years ago.
Meanwhile, the mother (Catherine Deneuve, who may not exactly be a great actress but is the greatest living female French star which carries a lot of weight as a true beauty), has cancer, possibly terminal, unless a donor comes forward.So there's a lot here to work with - maybe, perhaps, arguably too much, though it's almost a credit to the director that I can't say exactly what (little things, for example, like the Christmas Eve sex scene are deliberately paced but for good reason), and he laces everything with a curious jazz score throughout, sometimes to great effect and sometimes not.
But, at the least, it's wonderful to see so many good actors in one place, particularly Amalric who is quickly becoming a truly fantastic talent with a lot of range in the work I've seen him in- one day he's a subdued intelligence man in Munich, next he's paralyzed except for one eye-blinking in Diving Bell, and even a 007 villain- and here goes further in a scene stealing performance (one such scene is his toast at the Christmas dinner, a scene actually shocking and hilarious and sad all in a thirty-second split).He and Deneuve and the underrated Jean-Paul Roussillon as the husband of Junon almost make me want to rate the movie higher.
But alas, it is what it is: a very strong take on a familiar subject - crazy and light and dark and tragic and unnerving times with a family at Christmas - and standing it on its head, while also the things I mention above.
And the characters are forced to develop, not necessarily for the better.The humor keeps you interested in this chamber play and the 145 minutes never feel long.
Started thinking about 20 minutes in, "when is it all going to come together with some semblance of cohesion and interest?" To me it never did, and was an overlong borefest throughout, with very short takes leading to other very short takes that never got my interest for any.Never saw any family act the harsh way toward each other that this one did, or talk to each other so carelessly without more mayhem being caused by it than this one did, or showed less love and care for each family member than this one did, even with the mother dying!Why was this kind of labored film supposed to be the right one to show at Christmas?
After his impressing "Kings and queen" in 2004, Arnaud Desplechin proves that he's the best director come out from France in the last two decades with this exhilarating, moving, awfully brilliant "A Christmas tale".
Following the path of its previous feature, the movie mixtures very hard scenes of desperation and hatred feelings with moments of absurd joy in an structure full of elliptical jumps from the past to the present and back again to the memories of another time.
This is a shame because with Catherine Deneuve, Mathieu Amalric, Emmanuelle Devos, Chiara Mastroianni, and Melvil Poupaud (not to mention others less well known in America) that's a lot of acting talent to waste.
After having enjoyed his "Kings and Queens" and this film left me completely bored and frustrated to the point where I actually left before the movie ended.
The movie also gave us too little character development to understand why the different characters disliked each other so much (this was a story of family dysfunction) so that the dearth of coherent narrative became even more critical.
When the Vuillard family comes back from church, on Christmas eve's day, they suddenly realize that Simon the painter is missing.
And now there comes one of the most wonderful scenes between man and woman in the history of movies: He has already "piccolé" as the French say (is pretty intoxicated) when Elizabeth sits to him at the bar.
So, there are sitting until almost 4 o' clock in the morning in the little bar and are drinking beer and Wodka, having wonderful discussions because soon, they are on the same "level", and, on top of all, they are even going to get reconciled letting passing revue what went wrong in their common past, and we hear out of Simon's, and soon also out of Elisabeth's mouth some of the most astonishing confessions that they would probably never have been able to utter in any other environment (there is a joke in French between "s'enivrer" = getting drunk and "environment").In Douglas Sirk's "Written on the wind", there is a similar scene between Robert Stack and Lauren Bacall.
16).Another wonderful example of women-power happens between Faunia (Emmanuelle Devos) and Henry (Mathieu Amalric) who plays her lover.
Henry, being a drinker, lets himself provoke to analyze the miserable situation of their dysfunctional family in an extremely theatric way attacking directly the husband of one of his sisters who sits besides him.
It is a tale of a highly dysfunctional French upper middle class family with enough head cases to keep any psychologist/analyst rolling in Euros for a life time.
The cast is headed by a radiant Catherine Denuve (as usual)as the head of the household,who has just found out she has a potentially fatal form of bone cancer,and only a bone marrow transplant from a family member may be the only saving grace for her.
The film's rather long running time (two & a half hours)may remind one of certain stage plays by Irish playwright,Brian Freil (but there isn't a slack moment in the entire film---at least I didn't think so).
One of the queerest scenes involved Abel (Jean-Paul Roussillon), Junon Vuillard's (Catherine Deneuve) husband, and Claude (Hippolyte Girardot), working the statistical chances of survival and the time left if Junon chose to have or not have a bone marrow transplant for her cancer.
This is not something I could ever imagine happening anywhere else.Junon was so cool about the whole thing that you never really thought about the fact that she was dying.The entire family, sons and daughters, nieces and nephews, girlfriends, and others arrive at the family house to celebrate Christmas, each with their own funny and not-so-funny issues.The main issue working throughout the entire film is between brother and sister, Henri (Mathieu Amalric) and Elizabeth (Anne Consigny).
The film deals with family and repentance, and forgiveness, among other issues.Arnaud Desplechin works like no other director I have seen and, while it may be distracting at times, it is never boring.
The two and a half hours fly by.The children's Christmas play was hilarious, and dealt with the same themes.This was definitely one of the best films of 2008..
Two and a half hours of overlong, dragged-out, tedious misery and gloom from start to finish in a dysfunctional neurotic family where nearly everybody hates nearly everybody else and too many try to drown their sorrow in alcohol and tobacco.It is because of pseudo-intellectual artsy-fartsy films like this many say that life is too short for French films.
There are many good French films; this is just not one of them.To add to the misery, the film has been shot in one of the most grey, boring, depressing and uninteresting parts of France, so there is no beautiful scenery to lift it up, and nothing else saves it from total gloom.Not one character is likable, and after thirty minutes, one no longer cares whatever happens to them.This is not a Christmas movie in the traditional sense.
It doesn't get any better.On the other hand, if you appreciate sad films where nothing really happens, except for each family member's psychological trauma interacting with the others', then you may well use this review to conclude that here is something for your taste..
A Christmas Tale has been booked as an extremely unconventional holiday film from most major reviewers.
It feels like the viewer is spying on this family, not in a Hitchcockian sense, but more as a privileged member.
"Worth watching" is difficult to categorize in this place because the film feels like a continuation of this director's style but I know very little about his prior works.
Catherine Deneuve as the mother glides through her part but we can't be critical because she gives the movie so much star power (just as Cary Grant did for four Hitchcock pictures).The children are very well acted.
Today is Christmas Day, so it is the most apposite time to watch this French drama, rife with cancer, marrow transplant, siblings rivalry, unstable mentality, chronic depression, familial incest and distant mother-child relationship, very Christmasy!
A follow-up of KINGS & QUEEN (2004, 6/10), French art house director Arnaud Desplechin concocts a fine potpourri of familial entanglements around the bourgeois Vuillard family, opens with a consequential animated preamble of the loss of their eldest son Joseph at the age of 6 due to a hereditary blood disease while no compatible marrow transplant is found in both parents, the daughter Elizabeth (Consigny) and the second son Henri (Amalric), who is conceived to offer a cure to his elder brother.
But time goes on, a third son Ivan (Poupaud) is born, and now they are all grown-ups, then the matriarch Junon (Denueve) discovers that she suffers from the same disease, the only compatible donors are Henri and Elizabeth's son Paul (Berling), hence this Christmas, a family reunion is endowed with a more grave determinant, especially for the black sheep in the family Henri, after a 6-year banishment (due to an unspecified riff with Elizabeth), his return with his new Jewish girlfriend Faunia (Devos) will undoubtedly thrust the tension with Elizabeth's family and have an impact on Junon's final resolve to her impending treatment.Screen time is almost equally allotted to the all-star cast with their own stories intermingle in a short span of the time-line, although the main stream focuses on Henri and Junon's reconciliation, but it is not a beatific movie to bury the hatchet and embrace a pristine future, every family has its distinctive script written with plenitude of relatable interactions, notably, the mutual attraction between Ivan's wife Sylvia (played by Chiara Mastroianni, Denueve's real life daughter with Marcello Mastroianni) and Ivan's cousin Simon (Capelluto) clicks wonderfully in the latter part of the film, it is very French as well, for moralistic puritans and prudes, it is a sheer crevice in their convictions which will prompt harsh opprobrium.
Big, comfortable house in the provincial French town, white Christmas, family get-together.
Cold mother, dotting father that keeps everything together, and four kids, ever present long gone Joseph(died of cancer as a child), Elizabeth( successful playwright, but deeply unhappy), Paul (the proverbial black sheep ,drinks too much to want to control himself), and the youngest Ivan, (handsome, but timid with the history of mental troubles).
A long drawn-out tale of a father bringing his dysfunctional family together at Christmas after Mom is diagnosed with a rare form of cancer.
Rather than multiple plot lines, the story evolves around a simple family reunion at Christmas.
Catherine Deneuve plays Junon, the pivotal point of this ordinary dysfunctional (no oxymoron intended) family, a woman who years ago lost his 6-year-old son Joseph to a rare genetic ailment.
After several decades, she now falls victim to the same disease, and has less than six months to live unless she gets a bone marrow transplant from a family member.
The two older children, Elizabeth and Henri, had hated each other since childhood, partly because neither was compatible with Joseph to provide bone marrow transplant to save their dying brother.
Henri, played by Mathieu Amalric, is the black sheep of the family, always obnoxious, a drifter and a womanizer.
But it turns out that Henri is one of the only two compatible family members for the transplant.
After matriarch Junon is diagnosed with a potentially terminal illness her family comes together at Christmas in the hopes of putting things right.I've explained that badly, which is fine since I doubt there is any way I can truly do justice to this wonderful film about families, how they make us crazy, how they help us along and how life kind of gets in the way.
I loved the way that about a half hour into the film I knew I was going to have to watch this again because I was simply enjoying it so much.
This is a magical movie its worth the effort to see.I have to say I love that Catherine Deneuve, a babe if there ever was (and is one) is married to Jean-Paul Roussillon, a small squat almost troll like man.
Its brilliant, and its just a small element of a film that gets adults and families right.
He also has a tendency to use actors over and over - for example Manu Devos, Mathieu Amlaric and Catherine Deneuve all appeared in Kings and Queen, albeit Deneuve was little more than a cameo there whilst she here she gets centre stage as the matriarch of a dysfunctional family that makes Gene O'Neill's haunted Tyrones look like the Waltons.
The problem with Desplechin's films is also what makes me love them, i.e. their mental-ness.
Absolutely neurotic daughter who made her family banish her brother but never seems to wonder if maybe she messed up her own son's education.
And is played by a wonderful Catherine Deneuve and a never disappointing (except in James Bond) Mathieu Amalric.
"A Christmas Tale" has an intriguing premise - a family coming together for Christmas to find the cancer-stricken mum a bone marrow donor - but in spite of scenes which promise much, the whole movie doesn't really take off.
Not to mention many issues left hanging in the air.So the sister, at the end of the film, goes on hating his second brother without really understanding herself.
I loved the music and the jerky cinematic quality- making it look like a home movie at times.
In this respect, the cinematography reminds me a bit of Cousin Cousine and the shots of the family in that film at the party.The story was multi-layered.
|
tt0290223
|
Inuyasha
|
In modern-day Tokyo, Kagome Higurashi lives on the grounds of her family's Shinto shrine with her mother, grandfather and little brother. On her fifteenth birthday, when she goes to retrieve her cat, a centipede demon bursts out of the enshrined Bone Eater's Well (骨喰いの井戸, Honekui no Ido) and drags Kagome into it.
But instead of hitting the bottom of the well, Kagome time travels to the past during Japan's Sengoku period. The centipede demon seeks the Shikon Jewel (四魂の玉, Shikon no Tama, lit. "The Jewel of Four Souls"), an artifact that would grant any wish the bearer desires; it had previously been defeated by a warrior priestess named Kikyo, and Kagome looks just like her. In fact, Kagome is a reincarnation of Kikyo and houses the Shikon Jewel in her own body. Kagome finds a young man pinned by a sacred arrow on a tree and, in a moment of desperation, frees him to defeat the centipede demon. The man is Inuyasha, a half-dog demon (yōkai) who was pinned by Kikyo for trying to steal the jewel. However, the Shikon Jewel is extracted from Kagome's body, and in the ensuing fight with another crow demon, the jewel is shattered into numerous shards that disperse across ancient Japan, falling into the hands of those who then gain the individual shards' power.
After Inuyasha gains his father's sword Tessaiga and is subdued by a magical necklace to keep him in line, he aids Kagome in collecting the shards and dealing with the threats they cause. The two are joined in their quest by the young fox demon Shippo while dealing with third parties groups like Inuyasha's older brother Sesshomaru and the partially revived Kikyo, whose own version of what happened years ago brings the events into question. When joined by Miroku, a perverted monk whose bloodline is cursed, Inuyasha and Kagome learn the truth: that the initial conflict between Inuyasha and Kikyo, revealed to originally be lovers, was caused by a devious half-demon named Naraku. The evolving Naraku is revealed to have been born from the soul of an evil man named Onigumo inhabiting a body created by countless demons as part of a pact and who also placed the curse on Miroku's family. Naraku is after the Shikon Jewel shards for his own ends. Inuyasha's group is soon joined after by Sango, a demon slayer whose clan was killed when her younger brother Kohaku fell under Naraku's control. Over time, Inuyasha enhances Tessaiga powers as he contends with Naraku's minion incarnations like Kagura and the reanimated Band of Seven. Inuyasha's team is loosely allied by Sesshomaru, Kikyo, and a wolf demon named Koga, who wants to avenge his comrades while flirting with Kagome.
While Naraku momentarily removes his heart in the form of the Infant, who later attempts to overthrow Naraku through his vessel Moryomaru, Kohaku regains his freewill and memories, as he attempts to help out of guilt for indirectly killing his father. During that time, Sesshomaru settles things with Inuyasha to enable his brother to perfect Tessaiga to its optimal abilities. Eventually, Koga is forced to stand on the sidelines, Kikyo posthumously uses the last of her power to give Kohaku a second chance at life, and Naraku finally reassembles the Shikon Jewel. Although Inuyasha and his allies defeat him, realizing his true desire is for Kikyo's love despite his hatred towards her and that it can never be granted, Naraku uses his wish to trap himself and Kagome in the Shikon Jewel. The jewel intends to have Kagome make a selfish wish so she and Naraku will be trapped in conflict for eternity. But with Inuyasha by her side, Kagome wishes for the Shikon Jewel to disappear. The action, though, causes Kagome to return to her time with the Well sealed, and she and Inuyasha lose contact for three years.
In that time, the Sengoku period changes drastically: Sango and Miroku have three children together; Kohaku resumes his journey to become a strong demon slayer with Kirara as his companion; and Shippo attains the seventh rank as a fox demon. Back in the present, Kagome graduates from high school before finally managing to get the Bone Eater's Well in her backyard to work again. Kagome returns to the Sengoku period, where she stays with Inuyasha and becomes his wife.
|
romantic, psychedelic, fantasy, violence, flashback
|
train
|
wikipedia
|
Thankfully, Cartoon Network has put a block of Japan's finest in their red-eye time slot, spearheaded by Inuyasha.The general gist of the plot is Kagome, a modern schoolgirl, winds up in feudal times and must help a half-demon(Inyasha) recover the shards of a jewel of ultimate power.
It takes patience to watch the series, with 100+ episodes and long-running character development, it would take a fortune of DVD purchases or steadfast loyalty to the television at 1:00 am (as of this writing)to get the entire story down.But even so, I highly recommend this show to anybody yearning for more than just flaming mesomorphs and pocket monsters..
Though the Inuyasha anime series seems to be directed at a predominantly teen aged audience even in Japan, Rumiko Takahashi is a master storyteller and Inuyasha nonetheless appeals to people of all different ages, genders and backgrounds.
Weaving a complex storyline interspersed with action, fantasy, the innocence of young love, and a cast of endearing though fallible characters, Inuyasha is a rich fantasy tale drawn from Japanese mythology and set in feudal Japan.
Based off of the manga of the same title by Takahashi Rumiko, this is the tale of the half-demon Inuyasha and his companions Kagome, Miroku (aka: Houshi-sama), Sango, Shippou, and sometimes Myouga the youkai flea (more in the earlier season than later ones) as they search for the shards of the Shikon no Tama (Jewel of Four Souls), then hunt for the demon Naraku.The series is a juvenile one, but not offensively so.
Bottom line: Nicely drawn and interesting characters & good (and sometimes humorous) writing make this otherwise juvenile series very enjoyable to watch..
We start with Kagome Higurashi, a typical Japanese teenage girl --- until she stumbles into an ancient well that transports her back into Japan's Warring States Era. There, she meets a canine-based half-demon named Inuyasha and after shattering the Shikon Jewel, or the Jewel of Four Souls, they have to work together to find the fragments before demons can use those fragments to enhance their own abilities and use them for evil.
The funny thing is that Inuyasha initially hates Kagome, as she is the reincarnation of Kikyo, a priestess he loved (until she pinned him to a tree with a sacred arrow).
Things don't get any easier when a portion of Kagome's soul is stolen and used to animate a facsimile of Kikyo's body made from clay, resulting in a rather disturbing love triangle.Then there are the supporting characters, which I'll name in order of appearance.
As another person who commented on this anime said, Naraku is the consummate "supervillain."Besides the obvious action, there are also elements of romance-comedy to be found in "Inuyasha." For example, the Inuyasha/Kagome/Koga triangle.
She decides to help him find a magic crystal and fight the evil demon Naraku..."Inuyasha" is an anime I was 95 % sure it wouldn't work, but it did.
Although it's too long (the only major flaw, since the 160 episodes watered down the story) and has some weak episodes, "Inuyasha" is nothing short of brilliant, and it seems it's characters will never become boring: from Miroku, who is always touching woman's butts and asking them if they will have a baby with him up to Kagome who is trying to maintain her good grades in school while fighting in medieval Japan.
Before she entered her house she wiped away her tears and pretended to be happy so that her mother wouldn't notice she couldn't fit in.3) When Kagome finds out Inuyasha is alive she runs towards him, passing by Kouga, all the while her tears are falling on his sad face.These situations stand out because they look as if taken from real life.
Some of the other characters include: Miroku, a kind but somewhat perverted young monk(my favorite character, that's why I put him first ^_^); Sango, a butt-kicking girl whose village was destroyed by the evil demon Naraku; Shippou, a cute little fox demon with the ability to shape-shift; Kikyo, a whacked out priestess (seriously, she has major problems) of whom they think Kagome is the reincarnation of; Sesshomaru, Inu Yasha's evil demon brother who happens to be quite good looking; Naraku who is an evil demon person who's out to get the sacred jewel shards; and there are tons of other people too, who either aren't as important, or just show up a few times.
You know a series has to be good when you fall in love with a"flawed" main character, especially an animated one (the onlyother time this has happened was Vegeta from DBZ).
I would like to see all of those who were complaining about how Inuyasha is a bad show and how no one should see it, create an anime/manga, publish it and see if it becomes popular or not.
Once more, the manga artist Rumiko Takahashi has stolen my breath away with her works.I can honestly say I haven't been this taken with another anime since I fell in love with Ranma 1/2, yet another of her famous works.I think what gives Inuyasha its charm is the fact that it isn't just good versus evil or another Ranma 1/2.
Kagome, who is the firey schoo girl of course, seems like nothing more than a generic filler for the girl that the main character has to hate/love.
I just want to know right now why ever villain in this type of anime must look like a woman.
With the possibly the best leading cast of any anime ever(except for Yu Yu Hakusho), and an excellent mixture of genres, you have yet another sure-fire hit spawned from the brilliant mind of Rumiko Takahashi's work.Inu-Yasha is the main character, who is voiced to perfection by Kappei Yamaguchi.
But when it got to around fifty episodes, the characters, plot lines, music, and fight scenes all start to get a little repetitive.
I can't imagine what watching all the way through to episode 167 (and what is it, four movies?) would be like.My big beef with this series is that it's so drawn out.
The plot line (that a modern day Japanese school girl-how original-has to help a feudal era Japan half demon collect shards of an ancient jewel) is all right, but it gets rather dry with all the filler episodes.
The random episodes I watch on Cartoon Network on Saturday nights after Samurai Champloo are almost always filler where nothing relevant to the main plot line happens.The characters all seem extremely one-dimensional, stereotypical, unoriginal, and predictable.
I mean, what's the point in watching the episode?I base most of my judgments by my favorite anime series Cowboy Bebop.
It has multi-layered characters, episodes with their own musical themes, fantastic and visual action scenes, memorable secondary characters, and virtually no filler episodes, depending on how you look at it.Then again, Inuyasha's target audience tends to be the tweens to mid teens group, so you can't really expect big intellectual, deep observations to be made.To sum it all up.
Character development, too, slows down greatly and by the later seasons, the cast has become quite unchanging, resulting in increasingly stale jokes (particularly those concerning the monk, who's ironic traits start out as mildly humorous but grow tiresome when the jokes associated with them appear repeatedly).However, all of that isn't to say that Inuyasha is a bad series.
I would rated InuYasha as an equal to Saint Seiya for the depth, and Dragon Ball(the original and Z series) on the entertaining and funny side.So the story starts with the female-protagonist Kagome Higurashi finding a worm-hole that links the present with feudal Japan from 500 years ago.
As a side plot, the feelings each character have for one another grows and almost every one find their respective person of interest for support, comfort and affection.Great story in any judgment, and excellent animation qualities, not to mention how extremely hilarious it is.At least a 10 out of 10, highly recommended, especially if you are stuck at home during winter times, this show will cheer you up AND probably strengthen your understanding of relationships.O ya, even tho this is an anime, the musics created for the TV series and the movies are simply breath-taking, one more reason to enjoy such a fine creation.
I have seen 51 episodes of the series, subtitled by fans into English.Good Inuyasha's premise is very familiar and could have easily degraded into a horrible magical girl/monster of the week series.
It is now up to Kagome and Inuyasha to collect the pieces that are still capable of great evil (this all happens is the first 3 episodes).
For the first 10 or so episodes it is a generic find monster with shikon shard but the series then starts to become more complex with back story and some great villains.
The dialog sometimes can get very annoying, characters describing the obvious or spending lots of time on flashbacks to the episode from before, this is common in anime series but Inuyasha seems to have a lot of it.
I even like Shippo, the goofy little fox demon.The villains have depth as well, Naraku seems only to want power but he may have other things on his mind.
I now love the way Shippo says "Kagome", "Inuyasha" and especially "Kilala".If you're a fan of animation, fantasy, action-adventure and humour, you may want to give it a try..
The story line always keeps you guessing and wanting more.I just love the relationship between Kagome & Inuyasha their relationship is not all lovey-dovey they act like a real couple.
I really like Inu-Yasha becase of the plots, the story line, and most of all the characters.
I was channel surfing late one saturday night, and I happened upon "InuYasha." Once a fan of Sailor Moon, I enjoy the fantastical elements in most anime series.
I have grown to love the kooky characters and the way Japanese culture is weaved into the lives of the villains and heroes alike.This show has everything that anyone would crave in an anime series- good drawing, music, believable and elegant dialogue, handsome hero(*wink*), romance, humor, etc, etc, etc.A total breath of fresh air after silly villains and ditzy girls in short skirts.
My favorite characters are Inuyasha(he is so cute0, Kagome, Shippo, Sesshomaru, Miroku, Sango, Shippo and Kilala.
Inuyasha is the best anime series I have seen and the one that Iam obsessed with right now.
It has everything a series should have: well defined characters that make you fall in love with them, humor, suspense, the ability to grab your attention and hold it, excitement, great lines and dialog, characters that have a personality that no doubt everyone can find one to relate themselves and become a fan of, an engaging storyline that doesn't slow down, malicious villains and lovable heroes, great animation and voice actors that have voices that match there characters perfectly.
I recommend it to all anime lovers and to everyone who loves a great adventure with action, romance, lots of humor and unforgettable characters.
I've been watching Inuyasha religiously for the past couple of months and I am now desperately trying to get the spending money for the DVDs. It's a beautifully animated story with realistic characters, a unique storyline, and wonderful music.One of my favorite features about the show is that the voice actors are all very well cast for a dub.
And David Kaye, who plays Inuyasha's half-brother Sesshoumaru, was really able to bring about his character's detached and aristocratic personality.One thing that hooked me in particular was the obvious love/hate relationship between Inuyasha and Kagome.
I've always been a hopeless romantic and the relationship between the two characters which constantly shifts moods and can be melodramatic one episode and change to slapstick comedy the next ended up being my biggest reason to watch.I would recommend this for anyone who can stand seeing brief nudity and some graphic violence in an animated show..
This Anime Inuyasha,While I was watching in my school days prime time on Animax (now aniplex) Used to think that was gory and has some badass fighting moments with big demon bosses with lots of forest fires and destruction.With inuyasha carrying a heavy sword every one will think like that.Now after 12 years or more i guess watched whole series felt the nostalgia from the start.
This show is SO awesome!i watch it all the time!i LOVE this show!i love inuyasha and kagome and even shippo!they are such good character and awesome voice overs play them to me!i love the weapons they have for each character to use thru out the show!especially miroku's wind tunnel and kagome's arrows!but shippos power of shape shifting is awesome too!(i wish i could do that)!sometimes the demons are a little creepy and so are there stories but that Isn't a real big problem to me!the one thing that kind of does bother me is that when they show you a paper or something they don't translate the writing to English it is still in Japanese!but other than that i think this show totally rocks hard!whoo hoo!it is SO cool and funny!hope you like it like i did!!!!YEAH YEAH YEAH YEAH YEAH YEAH YEAH YEAH YEAH!.
It is a romance, a comedy, a fantasy, action, adventure, a drama, and even an occasional scare from the demons they have to fight.The story itself is fantastic, and each character has their own wonderful personality.
One scene I was watching just the other night: Inuyasha has sent Kagome back to her own time because he doesn't want her to get hurt, and it's obvious that he misses her.
The only voice that seemed a little weak to me was Moneca Stori's Kagome, which thankfully, got better as the series progressed and she apparently got a little more into the character.
Episode 48, where InuYasha chooses Kikyo, sort of changed my idea of the whole series.
Some of the antics by the characters (eg, Kagome's "sit", Miroku's obsession with women, Naraku in general) also dragged on far too long.I agree with the people who say to only watch about half of them, they just get a bit annoying after a while.
Except Kagome, of course(I tend to not like the main characters in things a lot).
The story line was good until they started adding all these extra characters and stuff just to make an impressive amount of episodes.
I use to think Tenchi is the best Anime show well Inuyasha beats him up Inuyasha is the best anime title I ever saw it has everything good storyline Authentic characters emotions love a bit fantasy and suspense the series is a masterpiece you get drawn in after two eps I was sceptical until I realised i found mt self looking for new epson the web The Authors and the series directors deserve all their credits I feel bad That Kanna will die but I cant wait till they continue with the series !If you watch an episode you'll love all the characters (how to bo to love inoccent Rin) (even Naraku is an evil character you'll like) also its genius how all characters including Naraku lead you threw the storyline !
The same episodes seem to go with the same plot: Kagome sensing a jewel shard, a worm/slime/tentacle demon thing pops up, Inuyasha says "Wind-Scar", "Iron Reaver Soul Stealer", etc.
But being at almost 150 episodes in a matter of days, I have to wonder how people could watch this seemingly never ending story repeatedly for years.The only thing that bugs me at this point is Kikyo wrecking Kagome and Inuyasha's relationship.
I can only say, best anime series i've ever seen.There's a lot of drama involved and you see the characters grow within tragedy and come closer as they fight for a common purpose, to destroy Naraku.
Very funny, very entertaining and mostly I watch for the love story between Inuyasha en Kagome.
I love the romance between Kagome and Inuyasha.
Sesshoumaru though is the best Inuyasha male character for me; Kagura and Sango for the females.as i've said before, for excellent and maximum enjoyment, watch this series in Japanese with English (fan) subtitles..
Well in the beginning it's a pretty cool show...then he gets the tesusaiga and it pretty much goes down hill from there don't get me wrong the episode where he gets it is great and Miroku is an awesome character it's just after a while Inuyasha quits using his claws (his coolest weapons) he runs slower, then he learns how to use the wind scar and thats all he ever freaking does, then it gets even worse because the whole story starts revolving around kagome and her little love life with inuyasha and her competition with kikyo for him (or whatever i haven't watched this show in a long time) so much to the point that i just quit watching so it starts off strong then it just starts sucking.
I've seen it before.If you like series with a lot of action, no annoying love triangle, no over repetitiveness, this is not for you then..
This was the reason why I bought the first season of Inuyasha, an anime about a girl named Kagome traveling to feudal-era Japan in order to collect the pieces of the Shikon Jewel with the assistance of a half-demon named Inuyasha.
After an inauspicious first episode, everything went downhill and, in the process, the show introduced the two main characters, Kagome and Inuyasha.
Kagome and Inuyasha also encounter a multitude of villains, mostly forgettable bad guys appearing for an episode or two, as well as the aforementioned Sesshomaru and the main antagonist Naraku.
HOWEVER, like all good anime shows, there were characters that made it painful, as well as drag the show to it's not so wonderful ending...WARNING, THE FOLLOWING CONTAINS SPOILER(S).
Sesshomaru, Miroku, Sango, Koga, even Inuyasha make the series and the films worth the annoyance of two characters.
|
tt0041779
|
Rabbit Hood
|
There is a wall covered with anti-poaching notices and wanted posters of Robin Hood and Little John. Bugs is trying to silence an alarm attached to a carrot he just pulled out of the King's Carrot Patch. He is caught by the Sheriff of Nottingham and is about to be put to the rack when Little John (depicted as a fat goonish fellow) appears and introduces Robin Hood. However, Robin Hood does not appear. Bugs and the Sheriff continue to converse, and Bugs averts the latter's attention by lying about the king's arrival. Bugs clubs the Sheriff while the latter is bowing and runs off.
While examining the castle wall in an attempt to scale it, Bugs is chased by the Sheriff up to the Royal Rose Garden, which the Sheriff regards as "royal ground". Here, Bugs dupes the Sheriff once again by acting as a real estate agent and successfully selling the land to the Sheriff, who plans to turn the garden into a "six-roomed Tudor". As The Sheriff is building the house, he suddenly realizes that he's been tricked and, now infuriated, declares revenge, all the while hitting himself on the head with the hammer ("OOOH! I HATE MYSELF! I DO! I DO! I DO!").
The Sheriff shoots an arrow which grazes Bugs while he is scaling the castle wall. Bugs falls into Little John's hands. Bugs then uses the opportunity to introduce Little John and the Sheriff to each other several times over, diverting the Sheriff's attention once again. During the exchange, the Sheriff spies Bugs leaving and angrily shrugs off Little John, saying "Stop it, Oaf!". Bugs convinces the Sheriff that the King is indeed coming while the Sheriff tries not to be fooled once again. But when the Sheriff turns to prove to himself that Bugs is just lying, he is surprised to see Bugs dressed first as a clarion player and then as a royal crier before reappearing as the King. The Sheriff recognizing Bugs as the King, obligingly bows down. The famous knighting scene ensues. Afterwards, the Sheriff, already dazed from the repeated hits, sings "London Bridge Is Falling Down" and falls on a cake quickly baked by Bugs during the song.
Bugs hears Little John once again introducing Robin Hood, but Bugs interrupts and mocks Little John, remembering Robin's failure to appear the first time. This time however, Little John tells Bugs not to "talk mean like that", as this time, he is telling the truth, and Robin indeed appears (played by Errol Flynn, in live-action footage from The Adventures of Robin Hood). Bugs, however, doubts that's "him".
|
psychedelic, comic
|
train
|
wikipedia
| null |
tt0080738
|
The First Deadly Sin
|
The film opens outside Mount Pleasant Baptist Church on West 81st Street in Manhattan. A man is viciously attacked by another man wielding an ice axe. The attack is intercut with graphic closeups of a woman undergoing surgery. The NYPD arrive to process the scene. The coroner, Dr. Ferguson (Whitmore), shows Detective Edward Delaney (Sinatra) that the fatal wound on the skull was made with a round object.
Meanwhile, the 20th Precinct receives news that Delaney's wife Barbara (Dunaway) is recovering from emergency surgery. The information is relayed to Delaney at the scene, and he rushes to the hospital. Barbara's surgeon, Dr. Bernardi (Coe), explains that complications from her kidney stones forced him to remove the organ. Over the course of the film, Barbara's condition worsens, and Delaney harbors deep suspicions that Bernardi is incompetent.
The murder on 81st Street is a kind of solace for Delaney. Much to his colleagues' surprise, he throws himself into the case, despite constant admonitions from his friends and supervisors that the NYPD's priorities are elsewhere. One of his first visits is to the Metropolitan Museum of Art, where he consults with Arms and Armor curator Christopher Langley (Gabel) about the type of weapon that could make such a unique wound. The elderly Langley is thrilled to have such a unique problem to solve, and he devotes a great deal of time to research.
The angle of entry and the perfectly spherical nature of the wound rule out most of the weapons familiar to Langley. He decides the weapon must have been some kind of tool, and he visits a hardware store, where he explicitly asks for the best implement to kill someone with. A bemused clerk helps Langley deduce that the weapon was most likely an ice axe.
Delaney has discovered that a similar attack had occurred recently on West 79th Street. After consulting with the perpetually harried Ferguson, he discovers that the wound patterns are nearly identical. As they investigate, they realize that similar attacks have been taking place all over New York City. Langley uses the new information to locate the exact model of ice axe that would cause such injuries. At one sporting goods store, the owner hands over the addresses that he collected from every customer who bought that ice axe. The addresses eventually lead Delaney to the highrise building of Daniel Blank (Dukes).
Blank has been seen intermittently throughout the film cleaning up after his murders. As Delaney closes in on him, Blank attempts one more attack, but it does not go as planned. After striking several blows, his victim escapes only to be run over by a passing car. Delaney's investigation of Blank confirms that he is the killer. Delaney realizes that his chances of arresting and obtaining a murder conviction against Blank are slim due to Blank's wealth and high social position in the city. Before going to confront Blank in his luxury apartment Delaney gets a Luger nine millimeter pistol from a closet in his home. It is a souvenir that Delaney brought home as a soldier returning from World War Two.
Delaney finds Blank curled up in a closet in a deeply disturbed state. He confesses to his crimes before composing himself. Blank brags about how respectable and well-connected he is, and he guarantees that he will get away with his crime. He confidently goes to the phone to report Delaney for breaking and entering. Delaney shoots Blank in the head with the Luger pistol as Blank is speaking with the police operator on the telephone. Delaney goes to his office at the police precinct station house and retires from the police department. As he is leaving the station house the desk sergeant tells him of the discovery of Blank's body and asks him if he want to respond to the call. Delaney informs the sergeant that he has just retired as he walks out of the building. The film ends with Delaney reading to his wife in the hospital as she passes away. He cries as she dies in his arms.
|
suspenseful, humor, neo noir, murder, violence
|
train
|
wikipedia
|
Like the book, this is somewhat slow paced and character-driven, but Sinatra does such a good job at making Delany human and making the audience emote for him that the shortcomings seem minimal.
If you are a fan of Sanders, police procedurals, or Frank Sinatra, then this film is certainly worth checking out..
Delaney is on his last case tracking down a psychotic serial killer while also dealing with his bed-ridden wife (a warm-hearted Faye Dunaway) that's dying in the hospital from an unclear disease.
It manages to hold you there, but not much really happens in this slow-grinding thriller as Frank Sinatra's wearily brooding performance is determined, but filled with melancholy heartache.
If you're thinking that gives the ending away, don't look for an obvious conclusion.To his credit, I guess Frank Sinatra did not want to end his film career with Dirty Dingus Magee.
He wanted to end his film with the serious part, unfortunately The First Deadly Sin messes up the telling of a potentially good tale.Frank Sinatra is days away from his retirement as a Detective Sergeant and a strange murder has been assigned to him.
Maybe I'm missing something in Zerbe's performance, but I would think that an ambitious guy like Zerbe plays would instead of pooh-poohing Sinatra's ideas would think that this guy if he is on to something with this serial killer business.
It's an absolutely impossible role and poor Anthony Zerbe can't do much with it.All this while Frank's wife Faye Dunaway falls ill to a misdiagnosed kidney malady.
She spends all her time in the hospital and Sinatra visits her at breaks in this case.Frank delivers a very good performance in a role similar to the one he had in The Detective.
I recently watched this movie only because it was on my high def station and it "looked" pretty good, but after waiting over an hour to become interested in it, it ended with a confusing and ho-hum climax.
One wonders exactly what made Sinatra think this was a good idea- he appears pretty bored throughout the film, perhaps shooting for a Philip Marlowe weariness and falling very short.
Sinatra plays a senior police officer in New York who is just about to finish up the job and retire when a strange random murder appeals to him and he becomes the only cop who sees a pattern.
His wife, played by Faye Dunaway, is hospitalized throughout the film and Sinatra's character visits her frequently to try and cheer her up as well as criticize the doctors for not doing enough for her.The supporting cast fills in lots of gaps here and makes this fit in, albeit very strangely, with the NYC exploitation style that was current at the time.
The great Joe Spinell shows up as a doorman, James Whitmore as the coroner, Brenda Vaccaro, Robert Weil, Eddie Jones, Victor Arnold and even a one-second appearance of Bruce Willis in his first film role.
If it weren't bad enough that Zerbe appears needlessly drunk in this scene, his character is supposed to be a no-nonsense captain and when Sinatra asks if he can stay on the case, Zerbe basically says "sure, whatever".
Sinatra merely leaves the scene to let them do the work, appropriately showing his seemingly little concern for the plot of this film.The First Deadly Sin is a very confusing film with more loose ends than a thread factory.
Sinatra picked a very odd piece of work to make his last starring role and there must be some interesting story behind what happened with this obviously well-budgeted film.
"The First Deadly Sin" will be remembered as the last starring role for Frank Sinatra.
It's a good performance in a decent (but should have been better) film.Frank plays a New York homicide detective investigating a series of murders.
The problem comes in the sub-plot with Faye Dunaway as Frank's dying wife.
Faye must have been desperate to work with Frank since she literally spends the entire film in a hospital bed.
Delaney - a New York City police detective weeks away from retirement, who gets caught up in a murder investigation that his commanding officer (for reasons I never clearly understood) would prefer him to leave alone.
Sinatra's performance, though, was really the only thing that made this movie worth watching.
The story of the search for the psychopathic killer wasn't all that interesting, and while the subplot revolving around the illness of Delaney's hospital-bound wife (a rather simple role played by Faye Dunaway) took up a fair amount of screen time, it also added nothing to spark the movie, except perhaps to ground Delaney as a loving husband.
Aside from that there was one very effective scene in which the curator Langley (Martin Gabel) goes to a hardware store trying to figure out what the murder weapon was which added some welcome comedy relief to this otherwise rather poorly structured and poorly paced movie, which I would frankly have to say was one of the least exciting and least interesting murder mysteries I've ever seen..
Frank Sinatra is a police inspector in New York City, just weeks away from retirement, who notices similarities in a series of murder victims: the skulls of the deceased have all been punctured by some kind of hammer, possibly delivered from behind in a cold blow.
That woman, Faye Dunaway, plays Sinatra's wife, slowly succumbing to a mystery infection that has already rotted her liver, and it's a humiliating role.
Anthony Zerbe gets stuck with the proverbial hard-ass police commander role (he chews Sinatra out for following the insane 'serial killer' angle), but Sinatra does a good job here, keeping a cool head and carrying most of the picture with his innate panache.
To me the novel gives equal time to Delaney and Daniel Blank (hey, what a name for the killer), but this film focuses on Delaney and his problems.I envisioned an actor like Brian Dennehey playing Edward Delaney, a big man with a good heart, very intuitive, and with a big appetite for all kinds of weird sandwiches and always some good beer, not someone like Sinatra, a rather small man.Sanders is a brilliant writer of weird characters, and Daniel Blank was one of his best.
Yet the whole film seems to focus on Delaney and the dying wife.I would have much liked to have seen the killer portrayed as he was in the book - a man with a good job, a very strange girlfriend, and brilliant in a horrible type of way.And so slow moving!
While the heart of The First Deadly Sin is a detective crime story, part of the movie is a tender and unusual romance.
Frank Sinatra stars as a tired, not very young detective who tries to solve a murder he's been given very few clues to go off of.
Grizzled veteran police detective Edward Delaney (Frank Sinatra) is investigating the case.
Frank Sinatra in his last starring role (?) plays a detective tracking a killer while caring for his illness-stricken wife, played by Faye Dunaway.
the first deadly sin was the screenplay; the second was sinatra phoning in his performance; the third was the silly waste of faye dunaway in one of the most melodramatic and prolonged hospital death scenes (the whole movie, basically) in film history.
The screenplay artfully removed all the interesting story weaving; the jumping back and forth from killer to cop; the character development and motivation.The movie is so fragmented I doubt anyone who hadn't just read the book will have any idea what is going on.
The plot is derivative and recalls too many serial killer stories .But Frank Sinatra ,portraying a cop nearing retirement ,gives the movie substance ;it's one of his last parts and ,like the character,he seems jaded ,it's a long way from "Tony Rome" or "The detective" .This last affair becomes a last challenge ;he's told that he can give it up but it actually helps him cope with his harsh private life:his wife is seriously ill.Faye Dunaway spends the whole movie bedridden in a gloomy hospital and her husband does not even trust her surgeon.Dunaway makes the best of a thankless part .The scene of the book she used to read when she was a child is a highly emotional moment..
I have already seen "Seven", "The bone collector" and "Copycat", so naturally this doesn't seem to surprise me or anything like that, but I had a great time watching Frank Sinatra in his last major movie appearance and was equally shocked to see Faye Dunaway so woefully wasted on a hospital bed and not enough lines for an amateur let alone ...
I have already seen "Seven", "The bone collector" and "Copycat", so naturally this doesn't seem to surprise me or anything like that, but I had a great time watching Frank Sinatra in his last major movie appearance and was equally shocked to see Faye Dunaway so woefully wasted on a hospital bed and not enough lines for an amateur let alone ...
Excellent Sinatra Performance Wasted in Boring Film.
The First Deadly Sin (1980)** 1/2 (out of 4)Weeks from retirement, Detective Edward Delaney (Frank Sinatra) is trying to take care of his bed-ridden wife while at the same time trying to figure out who murdered a man with what appears to be an ice ax.
Pretty soon it becomes clear that there's a serial killer at work and the detective must try and find out who it is even though he has no one behind him.THE FIRST DEADLY SIN turned out to be Sinatra's final theatrical starring role and it came ten years after his previous turn in DIRTY DINGUS MAGEE.
It's really too bad the film turned out so mediocre because with a few fine touches it really could have been something special.As it is the film is only worth watching thanks to the excellent performance from Sinatra.
The actor had played a detective in some of his late 60's films so it's clear that Sinatra was comfortable playing this type of role.
Faye Dunaway plays the role of the wife and in all honesty she has very little to do outside of acting sick and laying in a bed.
This here is the biggest issue with the movie because whenever we flash to her hospital scenes it pretty much kills everything and the film comes to a crashing halt.
They just don't do anything with the material and even the killer is rather boring.THE FIRST DEADLY SIN is worth watching because of the excellent performance by Sinatra but sadly there's not much else here..
int his police drama,Frank Sinatra plays a police detective just weeks from retirement,trying to solve a string of murders and stop the murder from killing again.there's another little subplot thrown in that has nothing to do with the rest of the movie,but is merely added to make the film more interesting dramatically,at least,i think that's the reason.Sinatra is very good here,and really the only central character.the rest of the cast are in supporting roles or extended cameos.anyway,the film does work.it's very atmospheric,and the tone is one of almost melancholy,but it works here.my vote for The First deadly Sin is a 6/10.
Frank Sinatra was getting old (this was his last starring role).
Sinatra is definately the highlight and gives a good performance in a role that fits him well.
Faye Dunaway definately needed more screen time but her performance was quite good in the scenes she had.
The depth of the wife's role (Dunaway) is lost, and the crime is "cleaned up" in typical movie fashion.The good news?
It's about a cop(Sinatra), his wife(Dunaway) who is having surgery, in the open credits the doctors getting ready for surgery, the murderer got a sharp hammer and stabs him, and the blood is spilling in the surgeon's uniform, at the end he killed the suspect while calling the police, and got suspended, and then his wife was dying.Look for an uncredited cameo by Bruce Willis.I give it *****..
However, Sinatra apparently ran out of energy (and talent) before he made the movie version of 'The First Deadly Sin'.
This was Sinatra's last starring performance; apparently he'd planned to develop a franchise series based on Sanders's novels, but this movie was such a clanging flop that no sequels were made.
Two later friends of mine had worked (before I knew them) on the crew of this film; they've told me that the production was a nightmare, plagued by wrong-headed decisions.Delaney (Sinatra) is hunting a serial killer while Delaney's wife (Faye Dunaway) struggles with cancer.
The killer is played by David Dukes, who filmed his scenes in Manhattan concurrently while starring on Broadway in 'Bent', in which he played an inmate of a concentration camp.
Frankly, Dukes's performance quite fails to impress me: given the handicap of his inappropriate hairstyle, the casting agent should have chosen another actor (with more hair) instead.We get an utterly pointless scene in which Sinatra swots up evidence with two civilian volunteers, of the sort whom real police call 'cop groupies'.
Sinatra, in a comeback lead performance after a long absence (though it turned out this was his final lead role in a movie), is very good as a close-to-retirement police officer.
***SPOILERS*** Frank Sinatra plays the about to put in his papers and retire NYPD Sergeant Edward X Delaney who's obsessed in finding this ice pick killer who's terrorizing the city of New York.
It doesn't take long to see who this crazed ice pick wielding psycho is since we see him Daniel Blank, David Dukes, as soon as the film starts as he ice picks to death a total stranger who passes him in the street.It's Sgt. Delaney who later notices a pattern in a number of murders over the last three yeas in the city that fit the same MO or description and realizes they, the victims, were that of the very same killer.Meanwhil back in the hospital emergency ward Sgt. Delaney's wife Barbara is fighting for her life as her husband seems to be spending far more time looking for Daniel Blanks then with her when in the critical condition that she's in she needed him most.
And it's the fact that Sgt. Delaney worked on this case alone with no one in the NYPD to see what he did and turn him in he ended up getting away with it.***SPOILERS*** Despite his success in offing the ice pick serial killer in the end Sgt. Delaney ended up losing the person who meant most to him his wife Barbara who died from complications from the blotch operation that was preformed on her.
A more mild and mellower Frank Sinatra did make the movie interesting then it would have been in playing his age,65, and not trying to be at least 20 years younger in the role he had.
As for Faye Dunaway all she did during the entire movie was go in and out of consciousness and try to look pretty, but as white as a sheet, during the entire time she was on camera.
As for David Dukes as the zombie like serial killer Daniel Blank his name, Blank, fit the role he had in his zombie like actions through the entire movie.
MAY CONTAIN MINOR SPOILERS I rate this film 7 out of 10 mainly for the strength of Frank Sinatra's performance.He plays a retiring police detective, whose wife has fallen ill and is slowly dying in the hospital.
Seeking to distract himself from his personal troubles, he becomes deeply involved in trying to solve a series of murders and stop the killer.The story is based on a novel by Lawrence Sanders, who wrote a series of "Deadly Sin" mysteries.
It provided Sinatra with his final starring role in a film, and he plays it well.
Unfortunately, the movie doesn't play fair with its audience regarding the killer and it never reaches the tension necessary to be more interesting as a thriller.
Thankfully, Sinatra is in nearly every scene and has some nice interactions with supporting players like James Whitmore, Brenda Vaccaro and Martin Gabel.It's David Dukes' killer that we never really get to know.
And the scenes with Whitmore's coroner and Gabel's curator are nicely played.Had the makers of the film, which include executive producer Sinatra, been more in-tuned to the serial-killer aspect, they may have balanced out the film a bit more.
Also, Faye Dunaway is wasted in her role as the dying wife.
As it is, "First Deadly Sin" represents a solid, yet somber, final star vehicle for Frank Sinatra..
First Deadly Sin -1980 murder mystery flick featuring the last performance of Frank Sinatra and a bed-ridden Faye Dunaway.Sinatra's character is a close to retirement homicide detective in NYC- when he notices similarities with his case and that of a recent case.Sinatra recruits Brenda Vaccarro and a museum curator to help him track down the killer.This felt like a made for TV movie and was pretty bland with a thrown in romance-although the romance sparked one of the more heated moments of the movie when a frustrated Sinatra confronts his wife's doctor about her condition.
Sinatra gave his final dramatic performance in this unusual detective film.
It's unusual because of it's concept which integrates the search for a vicious killer with the agonizing slow death of Sinatra's wife (Dunaway.) The result is hardly uplifting, but is at times interesting.
From there, Sinatra, with the help of some unlikely assistants, works to track down the killer while maintaining a bedside vigil over his wife.
What makes the film interesting is the observation of Sinatra's struggles to get anything done in a mostly uncaring world.
Every time Sinatra makes a stop at the hospital, the film goes off into la la land.
**SPOILER** Though Sinatra obviously, pointedly realizes at the end of the film that his wife has expired, Dunaway is clearly seen breathing (not lightly!) right up till the credits!
|
tt1280548
|
Spielzeugland
|
The film is set in Nazi Germany in 1942. An Aryan family, the Meißners, and a Jewish family, the Silbersteins, are neighbors and friends. The respective sons in each family, Heinrich Meißner and David Silberstein, discreetly take piano lessons together. The deportation of the Silbersteins to a concentration camp is imminent, and when Heinrich asks why they may have to go soon, Frau Meißner does not tell Heinrich the truth. She instead invents a story that the Silbersteins will go to a new place called "Toyland". Heinrich says that when the Silbersteins go, he wants to go with them, so that he can still be with his friend David, which terrifies Frau Meißner.
The morning the Silbersteins are taken away for deportation, Heinrich is found missing from his room. His mother, Marianne Meißner begins to search for Heinrich. She encounters ridicule from Gestapo officers after she explains her situation, because they think that she is Jewish. However, after she shows her papers that prove that she is Aryan, they accept her story about Heinrich and assist in searching for him. The search continues until the last moment before the train with the Silbersteins on it must leave.
When the train doors are opened, Marianne calls out to Heinrich. The crowd moves aside and Marianne sees a boy she thinks is Heinrich hugging the Silbersteins, but instead it is David. A flashback shows that when the Silbersteins were taken away, Heinrich was not allowed to join them. Marianne realizes that Heinrich is not with them, but - to save his life - calls out to David as though he is Heinrich. The Silbersteins let go of him and all continue the ruse that David is Heinrich. David returns to the Meißners home where he is raised with Heinrich as their own son.
|
flashback
|
train
|
wikipedia
|
"Toyland" is a film that works so brilliantly that it managed to be powerful, thought-provoking and even gut-wrenching than most Hollywood films that are 8 to 10 times longer.
With sparse dialogue, director Jochen Alexander Freydank keeps us hooked throughout this superb short film.Set during the Holocaust, a German woman frantically searches for her son, who might have decided to accompany his Jewish neighbors to a Nazi concentration camp because the Jewish family's young son and her son are best friends.The film is elegantly shot and wonderfully acted.
There is more poignancy and true emotion in this film than I have seen in most Hollywood films in recent times.Director Freydank moves his story along, with us always wondering not only what comes next but how this is going to end.
Believe me, it will be time much better spent than, say, on "New In Town" or most any other mainstream Hollywood film..
Today I went with three friends to a special showing of all the films nominated for the 2009 Oscar for Best Live Action Short.
Our pick for best of the nominees was PIG ("Grisen"), though ON THE LINE ("Auf der Strecke") was a very good film and is nearly as deserving of the award.
We predicted that TOYLAND ("Spielzeugland"), however, will win the award because it's the sort of the film the Academy tends to like AND because PIG might ruffle some feathers because it is not "politically correct".
I'll update this review after the awards are given.TOYLAND is a film set during the Nazi era.
A boy asks his mother about why all his neighbors (all Jews) are disappearing.
Unfortunately, it sounds like such a nice place that the kid hopes to go there, too, and the film begins with him sneaking off with a shipment of Jews to the concentration camps because he wants to visit this magical place.Much of the film consists of the mother trying to find the boy and eventually the SS officers help her to try to locate the boy.
This all ends in a marvelous twist that I won't reveal here, but this twist takes the film from the ordinary to the extraordinary.A lovely film that will probably win--in part, because the film is about an important subject that the Academy seems to like, the Holocaust (and highly reminiscent of LIFE IS BEAUTIFUL), and in part because it is so exceptionally well-crafted from start to finish.
Usually, I don't watch short films but after seeing and reviewing about five feature films in three days, I needed to see a movie that could capture a gamut of emotions in few minutes and that is precisely what 'Toyland' does.
It takes one of the most crucial periods in history - the holocaust and brings it down to the lives of two families and an incident that changes the course of their lives in the dark period.A mother finds her son Heinrich missing one day, after she tells him the previous day that their neighbors are moving to Toyland.
The prospect of going to a place filled with toys titillates Heinrich and he gets too eager to go with the neighbors, which includes his best friend Paul.
This film is a good way to show the terribleness of war to the audience.
The story is based on the German history of Jewish persecution controlled by the Nazi.
In the movie, the two boys keep their lifelong friendship because a mother's mercurial brilliance helps a child not to go to "the Toyland."
I like the story process of this movie, especially how she saves her children.
I was into the film the entire time; however, at some point, it was a little confusing to catch up with the story because of the complexity of the timeline.
Also, I felt relaxed and comfortable at the end although the content of the movie contains heavy topic such as the Nazi control happened in Germany.
The moment I heard melancholy piano instrumental played on the background, I felt to be pulled by a film.
From a German language actress speaks and her serious reaction to the missing son, I soon noticed it is a story about The Holocaust.
At first, it is slightly difficult to follow the story, because it is told from two perspectives of German mother and David, her son, in two timelines.
In the next scene of David and Heinrich playing the piano together, we finally understand why David is missing.
The mother cannot honestly tell David the cruel truth about entrainment of Jewish, and instead lies that they will go to "Toyland." Watching unsatisfied David and the conversation between David and Heinrich, Jewish friend of David, we come to see why David vanishes from his bed.
In every sequence such as finding the teddy bear, being suspected as Jewish by the police, and final arrival to the train where David is, the contents are considerably concentrated, and I couldn't avert my eyes..
Toyland discusses a theme that has been discussed several times on different films: the Second World War. However, what makes this short film special is the sensibility of this portrait.
Instead of showing the explicit violence of the war, it touches the audience by showing two kids - a German and a Jewish, who are best friends and are going to be separated because the Jewish boy's family is going to be sent to a concentration camp.
In order to avoid shocking the young German boy, her mother says that his friend is going with his family to Toyland.
The depiction of the effect of war through the eyes of kids is not something new: in a completely different tone, Janos Szasz has done the same in his adaptation of The Notebook, a novel written by Ágota Kristof; and The boy in the Striped Pyjamas has a similar story.
However, even if the theme is not new, Toyland is still a surprisingly intense short film.
It mixes scenes of the mother looking for her son after the Germans had taken the Jewish to the concentration camps and flashbacks of what happened before this - how close the two kids were and how the German boy decided to follow his friend to Toyland.
There will be mild spoilers ahead: The basic premise of this short is that a Jewish family is about to be deported to a camp and when another boy whose best friend is among those going away asks his mother just where they're going, she tells him what she thinks is a comforting lie-that his friend David is going to "Toyland".Naturally, the other little boy, Heinrich, wants to go with his friend, only to be told by everyone that he can't go, with no real explanation, just that he can't go.
He decides he's going, regardless of what anyone says and so he packs a bag and follows them to the train.His mother finds out he's missing and races off to find him before it's too late.
Ultimately, they believe that she's serious and they go to check the train.The ending of the short is quite good and should be seen.
This film is a sad story that happened in Germany in 1942..
The lead roles were played by a mother, called Marianne, her son, called Heinrich, and her son's friend (a Jewish boy).
The supporting characters were played by the Jewish boy's father and mother.
One was the part where Marianne pretended that David was her son, risking to be discovered by the Nazis and also when his parents decided to give him to Marianne, knowing that doing this will save his life, even though it was a terrible pain, for them, to see her son with another mother.
It shows the Jewish people's suffering in the war.The plot was about a child who lived in Germany in 1942 and he had a Jewish friend, called David.
Heinrich, the German boy, insistently asked her mother where his friend was going to.
She finally answered that he was going to Toyland because his Jewish father had a new job.
Heinrich mother's said "Toyland" since she didn't want to say "concentration camp".
Her son wanted to go to Toyland with his Jewish fiend because he thought it was a place full of toys and they could have fun there.
There she didn't find Heinrich but she found David and she saved him because if she didn't do it, the Jewish boy would have died in the concentration camp.
This is what the little German boy shouts when he is given back to his mother and taken away from his best friend who is about to go on a journey to Toyland.
This 14-minute short was written and directed by Jochen Alexander Freydank and won an Academy Award and many many other prizes at film festivals all around the globe.
It is a bit sad to see that, to this date, Freydank (and his co-writer) have not managed to build on that Oscar win at all in terms of full feature films, although he has been more prolific in recent years than right after the big victory.
Julia Jäger, on the other hand, the lead actress has been very prolific before and after this film.I personally thought this was a good short movie.
And the mother is not the smartest either if she believes she can keep the son from joining his best friend by telling there are huge teddy bears in Toyland.
Obviously, the whole Toyland idea was a massive lie to confront her son not with the evil that was going on (if she was understanding it herself), but the consequence of this lie was finally that little Heinrich was confronted with it as much as it could have happened.
This film is based on the sad history, discrimination, and massacre of Jewish people.
There are two boys who like to play the piano, one is Jewish, and the other one Heinrich is not, and they are best friends.
One day, Heinrich's mother finds that her son is gone, and misunderstands that he went with his friend because she used to tell him they are going to the Toyland.
She asks and explains to police that her son is gone and she is not Jewish, and she finally reaches the train carrying only Jewish people.
The story is about Jewish mother and her son.
She thinks he is picked up by German police for Holocaust with her Jewish neighborhood.
In my opinion, the point of this short film is time series.
Because of it, the story is not simple to understand, however, by not showing the scene that Heinlish fails to follow David's family until the last part, audiences grasp when the mother sees David became more effective.
The old hands playing the piano in the very last scene is touching one, however, I could not understand the choices of the pictures after that.
This is a short film directed by Jochen Alexander Freydank.
The story of this film is somewhat similar to The Boy in the Striped Pajamas.
A mother of the missing German boy tries to find him, and encounters a Jew family.
I think the director is awesome because he expresses really important things about the bonds of people in the age of holocaust in very short length of movie, which is only 13 minutes long.
I think that this short film reflects the historical background well so that the audience is naturally attracted to its real-like setting.
First, it would be quite unlikely for a little kid to sneaks out of his room in the early morning without being noticed by any family members in his house, and it is often the case with such a young boy that he forgets the words he tells others yesterday.
Furthermore, as the scene where the German police officers bring mother to the train which is about to leave to the concentration camp in order to find let her find her son, it is dubious whether this kind of situation could really happen at that time.
Therefore, even though I like the music, actors and the well-reflection of the history of this short film, I admit that it still can be improved in terms of the scenario..
Toyland is a short film taking place Nazi Germany which portrays Jewish people's internment.
There are two German and Jewish boys who like playing the piano together and one day they know the Jewish boy and his family will be taken to the place "toyland", which is German mother names to hide the cruel fact which is internment.
She has tried to persuade his son however, in the early morning, he left his home with Jewish family secretly because he has promised that he will do anything together with the Jewish boy and be attracted to toyland.
For example, until the middle of the film, I cannot know if the mother and his son are German or Jewish, or why and how the boy leaves his home even though the story goes forward.
Since this film has a bit complex structure, I sometimes get confused, however, it makes me more surprised or feel thrilled when I know those facts or background information after or while the story goes on.
I also like the shot in which the mother takes the son's friend since she does not find his real son.
There is no conversation in this shot, however, the friend's parents' and the German mother's facial expression shows that their deep love to their son and strong determination..
The short film Toyland is a story about a German family and a Jewish family.
For example, at the beginning, aa boy is gone and his mohter goes ot find him, but next scene is very different situation.
Also, this film shows how the discrimination against Jewish people by German people was like.
In the film, Jewish people are insulted by police as if ther are not humans.
In additon, they are taken to "Toyland." This is a secret language that the mother uses to her son.
One thing I couldn't understand was the scene that German boy and his friend's father who is Jewish are talking about their secret.
Overall, this film was very goodfor me since it was moving and let me think about the history..
It is Natzi Germany, the friend of Heinrich who is Jewish will be send to the concentration camps.
The mother told Heinrich that the Jewish boy is going to "toyland".
Heinrich wants to go to " toyland " as well and one day he disappears.
The movie has a really mechanical scene changes telling two sides of the story .
The part that the mother is looking for the disappeared Heinrich and the scene of setup and revealing the truth.
In the begging is a little confusing but you definitely understand the story by the end.
I liked that you realize in the end that the mother's actions are the key of the story.
Toyland is about a young boy who wants to join his best friend on his journey to Toyland.
Unbeknownst to the boy, Toyland is not the magical place he thinks it is, but is in fact a concentration camp.
The boy soon disappears and his mother goes searching for him, hoping to find him before he takes an unfortunate journey.
This short film builds a lot of tension into the idea that the woman may be too late to save her son.
There is a nice twist at the end of the panic that makes this short film a worthwhile watch.
Overall, Toyland does something in its small runtime that very few feature length films can and that is get you invested in what is going to happen.
This short film is about discrimination and the massacre of Jewish people.
The main character is a young boy who is learning how to play the piano.
One day, the boy's mother finds that her son is gone.
In the bunch of Jewish people, the mother finds a boy.
She thinks that is her son, but the boy was the son's best friend.
The mother notices that he is not her son, but keeps pretending that is her son, and save the boy from going there.
While the plot is well planned, so I like the film overall..
"Toyland" is a short film which is about a German boy who follows his Jewish friend who is actually going to a concentration camp.
The boy thinks the friend is going to "Toyland" because his mother lies so and he believes the lie.I personally liked this film because it was very emotional and touching.
The film shows what really happened in Germany during Second World War without any violent scenes.
The film successfully conveys the sadness and the darkness of what actually happened.The film was also about friendship between the German boy and the Jewish boy.
I realized what happened at that time was really cruel.What I also liked about the film is that it was not chronological order.
The film is from two sides: what happens to the boy and what happens to his mother.
A little German boy and his neighborhood little Jewish boy are good friends like blood brother.
One day, a German boy tries to go on a trip to Toyland with his best friend.
I think that the mother saves him simply for his son and the Jewish parents.
Overall, this film makes us think about the history of Jewish people and Nazi Germany and reminds us not to make it such tragedy again..
The story is about a kid wanting to go to "toyland." The story happen during the Nazi's time.
Their whole family is going to toyland and the little boy wants to go with them.
In the end, the mother finds the police and stop the train in time before it goes away.
However, I like this short film very much.
|
tt3043590
|
Clinger
|
Fern is a high school student with a problem. her ex-boyfriend Robert returned from the grave as a ghost. Their relationship wasn't entirely a happy one, since Robert was clingy and smothered her, which led to their breakup. Initially, Fren tried to make things work, but quickly determines that a relationship between a ghost and a living person would not be successful, especially as she has begun to spend time with Harlan, a football player. After Robert subjects her and others to a series of supernatural attacks, Fern turns to her track coach Valeria, who doubles as a ghost hunter. Valeria gives her a series of tools that could help her get rid of Robert's ghost, which includes pills that give her the ability to see ghosts. Fern is finally forced to tell Robert that she doesn't think that the two of them can be together since she's of the living, only for Robert to then change his tactics. Instead of trying to romance her, Robert has decided that the only way they can be together is to kill Fern so that their ghosts can be together. He enlists several other ghosts to help in his efforts, making it necessary for Fern to bring her family and Valeria into the fight. Eventually, Fern and Robert have a face off, during which she manages to convince him to let her go, causing him and the other ghosts to vanish. The film ends with Harlan asking Fern out on a date, to which she replies that she'd like to be single for a while before starting to date again.
|
comedy
|
train
|
wikipedia
|
Low Budget Charm.
I watched Clinger via Amazon Prime and thought it was entertaining.
It did look fairly low budget, but I feel like that was part of the charm of it and it helped forgive the less than stellar performances..
this isn't to knock it, I feel like a lot of my favorite movies out there are a little rough around the edges (ala: Clerks)I do feel like the script was pretty good and I really enjoyed the protagonist, Fern-- definitely far from a prop and that in itself deserves a big thumbs up.
I'd recommend watching it, it's best for young teenagers-- it's a high school story with bad words, perfect for 13/14 year olds.
If you're looking for something spooky and high brow- this isn't the movie for you.
It's campy and held together with gaff tape and pizza-- and they don't try to hide it; which is why this movie stands out among other indie horrors who try the Hollywood version of (name Hollywood horror movie)..
My Review Of "Clinger".
"Clinger" has a pretty straight forward story with some really dark, but funny humor written into its classic boy-meets-girl prose.
While the acting is decent, and the characters are somewhat developed, a lot of the moments fall flat.
I am really not sure why but during the more comedic scenes either the timing, or delivery is just not strong.
And yet from a contrast point of view, the scenes that are just casual character development have a natural quality and ease that really delivers Steves and Gabi Duncombe's (writer) vision.
There are plenty of funny moments, especially during the more physical comedy scenes that are also the horror scenes.
The horror comedy aspect of "Clinger" is reminiscent of recent films like "Boy Eats Girl" with its all-out "stereotyped" gag humor, but the characters themselves are a bit more witty much like the characters in classic films such as "Election" with Reese Witherspoon.
"Clinger" really has some nice moments.
Of course most of the moments come with the bloody, death scenes, interactions between the living and the dead-that usually ends in someone getting hurt, and a few of the actors that just own their characters.
The special effects are above par considering the budget.
A lot of the stuff is CGI supported gory elements, but there is equal parts practical effects in the film too.
Usually I trash films for relying on CGI to give us the horror but when a film is paranormal (ghosty) in nature I tend to find it acceptable and quite frankly necessary.
Plus the effects team, and Steves balanced the CGI, practical effects nicely.
And there was enough blood spray and splatter in the film to make any horror fan happy.
The musical score wasn't that impressive, actually I don't think any song or sound effects sequence really stuck out to me personally.
It doesn't suck-it just wasn't that impressive.
Overall "Clinger" is a horror comedy worth checking out.
I enjoyed the horror elements way more than the comedy stuff, but everything balances out in this one, and the cast are really committed to their characters..
Great comic horror film.
Saw this at Nevermore Film Festival in Durham, NC last weekend.
I thought it was one of the highlights of the festival.It's difficult to set the right tone for a comic horror film, but this one hits the mark.
Of course, it helped to see it on the big screen in a sold-out theater.I have to applaud the writer - clever dialog and jokes along with the scares.
And the actors were all great - with close to a star-making performance from Jennifer Laporte as Fern.
Vincent Martella as her first boyfriend Robert was also good - somehow walking the fine line between youthful earnestness and creepy obsession.
There was appropriate time spent to make their relationship awkward and touching, like real teenagers.The writer was generous enough to provide even the supporting cast with great lines and character arcs.
For instance, Fern's sister could have been a thankless role - providing easy jokes as a stereotypical airhead.
But she has her own interesting subplot.
And the track coach was an inspired creation - flawed, but strong and wonderful.I also liked the flashbacks, animated to resemble a child's crayon drawings.
And the plot continued to build to a satisfying conclusion -- another trick that's not so easy to pull off.
Very impressive..
Funny and original but could've been much better.
My quick rating - 5,2/10.
Not really a horror but has horror elements.
These are far overshadowed by the humor which was surprisingly good.
That said, one character stole the spotlight with the laughs.
Kudos to the scriptwriter that came up with her lines.
To get what I mean, you will just have to see it.
Very under the radar but going in blind, I was entertained for sure.
If this were developed better, this could have been great.
Not the first dead partner comes back to haunt the other that lives, but surely original in the death itself and the method of haunting.
I am kinda laughing thinking about it.
I can see going back and watching this again..
Not Bad But Could Have Been Better.
Horror Comedies have a reputation of either being great or terrible, the mix of genres can work and has in the past but a lot of the times (especially in low budget films) the comedy just seems forced and lame.
With Clinger (a new horror comedy from first time director Michael Steves) there are glimpses of a really good movie, but there are also a lot of very sloppy attempts at comedy.The story follows Fern Peterson (player by Jennifer Laporte who did a really good job in her first feature film), Fern meets Robert Klingher (played by Vincent Martella who is best known for his appearance in the show "Everybody Hates Chris"), Fern and Robert are both fairly inexperienced when it comes to dating and they quickly fall for each other.
Everything goes great at first but Robert begins to become much more invested in the relationship than Fern, it doesn't take Fern long to realize that it's time to break things off with Robert.
However during the break up Robert is killed in a freak accident, now he is back as a ghost and more obsessed than ever.
I really liked the plot line, it's one of the best parts of the movie in my opinion.
They really do a good job of capturing the awkwardness of teenage relationships and that really gave the movie some charm.
While there is a decent amount of stuff to like in "Clinger" there is also quite a bit of stuff that really throws the film off and prevents it from being great.
One of the big negatives that really stood out for me was the fact the two of the characters (Fern's Sister and Fern's Coach) were extremely obnoxious.
You can tell that these were the two characters that were suppose to bring most of the laughs, everything they say is an attempt at comedy but 95% of it fell flat on me and after a while it just got really annoying.
There are definitely some funny parts in the film, the more subtle jokes and even some of the psychical comedy worked really well, but too many times the film tried a bit too hard to be hilarious.Parts of "Clinger" were extremely fun, gory, and entertaining as hell, unfortunately a few poor characters and a few too many bad jokes really prevented this from being a great low budget gem.
Nevertheless this was still an entertaining Horror/Comedy, just a few steps away from being more than that.
I love you very much.
Fern Peterson (Jennifer Laporte) runs track and wants to go to MIT.
Her sister (Julia Aks) runs an upstart sock puppet therapy program.
If she has a job, she won't have time to become a billionaire entrepreneur.
Fern meets Robert Klingher (Vincent Martella) and they fall in love.
Robert makes everyday seem like Valentine's Day. She is the one.
Fern wants to break-up before leaving for MIT.
This startles Robert who has an accident where he literally loses his head.
He becomes a haunting love ghost who only Fern can see, but her problems are just starting.This was a fun comedy/horror with quirky humor and blood.
If you like this style, you might want to check out, 'Night of the Living Deb." Guide: F-word.
Sex. Male butt nudity..
Great movie.
This is a quite an original horror comedy.
I like it because it's interesting to see what's happened in the afterlife.
It's funny to see Fern deal with her dead ex-boyfriend.
She wanna be free but she also feel quilty about his dead so she just still with him.
The end is good.
I see better horror comedies, but this movie is funny so i enjoyed it.
Yes it could be better, but it's still goodThat rules for love ghost was crazy.
I also like that animation parts.
The best was first sex of Robert and Fern and stuffed zombie bears :D
|
tt0056211
|
The Magic Sword
|
George (Gary Lockwood) is the foster son of Sybil (Estelle Winwood), an elderly sorceress. She brought him up after his "royal parents died of the plague" in his infancy. He has fallen in love at first sight with Princess Helene (Anne Helm).
She is kidnapped by the wizard Lodac (Basil Rathbone), who brazenly informs her father that he intends to feed her to his pet dragon in seven days, revenge for the death of his sister at the same age as Helene is now: 18. George wants to go on a quest to liberate his lady love, but Sybil believes he is too young (he is 20). She tries to distract the youth by showing him a magic sword, a steed, an invulnerable suit of armour, and six magically frozen knights he will command when he turns 21. The impatient George, however, tricks Sybil and locks her in a cellar, then leaves with the magical implements and revived company of knights.
Sir George and his party appear before the king and insist on journeying to Lodac's castle to rescue Helene, against the opposition of Sir Branton (Liam Sullivan), a knight who had previously volunteered for the perilous quest. The king promises the rescuer his daughter's hand in marriage and half his kingdom.
Seven curses bar the path to Lodac's castle. First, they encounter an ogre, who slays Sir Ulrich of Germany and Sir Pedro of Spain. When George tries to save Sir Anthony of Italy from a swamp, Branton treacherously comes up from behind and kicks him in as well. Anthony is killed, but George survives with the help of his magic sword.
Later, Branton meets secretly with Lodac. It turns out that Branton has Lodac's ring, which the magician lost and wants back desperately. The kidnapping was solely intended to make Branton look good in exchange for the return of the ring. When Sir Dennis of France happens by, Lodac prepares a trap. Mignonette, a beautiful Frenchwoman, distracts her compatriot, then suddenly turns into an ugly hag (Maila Nurmi, best known to TV viewers of the 1950s as Vampira) who attacks him. Fortunately, George saves him with his magic shield.
Lodac finally becomes aware that George is being aided by magic. He contacts Sybil and mocks her abilities. Stung, she tries to cast a spell to help George, but ends up inadvertently stripping away all his magical powers.
Sir Dennis and Sir James of Scotland perish when they reconnoiter ahead. Branton then leads George and Sir Patrick of Ireland into a trap, revealing his partnership with Lodac before sealing them in a cave with deadly green apparitions. Patrick enables George to escape at the cost of his own life.
George sneaks into Lodac's castle and rescues Helene, only to be captured. The magician gives Helene (actually the hag in disguise) to Branton, but once he has the ring, he uses magic to put Branton's head on a plaque on the wall. George is tied up, but escapes with the help of shrunken prisoners. Sybil arrives and finally remembers the spell that restores George's powers, enabling him to slay the two-headed dragon and save Helene. Sybil steals the ring while Lodac is distracted. When the magician threatens the young couple with the seventh curse - himself - Sybil transforms herself into a large panther and kills him. The movie ends as Helene and George get married. When the six knights are returned alive, George's happiness is complete.
|
revenge, violence
|
train
|
wikipedia
| null |
tt0109555
|
Darr
|
The film begins with Kiran (Juhi Chawla), a college student, returning home for Holi celebrations and being obsessively stalked along the way by Rahul (Shah Rukh Khan), her classmate who has a crush on her. Kiran's boyfriend Sunil (Sunny Deol) is a Navy Marine Commando officer, and is on a mission to free a child hostage from some terrorists on the high seas. Sunil saves child hostage. Sunil's Captain Mehra (Dalip Tahil) is also the father of Rahul. Rahul tries to be friendly with Sunil in order to be closer to Kiran.
When Kiran reaches her brother Vijay's (Anupam Kher) home, she is continually stalked by Rahul on the phone. This causes much stress to herself and her family. He crashes Kiran's family's Holi celebrations incognito as a member of the band. Sunil asks Kiran to offer the band some money for their performance, where Rahul, veiled in Holi colours, whispers "I love you, K-K-K-Kiran" to Kiran, which disturbs her greatly and a foot chase ensues to find the hooligan who's invaded their house, but Rahul soon disappears into the crowd.
When Rahul receives the news of Kiran and Sunil's engagement, he tries to shoot and kill Sunil when the couple are out shopping for a wedding ring. He misses his aim and Sunil begins to chase him, from which Rahul narrowly escapes being recognised by Sunil.
Kiran and Sunil get married but Rahul still refuses to give up on Kiran. He defaces the newly married couple's home with graffiti declaring his love, causing more distress to them. To get away from the stalker, Sunil takes Kiran on a surprise honeymoon to Switzerland. Learning their location through devious means, Rahul turns up at their hotel in the Alps. Kiran recognizes him from college and the couple welcome him to be part of their festivities. That very evening, Sunil finds out from Kiran's brother Vijay that Rahul is the one who has been Kiran's stalker all along. He sends Kiran away on a boat and confronts Rahul. Rahul tries to run but Sunil catches up with him in a forest where they have a fight. Rahul stabs Sunil with knife after feigning surrender, and leaves him for dead. He then goes to the boat and tries to forcefully abduct Kiran, He wants to marry Kiran without her consent. But Sunil comes back and brutally beats him before shooting and killing him. Kiran and Sunil then return to India and reunite with their family.
|
insanity, romantic, murder
|
train
|
wikipedia
|
Mercifully, Yash Chopra's interpretation of "Sleeping with the Enemy" is an extremely stylish and well-made films.Shah Rukh Khan is obsessed with Juhi Chawla (who's looking her very best in here!).
When he realizes that Juhi has a fiance in Sunny Deol, he stops at nothing to make sure she becomes his.Every frame of this film is a delight to watch.
Whether it's Shah Rukh chanting his trademark "I love you, K...k...k...kiran!" or the feel-good mushy scenes between Sunny and Juhi (who make a perfect match), you won't feel like leaving your eat in boredom.Each and every song on the soundtrack is ear pleasing, especially Jaadu Teri Nazar and Tu Mere Samne.
Darr may not be SRK's best film (that honor goes to Baazigar), but it definitely figures as one of his most flawless performances!
He's done similar roles before, but he's good.Overall, Darr is g...g...g...great!
I generally love SRK as a villain (how can you not?) and I believe that SRK and Juhi are a perfect match on screen as they both are actually more nice than pretty.This movie is great to watch, although it has some major flaws: 1) the good guy (Sunny) - not only he's so much less attractive than Shahrukh(what in my opinion is soooooo important in Bollyfilms) but his role lacks character - it would be much better if there was a conflict between two strong personalities, instead we have a conflict between a personality and an average soldier 2) Kiran's and Sunil's reactions for Rahul's actions are unbelievably silly and naive even for a Bollywood production But all this is not that important in comparison with the wonderful melodramatic atmosphere, great songs (really truly great)and (let's say it again) Shahrukh as a villain, I just love him when he's so pagalA must-see (along with Anjaam, Baazigar and Duplicate).
One of Shahrukh Khan's BEST movies.
This movie is just brilliant, SRK's acting is just amazing, the end is so incredibly sad, I cry every time I see this film, it's the kind you never get sick of, and can see again and again, an absolutely amazingly brilliant movie..
this movie is such a good movie shah ruck khan does a great job as the crazy mad villain who is totally obsessed withthe girl the story is fantastic the acting by allcharacters like the girl and shah ruck and Sunny are all fabulous and i really love the first song especially how it comes back at the end oh and its so emotional if your a true shah ruck khan fan you have gotta watch this movie because its the best shah ruck khan movie ever he plays an excellent role and i wish he done more crazy man roles but u have to watch this what so ever this is a really good movie this is a really good movie you have to watch it it is truly amazing you have to watch it it is fabulous i can go on and on about this movie because it is a fun funny scary cool and totally fantastic movie in the world.
Juhi Chawla was good and so was Sunny Deol but it was Shah Rukh Khan who shot to fame as the stalker.
My favourites are Too mere samne and Jaadu teri nazar.After the dismal failure of the underrated Lamhe Yash Chopra fought back with Darr.
I have seen many of Shahrukh's movies and this is a very good role for him.
I think this movie was very good and recommend it to all Shahrukh Khan fans.
Darr is not a mere psychopathic movie it is actually a real portrayal of obsession.The movie is about a boy who is obsessed for a girl.The story was unique as this topic has never been explored in Indian cinema.It was not a copy of any Hollywood flick,it was just inspired from it.The screenplay was good and its flow was smooth.The film could have been shorter.1st half of the movie was lousy but 2nd half was good.The movie also memorable for Shahrukh's performance.He was great.This is among the best performances of his career.His body language,expressions,vibration of his sound everything was superb.This movie proves why he is called the king khan.Sunny was usual doing what he does.He was average.The way in which he carries out the rescue mission in the beginning of the movie was too bad.Juhi was good and acted well.Anupam was nice and provided the much needed comic relief.Music was good especially the title song was so charming.But placement of songs in the movie was bad.Locations are good.The movie needs a serious editing and could have been shorter.Yash ji was a great director and this movie proves it yet again.It is a must watch for cinema lovers.
The movie is a very good movie.one of the best from Yash raj films.The direction is incredible.The screenplay is brilliant.The story is excellent.It tells about Rahul who is obssed of Kiran his college friend.He is a full blown psycho doing things like talking to his mother on a phone(anyway she died 15 years back) etc.Kiran is engaged to Sunil.Rahul does everything so he can get her.He even trys to kill Sunil but he survives it.He even goes to the place where they are going to their honeymoon.The movie is every nes delight.Shahrukh is superb,Juhi is fairly good,Sunny is average,Anupham is okay and so is Tanvi,Dalip did good.The movie belongs to Srk.The dialogues are brilliant(Shahrukh ones and a lot if not the overacting and comedy)."Jaadu Teri Nazar" and "Tu Mere Samne" are absolutely melodious tracks..
I hope I don't insult anybody (because basically, the BF and I loved it!) but we couldn't take it half as seriously as the actors did - especially the obsessed one (who, I understand, is a huge Bollywood star because we've seen him on the cover of lots of dvds since and i even saw a doll of him today in Hamleys!!
Darr, although a copy of some Hollywood flick, is one of the best films I have seen.
Sunny was intended to be portrayed as the good guy in the film but ends up looking like the villain at the end.
Srk proves he is the best in bollywood.Awesome film.
The story is good.Nice direction.Awesome and terrifying acting by Srk.Juhi chawla and Sunny deol acted OK in their roles.But one thing for sure SRK proves he is the best in bollywood and no one can beat him and take his place.Nice songs especially jaado teri nazar.Brilliant screenplay.Srk stammering expression and his psychological display of being obsessed really shows us why he is called king khan the king of bollywood.But the end is very incredibly sad.Overall a must watch film for the brilliant performance by Srk..
Darr is an brilliant movie..It is 1 of my favourite films..SRK has done a mind blowing job in the movie....this role couldn't have been played by anyone else because this type of role only suits SRK...SRK plays a mental villain in the film..SRK's performance in this movie is the best performance ever in boll wood...SRK deserves an honour and an encouraging appeal for his fantastic performance...Juhi also delivers an excellent performance..Sunny Deol looked strong and physically fit in the film...
Darr is probably the best movie that the great combo of ShahRukh and Yash Chopra stable has provided.
Though Sunny Deol was supposed to be the lead role, and the Shah plays the baddie, by the end of movie, it is only Shahrukh who steals all the limelight.
Sunny Deol's role made the "good guy" role seem like the "bad guy" one.
Watch this movie just to see Shahrukh Khan say "I love you,K-k-Kiran..." It's both heartbreaking and frightening at the same time when he says this, from the beginning to the end.
This movie made him famous, and I totally recommend it :D It's highly entertaining, the music's wicked and you will laugh right along with Shahrukh here...You'll genuinely feel scared for the hero and heroine and oddly enough you will identify with at least one of the characters.
Go see this classic Bollywood movie with your good buddies and some lovely food and have a day in.
This is brilliant movie very entertaining and excellent story-line great songs I like that song jaddu TERe nazar and Tu mere saamneOther music song tracks were worth watching and listening Shahrukh khan was superb in his negative role I loved his performance he is the real show steal-erHe truly steals the show sunny deol is the perfect hero it was brilliant to see these superstars in this blockbuster movie Judi did fine anupam was hilarious as always If your a SRK or Sunny fan go watch this movie.
It still had cheesy classic Yash Chopra love, good music, some clichés, some cheesy scenes, and other things like that.
But really SRK helps you to forget about that.Overall, I think this is a pretty good film to watch, especially if you are a Shah Rukh Khan fan.
Sure, it "borrows" ideas from Psycho fairly liberally, and by now it's effects are fairly cheesy, but still, Darr is a great film to watch by any standard.Darr is one of those rare Yash Chopra films (and the beginning of the great association of Shahrukh Khan with Yash Raj films) that brings violence and the more obsessive type of love into the picture of your typical Bollywood romance.
The action scenes are few and far between, and yet this is one of the darkest and bloodiest Hindi films of the early 90's.Shahrukh Khan assays the role of stuttering stalker Rahul Mehra pursuing the lovely Kiran (Juhi Chawla), who is already engaged to the dull as dishwater, but very sane and predictable Sunil Malhotra (Sunny Deol).
All of this feels very basic on paper, but on reality the combination of these three characters is dynamite on screen.Unintentionally I am sure (no one would intentionally portray themselves as a bore when they are supposed to be the hero of the film), Sunny Deol is in great part to thank for the magic that is Darr.
While Shahrukh takes to the obsessive and yet very sympathetic victim with aplomb, Deol's performance as the tired and somewhat old (even back then) Sunil is one that really drives you into Shahrukh's arms right from the first frame.In an odd twist of logic the character played by Sunny (Deol has been a fine actor in other films so this is not an attack on his character) almost forces the viewer to take Shahrukh Khan's point of view when it comes to Kiran.
In consequence, despite the admittedly awful things that Rahul does throughout the film, in a very eerie and disconcerting way, one begins to cheer for Shahrukh's character to not only win the girl, but also to triumph over Sunil in every way possible.Such a powerful emotional impulse is bound to be given credit, and I have to give it where it is due.
Just to make sure that Juhi Chawla is not left out, I do have to mention that, as in her previous work such as Qayamat Se Qayamat Tak, Juhi gives a star performance as the cute if somewhat vapid college student and object of Rahul's desire.I strongly recommend anyone to watch this film, even if they are not entirely familiar with Bollywood.
Darr was a Super Hit film, which was loved by many peoples.
It tells the story of Shahrukh Khans innocent obsession for Juhi, who loves Sunny Deol.
Shahrukh Khan keeps phoning Juhi and tells her that he loves her too bits.
Yash Chopra gives us a good film that does entertain, widely because of Shah Rukh Khan's character.
Sunny Deol is suppose to be the main actor, but Darr belongs to Shah Rukh Khan delivering a Superb performance.
Shah rukh Khan is literally the villain of the movie, but i would of been happy if he got the girl, because he loves her so dearly.
Juhi Chawla is cute as ever in a fairly good performance.
Some good songs including Tu mere samne being the best..
This is one of the films (along with Baazigar - a must see Bollywood film) that made Shah Rukh Khan and it's for this you have to check it out.Other reviews give away the story - it is a fairly basic idea - ShaRukh definitely stands out and one of his final expressions right at the end made me give this film an extra star.Its fairly cheesy but definitely worth watching if you are new to Bollywood or not!
Darr tells the story of two young men Sunil (Sunny Deol) & Rahul (Shahrukh Khan) who both loves a woman called Kiran (Juhi Chawla).
this new attempt of Yash Chopra of making villains out of heroes is satisfactory.Both heroes of the movie, Shah Rukh and Sunny Deol benefited tremendously from this film that will decide their career in the future.
Sunny will make more movies where he'll play heroes with intense action like in Jo Bhole So Nihaal while Shah Rukh will use a lot of stuttering in his next films.
Yash Chopra is the filmmaker who is instrumental in the success of Amitabh who gave him several great films like DEEWAAR, TRISHUL, KABHIE KABHIE, KAALA PATTHAR and SILSILA and then he made some craps till CHANDNI(1989) and LAMHE(1991) which were good films DARR was the first film starring Shahrukh Khan in a Yashraj filmThe film released in 1993 when Shahrukh Khan also starred in a negative role in BAAZIGAR and Sanjay Dutt played a villain in KHALNAYAK in the same yearDARR is an obsessive love story, The film sort of made the track famous Amitabh had played an obsessive lover in PARWANA(1971) which was a flop DARR brought it back with a bangThe film keeps you on the edge throughout, Sunny-Juhi portions are sweet but the best part is Srk's character which is brilliantly handled Though at times the film does get sort of clichéd/filmy and some scenes do seem filmy but yet the film is well handledOn the flipside, there are times when the film tends to veer towards scenes that look far-fetched, like the climax when a stabbed Sunny suddenly appears in the middle of the sea and bashes SRK Also the film tends to drag in some places Yash Chopra does a brilliant job Music by Shiv Hari is fab, be it TU HAI MERI KIRAN, TU MERE SAAMNE which became a rage and made Udit Srk's voice Or the romantic DARWAZA BAND KARLOAmongst actors Sunny plays the typical hero and is refreshingly low-key but his role lacks the meat which resulted in him being angry on Yash Chopra He felt he was cheated by the director Surprisingly in the same year Sunny stole the show in a DAMINI from Rishi Kapoor though having a guest role Juhi looks ravishing and does a good job Shahrukh Khan steals the show with a brilliant portrayal, be it his stammer, or his cold expressions he is superb In fact he was raw those days but that made him much more identifiable then today Amongst rest Anupam Kher is hilarious, like in LAMHE while Tanvi Azmi is likable too Anu Kapoor is good in a cameo.
Darr (1993)Sunny Deol and SRK are my two favorite Bollywood actors and I was excited to learn that they did a film together called Darr.
The Pluses: the main cast, (especially Sunny Deol and Juhi Chawla), nice songs, Anupam Kher and his wacky Cricket interest, and the reference of Imran Khan in a positive light.
Great quality picture.The Minuses: This is a 90's movie, so expect some corny dialogues, unexpected events in the film and songs that appear out of nowhere.
SRK appears to be what we call in modern times, as a stalker.Overall, Darr is a great film.
it' sad that SRK and Sunny Deol don't make films together anymore.
So when Rahul comes to know that Kiran is in love with Sunil, what will he do ?
Sunil (Sunny Deol) and Kiran (Juhi Chawla) fell in love with each other and decide to get married after Kiran's education.
However, Kiran has a stalker named Rahul (Shahrukh Khan) who is not only in love with Kiran but constantly follows her around, harrassing her via phone calls and disguises and would do anything to win Kiran over.
Sunny deol as the typical hero is average as his role was not all that great.
Juhi Chawla as Kiran was great in her performance, however like Sunny, her popularity of doing leading roles faded.
However her chemistry with Sunny is great.This movie belongs to Shahrukh Khan.
Overall, great performances but watch the movie for the King Khan.
Yash Chopra's films did manage to be sensible once in a while, though impounded by unnecessary songs.
This movie is one of those, and fortunately, it skipped on unnecessary bollywood drama.The acting is above average in this one with a rare, excellent performance by SRK.
I think the climax was good, especially when Juhi asks Sunny to kill him.
Shahrukh plays an obsessed lover who will do almost anything to win over his lady which in this case is Juhi Chawla.
Shahrukh plays an obsessed lover who will do almost anything to win over his lady which in this case is Juhi Chawla.
Little does Juhi know in the film that Shahrukh has a MAJOR crush on her and is constantly stalking her.
Little does Juhi know in the film that Shahrukh has a MAJOR crush on her and is constantly stalking her.
Never in my life will I forget the line, "I love you K..k..k..Kiran!"It's just too bad that Shahrukh and Juhi weren't exactly "together" in the film.
Never in my life will I forget the line, "I love you K..k..k..Kiran!"It's just too bad that Shahrukh and Juhi weren't exactly "together" in the film.
But Juhi and Sunny do make a fairly good couple in the movie.
But Juhi and Sunny do make a fairly good couple in the movie.
|
tt0076095
|
The Goodbye Girl
|
Dancer Paula McFadden (Marsha Mason) and her ten-year-old daughter Lucy (Quinn Cummings) live in a Manhattan apartment with her married boyfriend, Tony DeForrest, until one day, he deserts her to go act in a movie in Italy. Before he left and unbeknownst to Paula, Tony subleased the apartment to Elliot Garfield (Richard Dreyfuss), a neurotic but sweet aspiring actor from Chicago, who shows up in the middle of the night expecting to move in. Though Paula is demanding, and makes clear from the start that she doesn't like Elliot, he allows her and Lucy to stay.
Paula struggles to get back into shape to resume her career as a dancer. Meanwhile, Elliot has landed the title role in an off-off-Broadway production of Richard III, but the director, Mark (Paul Benedict), wants him to play the character as an exaggerated stereotype of a homosexual, in Mark's words, "the queen who wanted to be king." Reluctantly, Elliot agrees to play the role, despite full knowledge that it may mean the end of his career as an actor. Many theater critics from television stations and newspapers in New York City attend opening night, and they all savage the production, especially Elliot's performance. The play quickly closes, much to his relief.
Despite their frequent clashes and Paula's ungrateful attitude to Elliot helping her, the two fall in love and sleep together. However, Lucy, although she likes Elliot, sees the affair as a repeat of what happened with Tony. Elliot convinces Paula that he will not be like that and later picks up Lucy from school and takes her on a carriage ride, during which Lucy admits that she likes Elliot, and he admits that he likes her and Paula and will not do anything to hurt them.
Elliot gets a job at an improv theater, and is soon seen by a movie producer. He is offered an opportunity for a role in a movie that he cannot turn down, the only catch is that the job is in Seattle and Elliot will be gone for four weeks. Paula is informed of this and is scared that Elliot is leaving her, never to return, like all the other men in her life. Later, Elliot calls Paula from the phone booth across the street from the apartment, telling her that the flight was delayed, and at the last minute, Elliot invites Paula to go with him while he is filming the picture and suggests Lucy stay with a friend until they return. Paula declines but is happy because she knows that Elliot's invitation is evidence that he loves her and will come back. Before hanging up, Elliot asks Paula to have his prized guitar restrung, which he had deliberately left at the apartment, and she realizes this as further proof that he will indeed return and that he really does love her.
|
romantic
|
train
|
wikipedia
| null |
tt0065850
|
Hornets' Nest
|
In Northern Italy in 1944, the entire population of the village of Reanoto is massacred by the SS under the command of the cruel Sturmbannführer Taussig (Jacques Sernas) for helping the Italian resistance movement. The only survivors are a group of young boys in ages from 7 to 14 led by Aldo (Mark Colleano, son of Bonar Colleano and Susan Shaw) who witness the mass execution and vow revenge.
That night, a detachment of US Army paratrooper saboteurs jump into the area with a mission to destroy a strategic dam with the partisans prior to the Fifth United States Army's advance into the area. Their drop zone has been discovered by Wehrmacht troops under the command of Hauptmann Friedrich von Hecht (Sergio Fantoni), who kill them all except the leader of the paratroopers, Captain Turner (Rock Hudson), who is rendered unconscious and goes unnoticed by the Germans when he lands in the branches of a tree. The Germans capture the demolition equipment from the dead Americans.
Aldo and his friends rescue Turner by spiriting him away from the ambush. Realising that Turner needs medical attention, they kidnap German doctor Bianca Freedling (Sylva Koscina) to nurse him to health, and keeping her captive even after Turner's recovery. In order to avenge the massacre of Reanoto, Aldo wants Turner to train him and his friends in the use of military weapons and tactics. Turner uses the opportunity as a second chance to complete his sabotage mission, using the boys instead of his late command. He has the boys steal the captured American demolition gear from von Hecht's headquarters, killing SS Rottenführer Gunther in the process, but Aldo hides the detonators until Turner leads them in their revenge. He trains them to use German MP40 guns.
In response to the killing of Gunther, Standartenführer Jannings makes the hunt for Turner and his "Dead End Kids" an SS-led affair, placing von Hecht under the command of Taussig and reassigning his regular Wehrmacht troops to guard a tunnel. Not long after this, Turner and the boys steal a truck and drive to SS headquarters, slaughtering all of Taussig's men in a surprise attack. Killing the SS was enough for most of the boys, but not for Aldo, who is becoming emotionally and mentally unhinged. He wants to keep killing Germans.
Von Hecht, after an argument, shoots and kills Taussig in the aftermath of the attack on SS headquarters, and goes after Turner and the boys solo. While Turner and a few of the boys are planting Composition C charges on the dam, Aldo and a few of the others go against orders and directly engage the German guards on top of the dam, which very nearly costs the entire mission. Taking over an MG42, Aldo becomes blood-drunk as he mows down Germans, even going so far as to shoot down his own friend Carlo when Carlo blocks his shot. Despite interference from von Hecht, Turner and the kids successfully plant the explosives and blow up the dam, flooding the valley.
With the dam destroyed and the Germans routed, the American troops begin moving in. When Turner learns of Carlo's death, as well as that of another boy who died protecting Bianca and some of the younger children, he regrets having involved the children and breaks all of the guns. Aldo however refuses to hand his over, and runs off, encountering von Hecht, who survived the destruction of the dam. Aldo shoots and wounds him just as Turner catches up to him, and after failing to talk him out of finishing the German officer off, prevents him by force, taking his gun away. He takes von Hecht prisoner as von Hecht expresses his admiration for Turner's success.
Turner, Bianca, von Hecht and all of the surviving boys except for Aldo go down to meet the approaching column of American soldiers. Aldo lingers. After seeing to it that the others are safely aboard a truck, Turner goes back for Aldo, who angrily throws rocks at him because he stopped him from killing von Hecht. But finally he is overcome with remorse for having killed Carlo, and begs Turner's forgiveness. Turner gives it, and scoops the defeated and frightened boy up, and carries him to the waiting truck.
|
revenge, murder, violence
|
train
|
wikipedia
|
Rock Hudson leads a little army of war waifs in WWII Italy against the Nazis.
So-so wartime movie follows a group of children saboteurs commanded by an Allied officer whose aim is to blow up a dam vital to the Nazis in Italy.
It happens during WWWII when Captain Turner (a moustachioed Rock Hudson )is lone survivor of an Army commando unit that parachuted into the Italian countryside .
Then the wounded captain is saved , meanwhile the children kidnap a German doctor ( a sultry Sylvia Koscina but rather unlikely medic) .
Turner wants the kids to help him blow up a dam and the boys want his help in getting avenge on the Nazis (Sergio Fantoni ,Jacques Sernas,Gerad Herter, Andrea Bosic) who had massacred his families and occupied their small village.This warlike movie packs well-staged action scenes , double-crosses, thrills, blood-letting images and criticism about the futility of war but doesn't quite hang together.
The nice international cast includes American , British, French and mostly Italian actors such as Sergio Fantoni, Giacomo Rossi Stuart, Andrea Bosic , among others.
Good musical score by usual Ennio Morricone and adequate cinematography by Gabor Pogany filmed on location in Italian outdoors.
This stirring movie will appeal to Rock Hudson fans and WWII buffs..
Decent Italian Anti-War Film.
REVIEW OF THE VERSION SHOWN ON TURNER CLASSIC MOVIES IN NORTH AmericaThis is one of many Italian WWII adventure films to be released in the late 1960s / early 1970s.
It's a familiar story, presented in a unique way with some American aspects thrown in.Leading man Rock Hudson stars as an American commando.
He is "rescued" by a band of Italian youngsters, who con him into helping them wreak havoc on the Nazis who took over their town and killed their families.
von Hecht (Sergio Fantoni) leads a hunt for Hudson and must cope with the S.S. to do so.This movie has a lot of fine aspects.
American star Rock Hudson has had his share of fame in plenty of classic movies; he's had experience in the war movie genre, too, in TOBRUK and the marvelous ICE STATION ZEBRA.
You'll see more of the incredibly beautiful Sylva Koscina than you've ever seen before; she's a nurse who's captured to aid Hudson, but is non-essential to the story.
Sergio Fantoni (VON RYAN'S EXPRESS) is very good as the one-eyed German Captain von Hecht, who will stop at nothing to stop Hudson from destroying the dam.
The script is intelligent is tells a familiar story from a unique viewpoint; showing young pre-teens battling the Nazis with machine guns and grenades is something that's rarely done.
Come on, guys -- the first 105 minutes showed war as a big adventure, and the last 5 makes it look like a colossal tragedy.
Sure, I think war IS bad and should be avoided if possible; but if you're gonna make an action movie, don't try to make a big statement at the end.
"Hornets' Nest" (1970) is far from a great World War II film, but I have a soft spot for it and it does contain some highlights.THE PLOT: The lone survivor of a paratrooper mission to blow up a dam in German-held Italy is rescued by a group of orphans, who live in a cave in the woods.
Their families where slaughtered by the Germans and they want to use the soldier to help them get revenge whereas he wants to train the kids so they can help him blow the dam.This is more of an Italian film than an American one and it shows in the Italian style of direction & editing, which sometimes comes off awkward.Everyone speaks English but the Germans and Italians are heavily accented, so I suggest using the subtitles.The biggest highlight is the moving score by Ennio Morricone.
The second is the beautiful Sylva Koscina, who plays the doctor that nurses the soldier (Rock Hudson) to health and hangs around the outcasts the entire film.
Sylva is just breathtaking throughout (and fully-clothed the entire time, I might add).Hudson is rock-solid as the taciturn soldier (sorry) and Mark Colleano is excellent as Aldo, the fanatical leader of the ragtag group of kids.
Sergio Fantoni is also notable as Captain Von Hecht; he's not a one-dimensional German officer and is actually a solid man who just got trapped on the wrong side of the war.There are a couple of action sequences, one being pretty far-fetched (when the soldier & the kids mow-down an entire village of Germans while riding in an Army truck), but the action is usually swift and quiet in the order of guerilla tactics.I like how the members of the outcast group, including the soldier and nurse, are always sweaty and dirty with messy hair and crumpled clothing.
If any other actor than Hudson played the role of the soldier, like Clint Eastwood or Charles Bronson, there would be no such inane theory.
The difference being that "Hornets' Nest" takes place in Italy during WWII and involves a younger group of kids.
The real character that you have to clap for is the German Captain that was dissed by all his superiors pretty much for the whole movie when he was just doing his job in the best interest of the Fatherland.I went through all possible emotions during the flick and was overall happy with the movie having never seen it before.
I saw this film many years ago when it was panned because children were being used in a war movie.
People wanted Anti War movies like "The Deer Hunter" or heroic battle epics like "Tora, Tora, Tora".
"Hornet's Nest", was made in Italy and like the movie, "Two Women", made ten years before, it was not widely popular in the United States.
The patriotism of World War II had faded by the 1970's and the public demonstrations against Viet Nam were gaining force when "Hornets Nest" was released.
It was seen as a glorification of war and a fading star like Rock Hudson could not save it.
Ironically one of the actors playing an SS officer in the movie was a French Partisan who spent a year in Buchenwald after the Nazi's captured him.
The one female star, Sylvia Koscina, was a child in Yugoslavia, during the war and had memories of the Nazi occupation.
Sophia Loren began filming this movie and withdrew because it recalled too much of the trauma of her childhood in war time Italy.
The children who made this movie did a good job of showing the effect of war on young minds.
Those reviewers who made snide remarks about Rock Hudson's sexual preferences and the nudity of the teen and child actors in the movie were simply revealing their own salacious nature.
Based on actual events where Nazi troops committed atrocities against entire villages it was meant to remind the world of the savagery of a totalitarian military that had absolute control over the lives of helpless populations.
They all show the atrocity and dehumanizing effects of war in a much more graphic manner than does "Hornets Nest", as do many, many, other well respected films.
In the years since " Hornets Nest", the world has been treated to Bosnia, Rwanda, Somalia, and Serbia, where women and children are victims and participants in total warfare.
Children become partisan fighters much like the boys in this film.
War is bad for children and other living things.
It has been argued the Germans during World War Two made a number of mistakes with the various countries they conquered.
The single survivor called Turner (Rock Hudson) awakens from his wounds and discovers he owes his life to a group of Teenage boys.
Informed the SS is searching for him, Turner also learns an experience German Officer name Von Hecht (Sergio Fantoni) is also closing in on his whereabouts.
Realizing, he has little choice, Turner decides to use his hate-filled and revenge seeking youths to continue his mission to destroy the dam.
The movie itself is interesting in that instead of battle hard soldiers, Hudson has to first teach the kids to kill and then later must reverse his lessons.
To the credit of the young cast, the teens lead by vengeance seeking Aldo (Mark Colleano) do a remarkable job of acting.
However, much as I enjoy Hudson the actor, I can't help feel Charles Bronson or Burt Lancaster would have been a better choice as Husdon is not convincing as a rapist of women or abuser of children.
The Hornet's Nest of the title refers to the gang of Italian urchins who find Rock Hudson and a fascist female doctor played by Sylva Koscina to patch him up.Hudson has parachuted ahead of the advancing Fifth Army during the Italian campaign.
Their village was massacred by the S.S. looking for partisans and they want some payback.Rock has to recover first so the kids kidnap a female doctor to treat him for concussion and bruised ribs.
She's also quite an eyeful and in one scene, the older kids kind of forget the purpose of their mission.It's a routine action adventure story that probably Burt Lancaster or Kirk Douglas would have been better suited for than Rock Hudson.
Still Hudson turns in a decent performance, given what he has to work with.The sad thing about Hornet's Nest is that with the revelation of Rock's homosexuality the film became something of a joke, what with Rock and a gang of teenage boys.
Since then Italy has pretended that they were actually on the winning side."Hornet's Nest" is a product of this mentally, a propaganda film that would have been ludicrous had it been made during the war (even by propaganda film standards) but was just painful by 1970.
Prior to seeing "Hornet's Nest" I had believed that Rock Hudson's career bottomed out in 1971 with "Pretty Maids in a Row" and then was somewhat revived when he switched to television acting the next year.
Some war movies tease you at the beginning into believing they might be decent but "Hornet" crashes and burns with its very first scene as the evil Germans are shown massacring an entire Italian village with special emphasis on the Priest.
The premise of the film (which seems to be more afterthought than character motivation) is blowing up an Italian dam.
"Hornets' Nest" has been one of my favorite films ever since its release.
A few years ago I tracked it down on VHS, and I'm very glad I did because the versions I'd caught on television had all been edited.Rock Hudson is definitely the star, convincingly cast as an American army captain who finds himself expected to single-handedly destroy a strategic dam in occupied Italy.
Yet the story focuses just as much on Aldo, the teen-aged leader of the gang of boys who help him.
Acted with remarkable intensity by Mark Colleano, Aldo drives the action from beginning to end and in fact dominates the final scene.
Without Colleano's passion and energy to offset Hudson's more subdued performance, the movie would have been a forgettable war story.
Sergio Fantoni, on the other hand, is quite strong as a German captain who attempts to foil Hudson's mission.
"Walking Tall" director Phil Karlson made "Hornet's Nest," in Italy with Rock Hudson, Sylva Koscina, and Sergio Fantoni, showed what could happen when orphaned juvenile delinquents entered the fray with machine guns and an attitude.
Hudson starred as an Army Captain sent to destroy a dam, but the Germans ambush his men after they parachute into enemy territory and wipe them out, so only the Hudson character survives.
Meanwhile, the Germans wipe out an entire village of men and women, more specifically fathers and mothers as the partisans and the sons and daughters watch the massacre from afar.
This highly unusual war drama stars Hudson as a U.S. Commando dropped behind enemy lines in Italy.
Koscina plays a surgeon (with the least WWII-like and least doctor-like hair in film history!) who gets coerced into trying to save Hudson from his initial injuries during the drop.
The role is unnecessary, except to add female interest and visual, and the story would have been stronger with just Rock and his boys doing their thing.
(Who knows if producers were wary of a film like this with Hudson lacking a love interest and surrounded by scantily clad boys!.......) The plan involves carrying out the demolition of a massive dam and doing away with as many Nazis as they can in the process.
The reality of the film is hampered somewhat by having a Nazi general played by an obviously Italian actor (Fantoni) whose hair has been bleached (and fried) to a white crisp and by it's odd changes in tone.
An unbelievable amount of people are killed within the first opening moments of the film (including women in the process of nursing their babies!) In fact, virtually every character besides Hudson and the boys is offed by the ten minute mark (and this is not the end of the killing.) This much carnage doesn't leave any room for shock if a more prominent character dies...it's just part of the action.
This one's painful to watch for a number of reasons.SS troops taking orders from regular German Army officers of similar rank- not gonna happen...The very worst in 70's hairstyles in a movie taking places in the early 40's...Pretty female German doctor with lots of cleavage showing adds what to the plot?
Stilted dialog, improbable plot lines and....Rock Hudson running around with a bunch of young boys in their water soaked underpants....need anything more be said about this stinker?However, you do get some pretty Italian scenery, and the musical score is far superior to most of those in films of this period..
A dark and gritty World War II adventure movie filmed on location in Italy and co-produced by the Italians, this film is quite grimdark and violent, and also possibly one of the filthiest movies I've ever seen.
It all adds to the realism, of course; war is dirty and messy.Hornets' Nest stars macho man Rock Hudson, fresh off his successful starring role in the big screen adaptation of Alistair MacLean's novel Ice Station Zebra, as the determined Captain Turner.
He does a pretty good job in what is essentially a one-note tough guy role, although he does, later one, get to emote a bit during scenes where Turner wonders he's doing the right thing by arming a bunch of preteen and younger kids.Other standout performances include the achingly beautiful Sylva Koscina as Bianca, whose compassionate, kindhearted nature make it truly saddening all that she endures throughout the film.
Still, there is the uncomfortable scene where she's almost raped by the kids, and roughed up by Turner later, and I really have to wonder what in the world directors Phil Karlson and Franco Cirino were thinking.There's also Mark Colleano as Aldo, and wow, can that kid act!
Indeed, almost all the actors playing the boys do a good job, particularly Mauro Gravina as the adorable, ill-fated Carlo, and John Fordyce as Dino.
If Aldo represents all that is wrong with youth, then the warm and compassionate Dino and the eager, curious and hopeful (despite the tragedy that has befallen them) Carlo represent all that is good and pure in it.This finally brings us to the German characters, who save for Lithuanian actor Jacques Sernas as Taussig, are played almost entirely by Italians doing bad Teutonic accents.
His Taussig oozes despicable arrogance and casual cruelty.The best German character, though, and, indeed, probably the best character in the movie, is the very, very blonde Sergio Fantoni as Captain Friedrich von Hecht.
And (mild spoiler here), he isn't one of this egomaniacal hunters drunk on his own superiority over his enemy; when his own prey bests him in the end, he accepts his defeat with dignity.If the movie has a fault (the rape scenes aside), it is that it is a little on the unrealistic side when it comes to the battle scenes, and also can't quite seem to settle on a tone or moral.
We have (essentially) untrained kids mowing down countless Nazis left and right, and it can't quite seem to decide if it wants to show war as a fun adventure or as a grim reality with tragic psychological tolls that come with children becoming killers, and its efforts to have it both ways leave it feeling a bit disjointed..
"Hornet's Nest" starts me off with absolute hatred towards the most evil political party in European history, tied with the vicious thugs who terrorize world peace today.An entire village of aging townspeople and young mothers are viciously wiped out in the opening scene by the Nazi's.
The arrival of American parachuters leaves only Rock Hudson alive, brought into their cave.
They deceive Nazi doctor Sylvia Koscina into coming back to treat him, and making her their prisoner begin to turn her political beliefs around.A touching reminder how war touches so many lives and turns young boys into men over night, this isn't flawless by any means.
The actors playing the Italian teenagers do a perfect job for amateurs, with Mark Colleano passionate as the very determined leader.One scene that is very disturbing has Colleano preparing to rape Koscina simply out of revenge for what the Nazi's did to the women in his village.
Great photography is a plus, and the tension never lapses as Hudson and the boys (with fights from Koscina) build up to the plans to blow up the local dam.For me, the whole point of this movie (putting guns and explosives into the hands of children) is to show how that in times of war, when survival of decent communities is key, all must fight in one way or another.
Both boys' lives are already ruined by the time the Hudson character appears on the screen.
Dino is more sanguine, protective of the other boys and willing to accept Hudson as the natural leader.
|
tt0024660
|
Three Little Pigs
|
Practical Pig, Fiddler Pig and Fifer Pig are three brothers who build their own houses with bricks, sticks and straw respectively. All three of them play a different kind of musical instrument – Fifer Pig "toots his flute, doesn't give a hoot and plays around all day," Fiddler Pig "with a hey diddle diddle, plays on his fiddle and dances all kinds of jigs" and Practical Pig is initially seen as working without rest. Fifer and Fiddler build their straw and stick houses with much ease and have fun all day. Practical, on the other hand, "has no chance to sing and dance for work and play don't mix," focusing on building his strong brick house, but his two brothers poke fun at him. An angry Practical warns them "You can play and laugh and fiddle. Don't think you can make me sore. I'll be safe and you'll be sorry when the Wolf comes through your door!" Fifer and Fiddler ignore him and continue to play, singing the now famous song "Who's Afraid of the Big Bad Wolf?".
As they are singing, the Big Bad Wolf really comes by, at which point Fifer and Fiddler reveal they are in fact very afraid of the wolf. Fifer and Fiddler each retreat to their respective houses; the Wolf first blows Fifer's house down (except for the roof) with little resistance. Fifer manages to escape and hides at Fiddler's house. The wolf pretends to give up and go home, but returns disguised as an innocent sheep. The pigs see through the disguise ("Not by the hair of our chinny-chin-chin! You can't fool us with that old sheep skin!"), whereupon the Wolf blows Fiddler's house down (except for the door). The two pigs manage to escape and hide at Practical's house, who willingly gives his brothers refuge; in Practical's house, it is revealed that his musical instrument is the piano. The Wolf arrives disguised as a Jewish peddler/Fuller Brush man to trick the pigs into letting him in, but fails. The Wolf then tries to blow down the strong brick house (losing his clothing in the process), but is unable, all while a confident Practical plays melodramatic piano music. Finally, he attempts to enter the house through the chimney, but smart Practical Pig takes off the lid of a boiling pot filled with water (to which he adds turpentine) under the chimney, and the Wolf falls right into it. Shrieking in pain, the Wolf runs away frantically, while the pigs sing "Who's Afraid of the Big Bad Wolf?" again. Practical then plays a trick by knocking on his piano, causing his brothers to think the Wolf has returned and hide under Practical's bed.
|
psychedelic
|
train
|
wikipedia
|
Tra-La-La-La-La. One of the most enduring of animated classics is Walt Disney's Three Little Pigs, taken from the old fairy tale about three juvenile little oinkers, only one of whom meets the challenge of the Big Bad Wolf.Coming out as it did in 1933 it's both a metaphor for the Great Depression, the consequence of no financial planning for a rainy day and the steps we must take to reform the system as the New Deal attempted to do.
A lot of people thought the same way as the Three Little Pigs did in poopooing the notion of a Big Bad Wolf, but only Practical Pig took practical steps in building his house of bricks so the wolf was kept from his door.In Steamboat Willie, Mickey Mouse became the first of Walt Disney's animated creations, but in Three Little Pigs, the first of many songs identified with the Magic Kingdom was written and has certainly endured.
Who's Afraid of The Big Bad Wolf is probably sung by so many parents to their children in reciting this tale that they probably think it came with the fairy tale.
It probably was what won Disney his Oscar for Best Short Subject for the cartoon.It was a mega-hit during the Depression, not an easy thing when people weren't buying records.
I first saw this short many years back, so long ago it was when the Disney channel played, from time to time, 1930s and 40s Disney cartoons at certain times of the morning or day (when kids were at school so, you know, on sick days and such).
It stuck with me for the simple reason that, hey, it's the 3 Little Pigs, what kid doesn't know the basic gist of it?
The Big Bad Wolf will come to the door, you got to know how to defend against him from getting in."Not by the hair on my chinny chin chin," being one of those lines.
But what's so much fun about the short, why I can remember it (and them, there was more than one short I think) was that it kept the song catchy throughout, the animated characters had strong, direct personalities, and I actually felt some danger for those little animated pigs from the Wolf.
It's colorful, it's funny, it's a little terrifying in the strange way that a 30s cartoon can get in little moments, and it has persevered due to its message for young and old alike of facing against the odds and the "Big Other" that might try to come down.
It's great to find out that the term 'Who's Afraid of the Big Bad Wolf' was used as a line of optimism in the Depression too..
"Who's Afraid of the Big Bad Wolf?"- When I was little I was.
Three Little Pigs is a cheerful, fun and lovable little classic that I have loved ever since I was a child.
While the pacing is a tad too quick in places it is still hugely enjoyable for a number of reasons.When I was little, I marvelled at how good the animation was for its time.
From a 17 year old perspective it is still very very good, with colourful backgrounds and beautiful colours.I also remembered singing along to the song Who's Afraid of the Big Bad Wolf?
The Big Bad Wolf has some classic lines, but I think the best of them come from Fifer and Fiddler.
There is one funny part when the Wolf dresses up in the sheepskin, the dialogue Fifer and Fiddler say cracks me up every time.The Wolf, like the Three Little Pigs, is a truly memorable character.
Sinister and rapacious, he did scare me when I was little, not so much now but the animation and voice work is wonderfully impressive even by today's standards.
Billy Bletcher is perfect as the Big Bad Wolf and Walt Disney I recognised immediately from his voicing of Mickey in cartoons like Boat Builders and Mickey's Good Deed.
It's the theatrical release that featured the wolf dressed as a jewish peddler, complete with a BIG false nose, beard, long black hair and hints of Yiddishe music for a few bars in the background as he gets hit over the head by Practical Pig (A clever(?) disguise as why would a Jew be at the door going after some pork?) In the latter day, "cleansed" version (circa???), Disney artists edited this part out and REDREW the scene aping the old classic style, changing the Big Bad Wolf into a harmless Fuller Brush Man, sans Jewish features.
This modern whitewashing happened due to protests from folks over offensive stereotypes, but anyone whose seen pre-code movies knows Jewish peddlers were omnipresent whenever street scenes were shown, as were all ethnic stereotypes On the "forbidden" video I viewed, the second cartoon featuring the wolf in "Little Red Riding Hood" ('34), he dons a fairy outfit and minces about in the forest in an openly gay manner (it's hysterical), enticing Bo Peep and two of the Little Pigs.
Other videos I have seen feature the "scrubbed" PC version from an even earlier date, so I don't really know what's going on over at Disney.
I'd like a show of hands...have any of you seen one or both versions...and do you deplore the Disney clean-up...or condone it?.
Academy Award-winning Disney short that brings to life the timeless fairy tale of the three little pigs who, as we all know, live in houses made of straw, sticks, and brick.
The Big Bad Wolf comes by and does his thing, huffing and puffing.
Who doesn't love the classic song "Who's Afraid of the Big Bad Wolf?" It's a beautiful-looking cartoon with rich colors and fluid animation.
It's the premier version of the three little pigs tale, which has been told in countless cartoons over the years.
Three Little Pigs (1933)**** (out of 4)Disney's adaptation of the Grimm fairly tale is certainly one of the highlights of their early animated films.
The two lazy pigs think it's quite funny until a wolf shows up and their lack of work comes back to haunt them.THREE LITTLE PIGS is certainly one of the best animated shorts from this era of Disney and it's amazing when you think of the fact that when people think of the story, their ideas come from this short and not the Grimm tale.
That says quite a bit because the story itself was quite popular before this short but ever since it was released people think of this short when the idea of three little pigs come along.
Fans of Disney and animation will certainly love and remember this one..
A Walt Disney SILLY SYMPHONY Cartoon Short.Each of THE THREE LITTLE PIGS builds a home from materials that suits his personality.
His brothers think he's wasted his time - until the Big Bad Wolf shows up...This is one of the all-time great cartoon classics.
But the film and its instantly popular tune `Who's Afraid of the Big Bad Wolf?' caught the public's fancy as an inspiration to laugh in the face of the Great Depression, America's own Wolf at the door.
Be that as it may, the cartoon was a huge commercial success, perhaps the most famous animated short of all time.
It easily won the 1933 Academy Award and produced a litter of three sequels, the first of which was THE BIG BAD WOLF (1934).The SILLY SYMPHONIES, which Walt Disney produced for a ten year period beginning in 1929, are among the most fascinating of all animated series.
There was little plot in the early Symphonies, which featured lively inanimate objects and anthropomorphic plants & animals, all moving frantically to the soundtrack.
Gradually, however, the Symphonies became the school where Walt's animators learned to work with color and began to experiment with plot, characterization & photographic special effects.
"Who's afraid of the Big Bad Wolf?" was false bravado for many Americans who were losing their jobs and homes.
The lazy pigs build houses of straw and sticks and fool around, singing that song.
I remember as a kid reading and flipping thru the pages of the classic storybook "Three Little Pigs".
I as a kid was even afraid of the big bad wolf!
It's one of Disney's best animated classics.
It moves along beautifully by the sounds and singing of the three pigs saying "Who's Afraid of the big bad wolf"?
One made of straw the other of sticks, yet after the wolf huffs and puffs and blows down their houses, the two seek shelter and protection with their brother the third pig and this serious and hard working swine very wisely made his home of bricks!
So no matter how much huffing and puffing this house will not be blown down.Overall this is one great memorable classic a Disney favorite it teaches the morals that can be applied in life like being clever, and smart plus with a little hard work one will be protected as you will not fall prey to the evil traps and destruction of your shelter!
"Three Little Pigs" is an entertaining classic and educational for the lessons it teaches..
Three Little Pigs is a classic Walt Disney Silly Symphony.
Still enjoyable and hearing "Who's Afraid of the Big Bad Wolf" brings such nice memories of being a child.
Did not see the controversial version with the wolf posing as a Jewish peddler with the big nose but that's the only disappoint I got from this.
(Just to make this clear: I'm disappointed not because I wanted to see a Jewish stereotype but because I wanted to see this short the way it was originally presented.) Burt Gillett really did a fine job as director with the music and the houses being blown down and the first two pigs still not completely learning their lesson as evidenced by the worker pig doing a trick on them at the end.
Different Versions of The Three Little Pigs.
The sequels were made in EXACTLY the same style as the original, but what was state of the art in 1933 was no longer state of the art even in 1934, and you can tell this just from watching one of the sequels, even if you're unaware of the year of its release or the fact that it's a sequel.Obviously, the cartoon struck a chord in 1933 (the popular theory that the Wolf symbolised the Great Depression may well be right) which it doesn't strike today.
But note the dark little joke in the corner: there is a picture of the pigs' mom and another of their dad.
When a hungry wolf starts blowing down some pigs' houses, they take refuge in their sensible brother's brick house.In many ways, this film is the definitive version of the three little pigs story.
I suspect (though I may be wrong) that this was the first time "Who's Afraid of the Bid Bad Wolf" was ever sung, or at least sun on film.
This is an adorable Disney cartoon short of the classic story-time tale, "The Three Little Pigs." It is the only adaptation of the tale I've remember seeing on TV and is, what I think, still one of the most recognizable animated features in history.Just like the storybook, you get to see the three little pigs set out on their own in the countryside, each building their homes of straw, twigs and bricks.
And, you get to see the three little pigs try to outsmart the wolf at the very end.This cartoon short features one of the most famous children's songs, "Who's Afraid of the Big Bad Wolf," sung by the pigs as they deal with the wolf.
He already runs intensive tuition classes on porcine butchery.No better cuts can be had done two dumb pigs who think needlessly blowing the wolf warning horn is good for a laugh to annoy their older and cleverer brother.Warner Brothers may had the Merrie Melodies and Disney had the rival Silly Symphonies.
Both were cartoon shorts with action that fitted the music.The wolf and his offspring might be cunning in enticing the two little pigs but beware the third pig.
He is the wolf terminator, he is certainly not afraid of the big bad wolf..
You know the basic story, the practical hardworking pig builds his house with bricks and mortar; one lazy buddy uses sticks and the other uses straw.
Then when the time comes to keep out the Big Bad Wolf everyone heads to the brick house.
It's an old fable and Disney wisely altered the original story where the wolf eats the two lazy pigs and is eaten by the remaining pig after falling into boiling water.
"The Three Little Pigs" was the 36th cartoon in Disney's "Silly Symphony" series and came just a year after "Flowers and Trees" forever changed the animation industry by introducing the first Technicolor cartoon.
"The Three Little Pigs" was the most popular cartoon in history, on many theater marquees it was billed above the feature film.
Disney had a two year exclusive on the use of the Technicolor process and had one animator work on giving each pig a distinct personality while another animator created the wolf.
Frank Churchill wrote the "Big Bad Wolf" song, which unexpectedly became a monster hit-Disney's first published song.
Disney would follow it up with three other attempts: "The Big Bad Wolf", "Three Little Wolves", and "The Practical Pig".
And throughout, they sing the classic song, "Who's Afraid of the Big Bad Wolf?".it's pretty good classic animation movie one of the greatest of all time without a question i think.wolf is pretty funny there and pigs are funny too.i recommend it strongly,but i can completely understand why some guys wouldn't ,because there is no style,but it's funny all the way and i still recommend it's classical movie one all time best animation films..
This is one of Disney's best works and the song, "Who's Afraid of the Big Bad Wolf?" had an attitude that went over quite well with the public during the Depression, selling heavily itself.
This short is a classic and great fun for the entire family.I remember watching Three Little Pigs when I was little, it is great.
featuring the classic song ""Who's Afraid of the Big Bad Wolf?"I give The Three Little Pigs 7 out of 10.
This is a condition that usually finds a cure with a reviewing of the work in question; particularly if it is screened again after a substantial length of time has elapsed.TAKE the case of today's special honored guest, THREE LITTLE PIGS (Walt Disney Productions/United Artists, 1933).
To someone who had viewed it originally, during its first release theatrically, or to a Baby Boomer (like Schultz and Me!), who've seen this on TV since we were kids, this is perhaps just another cartoon.
However, when one takes a good step back and views it freshly; one realizes just how great a work it is.IN dissecting the animated 8 minutes, we find a much more complex movie than we would first imagine.
This is a highly important and possibly redeeming quality; for many a movie goer would be prejudicially affected about seeing and listening to "that sissy stuff." INSTEAD, we're told that this 8 minute cartoon, this musical short had a great effect on our people in Depression Era America and the World.
The original theme song of "Who's Afraid of the Big Bad Wolf" was heralded as the unofficial rallying call of the common folk and high society types alike.
As far as longevity, it is about as well known now as it was 75 years ago.WE did read of one particular problem that Disney and the Production Crew faced early on with THREE LITTLE PIGS; one that seems incredible today, but true nonetheless.
Even Big Bad's costuming is reminiscent of the manner of dress used today by Observant Hasidic Jews, many of whom are active in any number of businesses.* WHATEVER the reason, the scene was changed to a gag about a "College Kid, working his way through School." OTHER than that point, it's extremely difficult to find fault with this edition of Walt Disney's SILLY SYMPHONY Cartoon Shorts.
His costuming was just about the very same as that used by B.B. Wolf uses in THREE LITTLE PIGS.
This should be the lesson to the two foolish pigs who were constantly singing and joking around instead of working like their brother.
This is a fairly famous short film from the old days, maybe also because the wolf is so wonderfully scary.
Teaching moments are few and far between early on during THREE LITTLE PIGS.
At 2:41 the Big Bad Wolf prances into the picture wearing red pants with green suspenders.
Always conscious of the potential coterie of Disney Princess Wannabes, Walt finally yanks out his teaching pointer 6:57 into THREE LITTLE PIGS.
So how does Mr. Disney suggest to young would-be princesses proper preparation for a Wolf's Big BJ?
The animation on this 1933 Disney cartoon is bright and colorful, but typically choppy of the vintage.
Disney's THE THREE LITTLE PIGS is a classic and I remember watching and loving it as a child.
Give me the moralistic and bloodier version every time!By the way, a decade later, Looney Tunes essentially stole the idea of this cartoon in the form of PIGS IN A POLKA.
I just thought this whole rotten excuse for a silly symphony was stupid and babyish, especially when the pigs prance around like little idiots and sing "who's afraid..." I know in a way all the Disney shorts are for children, but I really found myself hating this one.
And the bit where the wolf disguises himself as a negative Jewish stereotype-whoa, that is just TERRIBLE that's REALLY gonna bring about the fall of mankind that is(!) If, like me, anyone's watched this rubbish cartoon and not enjoyed it whatsoever, I would suggest you go and watch the final episode of Tales from the Crypt:The Third Pig. It will ease the pain.
|
tt0383028
|
Synecdoche, New York
|
Theater director Caden Cotard (Philip Seymour Hoffman) finds his life unraveling. Suffering from numerous physical ailments and growing increasingly alienated from his wife, Adele, an artist, he hits bottom when Adele leaves him for a new life in Berlin, taking their four-year-old daughter, Olive, with her.
After the success of his production of Death of a Salesman, Caden unexpectedly receives a MacArthur Fellowship, which gives him the financial means to pursue his artistic interests. He is determined to use it to create an artistic piece of brutal realism and honesty, something into which he can pour his whole self. Gathering an ensemble cast into an enormous warehouse in Manhattan's Theater District, he directs them in a celebration of the mundane, instructing them to live out their constructed lives. As the mockup inside the warehouse grows increasingly mimetic of the city outside, Caden continues to look for solutions to his personal crises. He is traumatized as he discovers Adele has become a celebrated painter in Berlin and Olive is growing up under the questionable guidance of Adele's friend Maria. After a disastrous fling with Hazel (the woman who works in the box office), he marries Claire, an actress in his cast, and has a daughter with her. Their relationship ultimately fails, and he continues his awkward relationship with Hazel, who is by now married with children and working as his assistant. Meanwhile, an unknown condition is systematically shutting down his autonomic functions one by one.
As the years rapidly pass, the continually expanding warehouse is isolated from the deterioration of the city outside. Caden buries himself ever deeper into his magnum opus, blurring the line between reality and the world of the play by populating the cast and crew with doppelgängers. For instance, Sammy Barnathan is cast in the role of Caden in the play after Sammy reveals that he has been obsessively following Caden for 20 years, while Sammy's lookalike is cast as Sammy. Sammy's interest in Hazel sparks a revival of Caden's relationship with her, leading Sammy to commit suicide.
As he pushes against the limits of his personal and professional relationships, Caden lets an actress take over his role as director and takes on her previous role as Ellen, Adele's custodian. He lives out his days in the model of Adele's apartment under the replacement director's instruction while some unexplained (and likely in-universe) calamity occurs in the warehouse leaving ruins and bodies in its wake. Finally, he prepares for death as he rests his head on the shoulder of an actress who had previously played Ellen's mother, seemingly the only person in the warehouse still alive. As the scene fades to gray, Caden says that now he has an idea of how to do the play when the director's voice in his ear gives him his final cue: "Die."
|
comedy, avant garde, depressing, murder, allegory, cult, alternate reality, violence, thought-provoking, insanity, absurd, psychedelic, philosophical
|
train
|
wikipedia
|
It's virtually impossible to summarize my feelings on "Synecdoche, New York." This astonishing brain teaser from the mind of Charlie Kaufman affected me deeply, probably more than any film I've yet seen this year.
But watching it is a bracing experience, and it's encouraging to know that there are still filmmakers willing to use film as a means of challenging their audiences and picking at scabs that most people would prefer to remain solidly in place.I can't begin to tell you what "Synecdoche, New York" means, and it wouldn't matter anyway, because I think it will mean different things to different people.
A basic summary goes something like this: Philip Seymour Hoffman plays a morose, depressed theatre director who's convinced that fatal diseases are lurking around every blood vessel, and who decides to stage a monstrous, ambitious theatrical work that will leave him remembered after he dies.
Soon, the work as he's staging it becomes confused with the life he's living, so that he finds himself directing a version of himself through a story that seems to be made up as it moves along.If this sounds like an act of mental masturbation by a pretentious intellectual with too much time on his hands, rest assured: "Synecdoche, New York" is not one of THOSE films.
We pull back in loneliness and fear when faced with things bigger than ourselves rather than turning to those who can actually help, namely the other human beings with whom we share our time on this planet."Synecdoche, New York" will not likely find a big audience, as most people will either not want to work at understanding it or won't like what it has to say.
but it's still unbearable).Over the course of my teenage years I've seen Being John Malkovich through Eternal Sunshine (those two the M-word, masterpieces, with Adaptation and Confessions of a Dangerous Mind near-great, and Human Nature a fun minor work), and he's always given something to chew on for the brain.
To say that either one is flawed may come as something as a given, but for Kaufman it's somewhat more troubling.This is a big film of ideas, crucial, life-affirming (or life-damning) thoughts about love and death and loss and forgiveness and, essentially, the process of trying to recreate and recreate and recreate this.
Like the play that is rehearsed for decades that Cotard never brings to his audience, what can one take away from Synecdoche, New York as far as connecting with the characters, or just Cotard?Maybe it reveals something about me just talking about this; indeed this is probably the film of the season, if not just the year (Dark Knight fanatics take note), that you will want to talk about after it ends.
When Kaufman, as director, makes his film this time about as hopeful as Franz Kafka rewatching the Zapruder film on a loop, even the scenes and moments that *do* feel somewhat powerful emotionally (i.e. Hoffman seeing his daughter in a nudie-booth, or the final scene on the bed with Hoffman and Morton old and in bed with the house, once again, on fire) don't hit their mark - again, at least at first.
Certainly the cast makes it worthwhile to watch: Hoffman is what he is, brilliant at transforming physically as age goes by as Caden Cotard, and at delivering subtle moments of humor amid his health-decay; ditto in her own right to Morton, who ranges from bubbly and lustful to anrgy and dejected (Michelle Williams, too, shows this range); even a bit part by Dianne Wiest is appreciated.
They all help to give life to what is a big, somber meditation on (quoting Douglas Adams) Life, the Universe, and Everything.And yet, expressing my (initial) disappointment over the length (at 124 minutes it feels twice as long) or the music (did Kaufman order "kill-myself-piano-tunes-you'll-love off of ebay for this?) or the personal problem of connecting emotionally with some of the characters as they (intentionally) don't really grow, shouldn't, I hope, diminish recommending Synecdoche, New York for anyone who wants something to challenge them, provoke thought and discourse, to engage and disrupt brainwave patterns.
Rather, it is the apex of Kaufman at his most insightful, his most ambitious, and (as his directorial debut) his most hauntingly beautiful.The plot itself is a contradiction of simplicity and complexity: to say that it is about Philip Seymour Hoffman trying to put on a larger than life play is an accurate statement, yet it completely fails to capture what Synecdoche, New York tries to convey.
Synecdoche, New York is a gamble; a mixture of images and music and dialogue and acting that follows Kaufman's heart and his meditations on several ideas: namely, those on life and death and the connections all around us.
. ."Synecdoche, New York, like the literary term in its title, might stand for all our lives as director Caden Cotard (Phillip Seymour Hoffman) attempts a gigantic stage construction of to depict his tumultuous life.
Hamlet 2 it is notit's a serious attempt by cerebral and creative writer Charlie Kaufman to deal with the muses and mistakes of a life worth noticing, in this case where Caden has won a MacArthur.Caden eventually creates a discursive and massive stage play peopled by ex lovers who help him try to gain meaning out of a sometimes bleak Brecht or Beckett landscape.
One of the movies Synecdoche brought to mind for me was Bunuel's "The Discreet Charm of the Bourgeoisie" in which two different actresses play the same character with no explanation of any sort offered within the narrative.It's always refreshing to me to see events in movies occur without the writer/director/actors seeming to feel any need to "explain it" to the viewer.
As with (m)any other filmmakers who are genuinely engaged with film as a unique art form, it seems quite clear to me at least that Kaufman requires the spectator to meet him on his own wavelength.This is what a significant portion of artists in any medium do: they take the constraints, conventions, and materials of their chosen form very seriously and explore their own perceptions, ideas, and emotions plying the tools of their medium on their own personal terms.At the opposite end of this artistic spectrum is the sort of pandering manipulation of a Spielberg or the painter Thomas Kincaid.
Their works are only "personal" in the sense that what is most prominently on display in their work is their own desperate personal need to have their intended message "understood" (and even experienced) by all spectators in exactly the same way, so that "the artist" can in turn feel his own personal worth has been validated by public and critical responses - "Hah, I must be a great artist, because I succeeded in making you think and feel the exact thing I wanted you to!" I'll grant that this "spectrum" is a very broad one, and I won't discount the work of anyone along it, but that doesn't mean I have to enjoy things I see as technically accomplished hackwork.
And that's a good thing.On the surface "Synecdoche" is about theater director Caden Cotard (understatedly played by Philip Seymour Hoffman) whose life more and more slips out of his hands and literally rushes by in the film's narrative.
It felt "brutally honest".Set in Schenectady, New York, the film follows Caden Cotard (Philip Seymour Hoffman), a neurotic theatre director, as his life disintegrates.
"Synecdoche, New York" feels like the work of a man gripped by fear, grief, and a sense that time is running out.
It follows its protagonist, theater director Caden Cotard, for about forty years of "one bad thing after another." The only good thing that happens to him--he wins a MacArthur Genius Grant--turns out to be a curse in disguise, as he feels he must prove himself worthy of the grant, and spends the rest of his life conceiving and rehearsing a massive theater piece that never opens.
The last part of the movie is a blur of deaths and funerals both real and re-enacted.Philip Seymour Hoffman, perhaps the best sad-sack actor working today, plays Caden.
Hope Davis, in a small role as Caden's therapist, seems to have wandered in from another, less dour Kaufman movie--she'd fit in with the mad scientists of "Eternal Sunshine." For me, the scene that encapsulates "Synecdoche, New York" shows Caden working on his magnum opus late at night.
INITIAL IMPRESSION:This is the film that the Charlie Kaufman from Adaptation wanted to write.In Adaptation he tries to tell his agent, "I don't want to cram in sex or guns or car chases, or characters you know, learning profound life lessons or growing or coming to like each other or overcoming obstacles to succeed in the end.
It seems like Caden is just him again inside his own screenplay but unlike Adaptation this one has no change or drama or story and people do not succeed in the end.While in Adaptation Charlie Kaufman gave in to McKee and his twin brother Donald, it seems in Synecdoche he's decided to instead make a work of art his way, period.
If that was the point then fine, but that is about as entertaining as a movie about the glory of watching paint dry.WHO MAY ENJOY IT:There was one theme that stuck out of the whole film that made me feel like this piece was made for the cynics and for those who agree with the sentiments of the main character.
With 'Synecdoche, New York" he goes behind the camera to direct his out there screenplay about a man who wants to make his mark on this world before he dies.I tried to love this film, but just couldn't get past how shallow and depressing it is.
What is going to make this play different though is that it will tell the story of each person living in this pseudo city.Meanwhile, in the real world, Caden struggles with the women in his life: the beautiful but complicated actress Claire (Michelle Williams), his perky assistant Hazel (Samantha Morton), his therapist Madeline (Hope Davis), and Adele's evil sister Maria (Jennifer Jason Leigh).
We never connect to Caden because he is such a cold and uncaring character, besides the point in the film where he sees what has become of his daughter from his first marriage.Then things get out of hand when within the replica of New York City, Caden gets actors to play him and Hazel.
But then, Shakespeare never wrote a play consisting of nothing but jokes.Of course, Kaufman the writer has been badly let down by Kaufman the director (although no more or less badly than he was let down by Spike Jonze or Michel Gondry, than whom he is at least no less talented) – so it's hard to say where exactly the fault lies; but while watching this film one comes to the slow and dazed realisation that what it's attempting is humour.For example: Caden (Philip Seymour Hoffman) is raging about his daughter's getting a tattoo at an early age.
Suffice it to say that you probably won't know much more about what is going on in this film at the end than you did at the beginning, but you will be a lot more aggravated.Here's what I think the real point of this movie is: life is precious.
Sort of.This is a tale of how life is, of what we are all doing in this ridiculous dance, of how shared the experience is, of how beautiful the pain is, of where we find ourselves at the end, which is also the middle and the beginning.Told through the disjunctive story of a theater director who thinks he's dying (but then he is, as we are all, no?) and out of ideas, the film goes on a bendy, twisty, story-in-story path -- similar in some ways to a David Lynch film, except here there IS easily gleanable meaning in the twists -- that lets us see an entire life, many entire lives as they interweave and affect each other.A short speech by a preacher at a funeral late in the movie sums up much of what the point is; I won't ruin it except to say that our lives can only be one thing, even though many opportunities present themselves, and it isn't worth sitting around and waiting.Most importantly, I was so deeply moved by this story...
Synecdoche, New York (2008)If you take the events of this movie as seriously as its main character, played with brilliance by Philip Seymour Hoffman, it could be a life changer.
SYNECDOCHE, NEW YORK is Charlie Kaufman's first film as a director, and his sixth as a screenwriter.
After awhile this film seemed more interested in being like a Russian nesting doll than it did about characters or plot.Now, I'm sure there is some well thought-out meaning behind everything in this movie - meaning only Kaufman himself can fully appreciate.
The humor is balanced out by moments of what I can only describe as pure cinematic poetry, the likes of which I haven't seen since, well, since Kaufman's previous film, Eternal Sunshine of the Spotless Mind.The cast is unbelievable; there are so many great actors in this movie, and they all do an incredible job.
In this arduous just over two seems like four hour tortured artist tale writer, director Charlie Kaufman drags the audience through one of the biggest downers in ages that is merit-less in every way save for the remarkable performance of Seymour Philip Hoffman as the hapless but revered theatre director with a disastrous personal life, Caden Cotard.As in his previous scripts, the brilliant Being John Malkovich, excellent Adaptation and lame Eternal Sunshine of the Spotless Mind, Kaufman plays head games early and often.
when they have too little say, you get Synecdoche, New York.Synecdoche, New York does have all of the weaknesses described by those who hated it.it also has all of the strengths described by those who loved it.personally, there is no way i would miss seeing PSH, Hope Davis, Tom Noonan, Dianne Wiest and an equally superb cast of other players acting their heart out.scenes from this movie will be recurring to me many years from now (especially Hope Davis's role).but, otoh, seeing this film was a once-in-a-lifetime experience, literally as well as figuratively..
After writing brilliant scripts such as "Adaptation" or "Eternal Sunshine of the Spotless Mind," Charlie Kaufman tries directing and the result is a colossal, self-indulgent mess of a film that cannot engage viewers at an emotional level or make much intellectual sense despite its ambitions.All of Kaufman's earlier themes are here - mind illusions, absurdity of life, fractured unresolved relationships - but this time presented in a boring epic scenario.
He gets a grant that enables him to create a play about his life transforming a large warehouse into a replica of New York but the process become endless as the play and his life became reflections of each other confusing him, the actors, and needless to say the viewers.Although the film attempts to be a meditation on meaningful themes, such as the transitory nature of life and creating art, its two-hour plus length, poorly-edited pace, and convoluted plot turn it into a boring, meaningless experience.
This movie,the first directing attempt by Kaufman left me speechless.For the 120something minutes I was watching with my mouth wide open.It was funny and deep the way only Kaufman is.Philip Seymour Hoffman was simply amazing.What he tried to do in Being John Malkovich and Adaptation,about the tormenting nature of the artist,as he sees him,or as he sees himself,in this movie is, by far, accomplished.Maybe a bit too long but leaves you with a deep feeling and is interesting till the very end.It is more weird, and sometimes too obviously,than all his other movies put together.This first universe created from Kaufman is very promising and still young.Let's hope for more..
So in closing unless you really like a totally art house style movie with no plot what so ever (and that's just my opinion), don't see "Synecdoche, New York" Stick with "Eternal Sunshine of The Spotless Mind or Being John Malkovich, which are truly great Charlie Kaufman movies..
I won't insult the reader by trying to tell what Synecdoche New York is about or what it means--in part because it has so many ideas, comments and interpretations that the more you think on every piece or every aggregate the more you can get from it.I saw this movie in an Art Theater, and my girlfriend and I were initially annoyed by the fact that much of the audience laughed hysterically at moments that were serious.
Although it is not a film that you should watch when you're sad because Synecdoche is probably the saddest and most depressing film I have ever seen it rips you're heart out and makes you swallow it.Charlie Kaufman shows that he is one of the greatest screenwriters of all time delivering maybe his greatest script.
Quite morbid, which the whole movie is.The script is Charlie Kaufman so of course the whole thing flows beautiful, nothing over stayed it's welcome and it moves in a way that is relevant to one of the themes of the movie which is time.Phillip Seymour Hoffman is Brilliant as always, you get to see this man life and I feel like coming out of the movie, you feel like you've lived a life.
Using this stage to play out the "play within the movie" made for a fascinating watch.The director did a good job with Synecdoche, New York but was boring at times.
It's incredibly ambitious stuff and enough of it works to forgive the film for by the end trailing off into a confusing haze.The film tells the story of Caden Cotard, a small town New York theater director whose life is falling apart around him.
Because when he gets a chance to go to New York City to put on a play there...well, let's just say things get as weird as weird can be.Up to the point Caden leaves for the big city the film has been, by Kaufman standards, rather normal.
|
tt0038317
|
Baby Bottleneck
|
There is a baby boom of the post-war United States; an overworked stork (a clear Jimmy Durante reference) gets drunk in the Stork Club. There is an emergency delivery in which inexperienced animals, mostly older animals but including four crows attempting to deliver an elephant, take the babies to their parents. As a result, babies are getting sent to the wrong parents (such as a baby skunk to a goose, a baby kitten to a duck, a baby gorilla to a kangaroo, a baby hippopotamus to a Scottish Terrier, a baby alligator to a pig and a baby cat to a mouse). To clear up the confusion, Porky Pig is brought in to manage the factory, with Daffy Duck as his assistant. The babies are seen going through a conveyor belt (to the tune of Raymond Scott's famous "Powerhouse") and getting sent by various animals, while Daffy mans the phones, making quick references to Bing Crosby, Eddie Cantor and the Dionne Quintuplets.
When a stray egg is found without an address, Porky decides to have Daffy sit on it until it hatches. However, Daffy refuses to sit around on top of an egg and he said, "Sittin' on eggs is out! O-W-T — Out!!". Porky chases Daffy around the factory (complete with an imitation of Porky by Daffy), until they wind up trapped on the conveyor belt. The belt winds up stuffing both of them into one package (with Porky as the legs and Daffy as the top half) and send them off to Africa, where a gorilla is waiting for her arrival. When the gorilla looks at the "baby" she sees Daffy Duck crying, Porky peeks through the diaper, causing the gorilla to cry on the telephone, "Mr. Anthony, I have a problem!!" (a reference to John J. Anthony, who conducted a daily radio advice program at the time called The Goodwill Hour; its stock phrase was "I have a problem, Mr. Anthony").
|
psychedelic
|
train
|
wikipedia
|
A Clampett Classic.
Another Clampett powerhouse!
Fast, funny, frenetic, and nightmarish.
Porky and Daffy run a factory that delivers babies to their expecting parents.
The highlight is Scribner's animation of Porky trying to get Daffy to sit on an unhatched egg.
These scenes are presented without backgrounds, just color cards.
As Jones would prove later with "Duck Amuck," Clampett shows that the only important thing is the character's personalities; that they don't need any arbitrary props or even backgrounds.
In the beginning of the cartoon, Daffy argues with some irate parents over the phone.
Clampett, writer Warren Foster, and animator Rod Scribner manage to make Daffy, alone with just a phone, hilarious..
Pretty amusing idea with good characters.
With a baby boom occurring among affluent parents, the storks are unable to cope with the extra work and begin to get behind on orders and make mistakes.
Porky Pig is enlisted as the transportation/logistics manager to ensure all delivers are made and Daffy Duck is given the job as his assistant.
However the department is so stretched that errors and problems are inevitable.Opening with an imaginative idea (although it has been done a lot as I write this) the film makes itself better by adding the great characters of Porky and Daffy together, albeit in separate scenes within the same film.
The plot allows for plenty of imagination the production line `making babies' prior to shipping out via stork (or whatever) right down to the scene showing the wrong babies delivered to all the animals!Daffy is manic but is allowed the edge of bitterness that always made him appear at his best when done just right.
Porky is good as well, as are the majority of the support characters no matter how big their role.Overall this is amusing as it is all quite imaginative and funny.
The inclusion of two popular and strong characters just serves to make it funnier and more polished a product..
maybe the baby boom inspired Fonzie.
Usually I never would have suspected that a cartoon would portray the baby boom that occurred after WWII, but "Baby Bottleneck" does just that.
It portrays Daffy and Porky working in a baby-producing factory and trying to avoid the glitches that have sent certain infants to the wrong parents.
Then, an unidentified egg sends everything haywire.Aside from looking at the new things going on in the world, I get the feeling that this cartoon may have inspired Fonzie.
You see, when Porky picks up the egg, he tells Daffy "Sit on it." In later years, that would become the Fonz's catch phrase.Oh well, maybe I'm the only person who sees that.
The overarching point is, this is a classic cartoon..
A Bob Clampett, Daffy Duck and Porky Pig classic.
Maybe there is some unintended bias, seeing as Bob Clampett has a very interesting and wonderfully wacky style that is always a joy to watch.Daffy is also one of Looney Tunes' most iconic, most interesting and funniest characters and while Porky is sometimes bland on his own and can be overshadowed by supporting characters he is amusing and likable and his partnership with Daffy is always hugely enjoyable.
The premise is also a pretty unique one for the time.Anybody who is a fan of Clampett, Daffy and Porky are more than likely to love 'Baby Bottleneck'.
For me, it's one of the best and one of the funniest for all three.
The premise is interesting and different, and is executed in a way that constantly entertains and intrigues.
The beginning may not work for some people, personally was never alienated by it and thought it was visually clever and fun.The animation is not only beautifully drawn, very detailed and colourful but there are some really imaginative moments, especially towards the end with the unhatched egg.
Carl Stalling always made a great cartoon even better with his music scores, and with its lush and lively orchestration, high energy and character and action-enhancing synchronisation his music for 'Baby Bottleneck' is hardly an exception.'Baby Bottleneck' throughout is incredibly funny and often hilarious.
The mix ups are funny enough, but the highlight is the war over the unhatched egg with a hysterical exchange of dialogue and imaginative visuals.
The dialogue is deliciously wild and looney and the razor sharp wit is more than evident too.
There are many references here and they are fun to spot and recognise, though they are of the time and may go over the heads of some.
The gags are just as fun and inventive, with the distinctive Clampett wackiness.Daffy is wonderfully manic and bitter, and Porky is a very likable foil and no less amusing.
Mel Blanc's voice work is characteristically fantastic, very rarely did this supremely talented man disappoint in his career apart from when even he couldn't salvage some bad material seen in too much of the mid-late-60s output.Overall, a classic.
10/10 Bethany Cox. Another Clampett winner.
The baby-delivering Stork is in a drunk stupor and the enlisted workers are far from competent making grievous mistakes.
Delevering the wrong babies to parents.
Porky Pig steps up to fix the whole thing out with Daffy Duch as his secretary, but things don't go as planned in this short, another classic by Bob Clampett.
All the mix-ups are frequently very funny and i found myself laughing out load quite a few times, but the ending is the real kicker.
Utterly hilarious!!
This animated short can be seen on Disc 3 of the Looney Tunes Golden Collection Volume 2 and also features an optional commentary by Michael Barrier.My Grade: A+.
Primitive Effort Offers Few Laughs.
The year 1946 marks the first full year, I believe, of "The Baby Boomers."Anyway, corny humor and a cop-out beginning (using past footage of other cartoons) has us looking at a newspaper headline reading " Unprecedented Demand For Babies Leads to Overworked Stork." We then go to the famous nightclub, "The Stork Club" (where else) where the drunk Jimmy Durante-stork is crying the blues that he does all the work and gets no credit.
Then they show some stock footage in demonstrating how the stork has been making mistakes with wrong deliveries.That weak segment gives away to better things when Porky Pig is appointed to handle the stork's problems and Daffy Duck assigned as his assistant....but not that much better.
The assembly line babies included some good material but Daffy doesn't look like Daffy and isn't anywhere as funny as he was in later cartoons.
This has the appearance of a 1930s 'toon.
It looked primitive and lacked the smart humor of the 1950s stuff..
"Sittin' on eggs is out!
The stork has been overworked so inexperienced help is brought in, leading to lots of delivery errors.
So Porky is hired to run the baby factory and brings along Daffy as his assistant.
Wackiness follows.
Great Looney Tunes short from Bob Clampett.
Plenty of funny lines, gags, and even pop culture references of the time.
Lovely animation; well-drawn characters and backgrounds.
Nice colors.
The music from Carl Stalling is bouncy and fits the action well.
Excellent voice work as always from Mel Blanc.
The cartoon moves along at a fast pace which plays particularly well to Daffy's zany strengths.
A very entertaining short all around.
Sure to please most fans of the Porky & Daffy team-ups..
A dated curio lifted by Clampett's energetic direction.
Bob Clampett's 'Baby Bottleneck' is a satire on the post-war baby boom in which Porky Pig and Daffy Duck run a factory to assist with the preparation and delivery of new born babies.
This entails an automated production line which dresses, burps, feeds and dispatches the young animals.
For the most part, 'Baby Bottleneck' is a spot gag cartoon with Porky and Daffy simply pulling levers and answering phones.
They only get to really do anything towards the end of the cartoon when they get into a war over an unhatched egg.
Often when he was assigned spot-gag cartoons, Clampett's wild on-screen energy would be dulled but 'Baby Bottleneck' is an exception and Clampett manages to infuse the quickfire gags with a pulsating vitality.
Unfortunately, 'Baby Bottleneck' is full to the brim with long forgotten references which inescapably dates the cartoon and makes it more of a curio than a laugh riot to modern day audiences.
There are, however, a couple of typically risqué Clampett gags.
Especially conspicuous is a joke with a baby alligator trying to suckle a mother pig.
When she finally turns to the alligator the cartoon quickly cuts away before she has chance to speak.
The cut line was apparently "Ah-ah-ah, don't touch that dial"!.
Entertaining and imaginative cartoon,.
Baby Bottleneck is a brilliant short and I found it to be quit entertaining and amusing with also a lot of enjoyably funny characters.A Stork has been getting a lot of trouble delivering babys and has been getting inexperienced help to make emergency delieveries,so Porky Pig and Daffy Duck takeover,but a lot of trouble happens when an egg has no address and Porky tries to get Daffy to sit on it.****/*****4/5 STARS9/10-DILLON HARRIS.
Must be seen to be believed!.
Directed by that "Man from Wackyland" Bob Clampett, "Baby Bottleneck" is a classic Porky Pig/Daffy Duck cartoon featuring some wild animation!
Porky and Daffy work as "traffic managers" at an assembly line for a baby delivery service.
One can only imagine all the fun and trouble they could get into under such circumstances.My favorite scenes in "Baby Bottleneck" include: Daffy answering telephone calls; an enthusiastic dog demonstrating his invention to Porky; Porky and Daffy accidentally winding up on the conveyor belt (to the ubiquitous accompaniment of Raymond Scott's "Powerhouse"); and the hilarious opening sight gags of deliveries being made (to the accompaniment of "You Must Have Been a Beautiful Baby"), including a few mix-ups."Baby Bottleneck" is a cartoon that truly deserves recognition, considering the wild and wacky atmosphere at Warner Bros.
You might say that Bob Clampett was the mischief-making ringleader of the animation department!.
The average American dreams thrice monthly .
. of waking up helpless, strapped down on a conveyor belt, as automation runs amok, taking all kinds of perverse liberties with their body, according to the most recent poll.
We probably have Warner Bros.
largely to thank for this sorry state of affairs, primarily because of our exposure to Daffy Duck becoming a pig in Porky's blanket at the climax of BABY BOTTLENECK.
The diaper welding Daffy's top to Porky's butt obviously is the archetypal meme that served as a possibly Satanic springboard to BABY BOTTLENECK.
Though Charlie Chaplin had hinted at what could happen when an Assembly Line Goes Wrong in his live-action feature film, MODERN TIMES, even America's original Chuckie Doll would not risk going as far into the coming Horrors of Genetic Modification, Inter-Species Transplants, and Bad Science in general as Warner allowed its animators to forge ahead with BABY BOTTLENECK.
Clearly this animated short had an immediate effect on America's Film Censors, as they were shaking too hard in their jackboots to write out the redo that BABY BOTTLENECK surely merits..
Another Clampett classic (Gosh I love that director....).
Now, Mr. Robert Clampett is my favourite Warner Brothers director.
The work he did while with Leon Schlesinger and Warner's cannot be beat, in my opinion.
I found the scene with the baby hippo and Scotty Dog really funny, with Scotty singing "Rockabye Baby," but having to suddenly change the words to fit the situation - the baby hippo is too heavy, so the rocking chair breaks and Scotty says, "...the cradle will flop." I also really liked the "baby kitten delivered to a mother duck" scene, which was funny because (most) cats are afraid of water (which is evident with the little kitten screaming) and another baby kitten delivered to a father mouse (the father is terrified but the kitty is playful).
I also found what was left of the baby alligator delivered to the mother pig scene laughable, with the alligator stretching his body out to make room for himself, as he pushes the little piglets away.
I find it odd that I liked Daffy's line of "No. Ohhh, no.
Sitting on eggs is out, O-W-T, out!" so much considering The Henpecked Duck, another Clampett classic (and also my favourite Looney Tune of all time) also involves Daffy being instructed to sit on an egg.
But the end is funny with the mother gorilla realizing she basically has a mutant baby with a duck (Daffy) as the upper body and a pig (Porky) as the lower body.
Although I was not originally familiar with the last line, I did feel sorry for that mama.
All in all, my favourite director has scored another point for himself, by a long shot.
|
tt0039896
|
They Won't Believe Me
|
After the prosecution rests its case in the murder trial of Larry Ballentine (Robert Young), the defense attorney puts his client on the stand to tell his story.
Larry had married Greta (Rita Johnson) for her money. In flashback, he recounts how he started seeing Janice Bell (Jane Greer) behind his wife's back, innocently enough in secluded New York City bars, but feelings had grown between them. Unwilling to break up a marriage, Janice gets a job transfer, and tells Larry their relationship is over. At the time, Larry agrees to run off with her. She tells him she is leaving for Montreal on the night train, and Larry agrees to meet her at the train station. Larry tells Janice that he and Greta have grown apart, and that he will leave her. Larry returns home and begins to pack a suitcase, when Greta comes in and starts to help him pack. He tells her he is leaving, and she said she knew since there had been a train ticket for him delivered that day. Greta tells Larry that she knows he has been unhappy with her, that New York City is not home for him, but she had thought that their marriage would change that. To accommodate him, and try to make him happy, she had purchased half-interest in a brokerage in LA so he could have a job, and also has rented a house for them. Greta is too deeply in love to give Larry up on her own, so she leaves the decision up to him. The temptation is too great and Larry leaves with Greta, never telling Janice goodbye.
At the brokerage, Larry once again begins womanizing. One day Larry is reprimanded by his business partner, Trenton (Tom Powers), for neglecting a rich client. Employee Verna Carlson (Susan Hayward) protects him by producing a copy of a letter supposedly mailed by Larry to the client the day before, but actually written by her and sent special delivery that day. Larry resists becoming romantically entangled again, but Verna blatantly seduces him. Soon the two are spending time together, in remote bars and restaurants, attending concerts, and at times in Verna's apartment. She brazenly admits she is a gold digger (having a prior relationship with Trenton). Larry lies to Greta, telling her he has late business meetings. One night, late, Larry comes home and finds Greta awake and waiting for him. She confronts him with the truth, and tells him that she is finished, but that she will not divorce him. She tells him she has sold the brokerage interest and bought an old Spanish ranch in the mountains. She tells him he has no job and no place to live, but that he can come with her. Which, of course, he does.
The ranch is beautiful, but remote from the city. It has no phone, and no mail delivery. The closest people are located down the road at a general store which also serves as post office. Larry endures months at the ranch, reading and being bored. Greta loves the area, rides horses and generally is very content. After many months, Greta says she wants company and tells Larry that she wants to build a guest house. Larry, enthusiastic about the possibility of escape, says that he knows an architect who could do the job, and runs off to call him at the general store. Larry instead calls Verna, and makes arrangements to meet her in LA.
Larry decides to clean out his joint checking account and run away with Verna. He writes a check for $25,000 for Verna to cash, and leaves a note for his wife advising her to get a divorce. At the rendezvous, Verna produces the uncashed check, showing that she genuinely loves him, not the money. Larry tears it up. Verna has also bought herself a cheap wedding ring to wear, so that they can say they are married. They picnic along the way, swimming together and enjoying the day. As they drive to Reno that night, however, an oncoming truck blows a tire and swerves into their path. Verna is killed and Larry seriously injured. Verna is burned beyond recognition. The police mistakenly identify her as Greta because of the wedding ring. Larry wakes up in the hospital where he is consoled for the death of his wife. He does not correct this, and lets people think that the dead woman was Greta.
Once he recovers, he returns to the ranch, planning to kill Greta and inherit her money. He finds his note at the top of a cliff and her lifeless body below in her favorite spot. He dumps the corpse in the nearby river.
Depressed by all that has happened, Larry takes a tour of South America and the Caribbean to try to cheer himself up, with little luck. In Jamaica, however, he runs into Janice. He persuades her to reconcile, and they return to Los Angeles together. Later, by accident, he sees Trenton go into her apartment. He eavesdrops through the open window and discovers that Janice has not forgiven him. She is working with Trenton, who has become concerned about Verna's disappearance.
When Trenton has enough information, he calls in the police. Lieutenant Carr obtains a search warrant for the ranch. They eventually find Greta's body in the river, but assume that it is Verna. Local storekeeper Thomason (Don Beddoe) is a witness to Larry and Verna driving away together, the last time she was seen. The police theorize that Larry killed her because she was blackmailing him over their affair.
While the jury deliberates, Larry receives a visit from Janice, whose love for him has revived. He informs her that listening to his own story has made him realize that he has destroyed four lives, and that he has passed judgment on himself. Back in court, just before the jury's verdict is delivered, Larry rushes to the window; a fatal shot saves him the trouble of committing suicide. The judge instructs that the verdict be read out anyway to make things official: not guilty.
|
murder, flashback
|
train
|
wikipedia
|
Cast against type, Robert Young gives one of his finest performances (far more interesting than that in Crossfire), subtly giving his role of philandering but strangely sympathetic heel a depth which may perhaps go by unnoticed by some.
Rita Johnson, in the minimal screen time alloted her, is likewise able to intimate complexities of character which imbue her role of manipulative wife with a touching frailty.The shortened re-release version (which I viewed in a colourized copy) has been cleverly edited to leave the plot intact, but with 15 minutes of cuts significant elements of character development (all-important in a film of this type) have been sacrificed.
After dumping one woman, portrayed by Jane Greer, he picks up with a secretary in his securities firm, a young Susan Hayward - he leaves her, too, but has second thoughts.
Young comes off as just slimy enough without being offensively so; Hayward's gold digger is glamorous, sexy, and conniving; and Jane Greer, in the most sympathetic role, looks fabulous and is her usual marvelous self as a woman who can't help loving this man, even with his flaws.
Rita Johnson is very good as Young's attractive and determined wife.All in all, I really enjoyed "They Won't Believe Me." Very entertaining..
Nice guy Robert Young gets to break character and play a real heel for a change.
He's like the eye of fate watching from above the mountain pool in a meaningful moment that foreshadows the reckoning yet to come.In passing-- I can't help noticing the true-love embrace of Hayward and Young washed clean now in the mountain lake and the similarly meaningful ocean scene of Garfield and Turner in The Postman Always Rings Twice.
Larry is unscrupulous and feckless, but not evil, and neither are the women with whom he cheats, as played by Susan Hayward and the sensational Jane Greer (Skipper).
The three major women in Young's life are played by Susan Hayward, Rita Johnson, and my favourite Jane Greer (who subsequently co-starred with Robert Mitchum in two great films 'Out Of The Past' and 'The Big Steal' in the late 1940s).
It stars Robert Young, Susan Hayward, Jane Greer and Rita Johnson.
Wild.Larry Ballentine (Young) is on trial for murder and he tells his story in flashback.
The story has all the requisite ingredients to lure the interested viewers in, twists and turns, vipers and snipers, dialogue so sharp you could cut a steak with it, and a love rat protagonist (Young splendid in a break from his normal roles) being toyed with by Old Noir Nick and his friend The Fate.In true noir tradition the plot is a little "out there", the middle section drags at times, while Harry Wild's cinematography doesn't kick in till a good hour into the play (worth the wait though!).
So here is Robert Young, smug and comfortable, and certainly not willing to leave his wife and her money, no matter how many beautiful and irresistible women he has affairs with, and who want him for themselves.
But there are numerous twists to this tale, and we know, though the prosecutor does not, that Robert Young did not really kill Susan Hayward at all, because we saw her die in a car crash.
But the trouble is, Young pretended that the woman in the car crash was his wife (who has meanwhile disappeared because she too is dead), so how can he now explain that it was really Susan Hayward in the car crash (burned beyond all recognition) and that he therefore could not possibly have murdered her?
Susan Hayward is very good -- though her best was "I Can Get It For You Wholesale." And Rita Johnson is good, in a different type of role from her usual.The rise and fall and rise and fall of a womanizer.It's well plotted, though slightly dull till the final five minutes.
He tells the story of how he met Vernia and how they fell in love, only for him to be trapped between the two women in two relationships and the lack of courage to go one way or the other.A nicely tough little film that twists a relationship drama with a pulpy thriller to produce a film that doesn't always work but just has enough of a hook to it to hold me from start to finish.
The leading characters are all rather good, as well, namely Robert Young, who pulls off a likable guy (Larry) who might (?) land all the women he lands but also has a weak side that explains how he went along with fate.
Outstanding film noir melodrama with Robert Young cast against type as a philanderer on trial for murder.
Through flashbacks, he tells the jury about how he's a selfish womanizer who cheated on his rich wife (Rita Johnson) with her friend (Jane Greer) and a co-worker (Susan Hayward) but denies he's a murderer.Robert Young has one of his best film roles here, as does Rita Johnson.
The philandering anti-hero of this film noir is Mr. Nice Guy (Robert Young) who has trouble deciding which beautiful dame to deceive: Rita Johnson, Susan Hayward or Jane Greer--so he plays mind games with the three of them and gets into all sorts of trouble in true film noir fashion.
Only trouble is Robert Young is woefully miscast as the heel of a husband who can't be faithful to any of these women.Jane Greer and Susan Hayward are fascinating to watch in subordinate roles but I kept thinking how much better the film would have been with someone like sleepy-eyed Robert Mitchum in the male lead.
Young looks almost bored with his role and never manages to make the man's predicament seem real enough.The contrived ending was no doubt necessary to satisfy production code requirements or something--but it does provide a bit of a surprise even if it is rather a letdown.
Robert Young scores a real acting triumph playing against his nice guy Father Knows Best type to play a womanizer who fate deals a really tricky hand.
The film is a combination of The Apartment and The Postman Always Rings Twice.As in The Apartment where Fred MacMurray has the nice established front of the wife and kiddies and carries on with whomever in the office, Young is the outwardly happily married man whose got a real itch that needs scratching.
As he tells his story he knows that They Won't Believe Me.This is one of the cleverest noir films going.
Robert Young is justifiably, fondly remembered for his TV roles in "Father Knows Best" and "Marcus Welby M.D." But, I don't think that I have ever seen him in a movie where he doesn't play a real jerk.
Larry Ballentine (Robert Young) is a philanderer with a wealthy wife, Gretta (Rita Johnson), who uses her money and influence to trap him into staying in their failed marriage.
Larry has an affair with magazine journalist Janice (Jane Greer) and after that with Verna (Susan Hayward), who works at the brokerage firm in which Gretta has a 25% stake.
In They Won't Believe Me, screenwriter Jonathan Latimer manages to write a protagonist so unlikable, the audience thinks he should be punished the longer he keeps talking!Robert Young starts the movie as an accused murderer, yet he saunters up to the witness stand as if he hasn't a care in the world.
I felt terribly sorry for Rita, putting up with his episodes and constantly rearranging their lives to start anew and keep his interest for a little while until the next tramp came along.This isn't a very good film noir flick, and it isn't particularly suspenseful since the first scene tells the audience who dies.
The real star here is Susan Hayward, although Robert Young is convincing enough in his desperate situation of confusion caught in a web of unfortunate turns, for which he blames and sentences himself, as any loving man would do, while it's impossible to judge him, while all his innocent dames are equally totally innocent...
The force of the intrigue is the dialogue and the intelligent turns of the story, a fascinating labyrinth impossible to guessd at what it will offer next, and the crown of the piece is the dialogue between Robert Young and Susan Hayward.It's a great, concise and explicit noir, told with stringency and realism, and all you can say afterwards is, poor fellow....
This movie starts at the end as Larry Ballantyne tells an unbelievable tale on the witness stand as he is on trial for murder.
So most of the movie you are waiting to find out who he is accused of murdering, and whether or not this is just one more of his lies.So we flashback to when Larry is designing a boat...in a restaurant..in a corner...in a booth..in the dark...with Janice (Jane Greer).
This was one of Robert Young's most interesting roles, and he is quite good as the guy who loves money and easy living more than he could ever love any woman.This is one of my favorite noirs, yet it has never made any of the WB Film Noir DVD packs nor even the Warner Archive.
The Strong Cast of Robert Young, Jane Greer, Susan Hayward, and Rita Johnson Along With a Deep an Adulterous Story Propel This One Along.
It's also a film-noir with a difference, in that the characters aren't all as adulterous, blackmailing and dastardly as in most films of this genre; many, in fact, are relatively decent.Robert Young makes for an engaging hero and the various love interests of the tale are all as attractive as you'd expect for a movie of this era.
Larry is dead set on leaving his wife (Rita Johnson, attractive and lovable) traveling after another woman (Jane Greer, even more attractive).
I am not sure if it is the same officer who earlier shows interest and concern for the mentioned horse, in a crucial scene in which the body of Larry's wife is found incidentally another interesting moment, in which a guy in the background whom the viewers have heretofore ignored suddenly and unexpectedly takes the initiative, moves into the center of the frame and becomes a character of his own.I would call this by all appearances minor RKO movie high quality entertainment for an adult audience..
Larry Ballantyne (Robert Young) is on trial for murdering Verna Carlson (Susan Hayward).
Tom Powers is also excellent as the head of the brokerage firm in which Larry's wife bought him a partnership.Robert Young skilfully plays against his nice-guy image as Ballantyne, who is married to a wealthy beautiful woman but can't help starting relationships with other women: first Janice (played by the dull Jane Greer), then Verna.
But then the authorities come looking for Verna, and they think Larry stashed her corpse on Greta's ranch...There's plenty of irony here, and some typical noir narration about Fate dealing a hand from a new deck of cards, and so forth.The flashback device raises no end of questions.
A lot of Robert Young's believability in this role came from his many years of playing nice guys - so in his plea to the jury "It's not my fault, everything happens to me"!!
Unsurprisingly, for a film noir, greed, adultery and a murder trial feature strongly and the confusion that exists over the identities of a couple of dead bodies adds further intrigue to the whole proceedings.Larry Ballentine (Robert Young) is a young man who's on trial for the murder of his girlfriend Verna Carlson (Susan Hayward).
In court, he's openly described by his own defence lawyer, as being heartless, shameful and cruel, however, the lawyer also asserts that his client, despite his character-flaws, certainly isn't a murderer and to convince the jury of this, the defendant is invited to the stand to give his account of the events that culminated in the death of Miss Carlson.Larry explains that despite being married to Gretta (Rita Johnson), who's a beautiful, wealthy and refined society lady, he also used to regularly meet magazine writer Janice Bell (Jane Greer) in a New York City restaurant on Saturday afternoons where they enjoyed drinks together and conversations about their shared interest in boats.
The supporting cast also provide good performances with Rita Johnson, Jane Greer and Susan Hayward all perfect in their important roles."They Won't Believe Me" is visually strong with some high-angle camera shots and expressionistic cinematography which contribute strongly to its atmosphere.
Not really like "A Place In The Sun",more like a cousin, but surprisingly almost as good.Cast against type, Robert Young plays Larry Ballentine with aplomb.
Rita Johnson, Jane Greer, and Susan Hayward really compliment this movie as all fit their respective roles just like a hand in glove...Perfect.A few have mentioned that the story has holes and doesn't really ring true.
The way it is told by Robert Young's narration from the stand in his murder trial is one of the better examples of this kind of device.
Robert Young plays against type as a philandering and conniving cad who ends up on trial for murdering his girlfriend in the under-rated film noir classic, "They Won't Believe Me." His story, told in flashback as testimony at his murder trial, involves a list of 1940's beauties including Jane Greer and Susan Hayward.
Young has never been better as the philandering husband, even if his character won't remind viewers of "Father Knows Best" and/or "Marcus Welby M.D." Jane Greer has the thankless role of playing one of his lovers who still believes in his basic goodness.
At one point, in a comic visual bit, Robert Young actually draws a cartoon 'villain' mustache on his own picture in this film.It was a long way from Jim Anderson of 'Father Knows Best'.The ending of 'They Won't Believe Me' is Ironic Cliché.
Hayward plays the role to feisty perfection, and such was her cloaked malevolence that I half-expected her to crop up at the film's end, having somehow faked her own death, stolen Ballentine's money and skipped off to South America.
Janice Bell (Jane Greer) is the polar converse of Hayward's femme fatale, perhaps the closest thing to love in Ballentine's life their relationship, characterised by a mutual love of boating, apparently, seems genuinely platonic, a mutual understanding that our male hero promptly severs with his unquenchable thirst for wealth.I was surprised, given its relative obscurity nowadays, at just how strong a film 'They Won't Believe Me' turned out to be.
Mr. Young, Susan Hayward, Jane Greer and Rita Johnson all give strong performances in a film that manages to hold the attention throughout its tangled tale of deception..
***SPOILERS*** A bit off the wall courtroom drama that has to do with stockbroker Larry Balentine,Robert Young, being on trial for his life in the murder of either his wife Geta, Rita Johnson, or girlfriend Verna Carson, Susan Hayward, and leaving it all up to us, the audience,to who's the real victim in all this mess.Officially on trial for the murder of Verna it was the discovery of Larry's wife Greta that had the police confused in just what happened between the three, Larry Greta & Verna, to cause these tragic results.
Back at the ranch Greta depressed that Larry, whom she's madly in love with, left her for another woman whom she doesn't at the time realizes is already dead jumps off a cliff, while leaving a suicide note, killing herself!Now on trial for his life in Verna's supposed murder and possible murder, in him making it look like a suicide, of his wife Greta Larry tells the jury what really happened which is in fact the truth but the trouble is would anyone on the jury believe such a ridiculous story in the first place even , as we in the audience know, if in fact it's true!****SPOILERS**** Not wanting to hear the final verdict Larry jumps the gun and ends up letting the court security guards do the job on him that he feels is about to handed down to him by the jury.
But Young's Larry doesn't descend gradually into depravity like McMurray's character, he's made a lifestyle out of it.He's unfaithful, but lets his wife (Rita Johnson's Greta) lure him away from two affairs with goodies (jobs, houses) "I was private property" he admits.
In a very obvious way it's Larry who's the golddigger, living off his wife while courting Janice, then Verna, abandoning each, in turn, as it suits him.His plot to cover the planned murder of Greta by letting the authorities assume that it was her who died in the accident, and not Verna, works, at least for a while.
Could just be another bald guy.Robert Young carries the film and the story is done flashback style from his court trial for murder.
This quality of writers shows up in the film script.I like the way the story is handled here because there are times flashback gets confusing.
RKO did this as a "B"film quite obviously by the length of the feature.This film is a feast for people who like a good noir and in a way Robert Young here is the father who knows best..
The first problem with this film is that there's no way you're going to like the lead character, played by Robert Young.
Not to mention being a would-be murderer.The second problem with this film is that you're not going to like the wife (Rita Johnson), either.
She's clearly manipulating her husband with her money.The third problem with this film is that you're not going to like the first "other woman", played by Jane Greer...well, you might have a little sympathy for her, and there's an interesting twist with this character.The fourth problem with this film is that you're not going to like the second "other woman", played by Susan Hayward.
Basically the story is told in flashback, narrated by Robert Young, murder suspect, in a courtroom.
Young has this thing going on the side with the appealing Jane Greer, film noir icon.
Like Greer, she wants Young to divorce his wife and marry her.
|
tt3802404
|
Sunset Overdrive
|
On July 13, 2027, FizzCo releases its new energy drink, OverCharge Delirium XT (also known as OCD), exclusively in Sunset City. In an attempt to sell OCD faster, FizzCo skipped health regulation protocols, in turn causing anyone who drinks it to turn into a violent boil-bodied mutant known as an Overcharge Drinker (OD). In order to cover up the deception, FizzCo claims that a virus has broken out and quarantines the whole city, preventing anyone from entering or exiting. The player, a FizzCo employee who works in the sanitation division, is saved from an attacking OD by Walter, a fellow survivor; the player is unaffected by the drink, as they were not allowed to attend the launch party for OCD, later referred to as "Horror Night".
Upon learning that Walter is creating a plane to escape the quarantine, the player obtains the aid of Sam and the Oxfords, a group of rich but lazy geniuses. After multiple errands, the Oxfords build a propeller to complete the plane. The player joins Walter in his plane to escape the city and reveal the truth about the outbreak. At the last second, Walter notices an invisible wall preventing their escape and pushes the player out of the plane before dying in the subsequent crash.
Still planning to escape, the player aids Troop Bushido, scouts living in a samurai museum, and the Fargarths, a group of larpers. In thanks, the two groups design and build a ship out of garbage which tricks the FizzCo sensors and allow them past. As the player is about to escape, they learn that FizzCo robots are attacking the Oxfords and Troop Bushido in order to kill all witnesses. The player returns to Sunset City and rescues the survivors. Sam informs the player that there is a deadly superweapon in FizzCo headquarters, which the player is able to break into after obtaining the help of Las Catrinas, a trio of cheerleaders caring for the children's ward of a hospital, by recruiting a band fronted by King Buzzo (voiced and mocapped by the real Melvins singer) to perform for the children.
The player rallies the four factions to attack FizzCo headquarters, and attempts to destroy FizzCo HQ by riding a giant bottle of OCD into it (reminiscent of Dr. Strangelove). The player is killed in the blast, and the factions mourn them. However, the player stops the credits rolling after this scene to complain how depressing the ending is, and decides to change it. The player survives in this ending, and it is revealed that the FizzCo building is a robot that is meant to destroy the city to cover up the OCD outbreak. The player destroys the robot and has milk and crackers with the other survivors. After the credits, however, computers in the FizzCo headquarters automatically activate a protocol sending FizzCo helicopters full of OCD around the world.
|
violence
|
train
|
wikipedia
|
absolutely insane and out of control. the year is 2027 and fizzco has released a contaminated energy drink called overcharge XT that turns anyone who drinks it into crazed mutants. I'm gonna tell you, this is one of the most insane, crazy, ridiculous, extreme, over the top, bloody, gruesome, brutal, out of control games I've ever played and I absolutely LOVE IT lol, if you've seen crank 2, you're gonna love this game, you might as well call this game crank 3: overdrive since it's so freakin insane lol. If sunset overdrive was ever made into a movie, it would be an R Rated action comedy thriller on crystal meth lol, I highly recommend this game to anyone who loves pure action, pure gore, and outrageous humor, they won't be disappointed at all.. Good game and Very good exkluzivitka na xbox one. Good game from insomniac games Ratchet and clank, marvel spider-man, spyro and sunset overdrive my comment. sunset overdrive. sunset overdrive is a open world game it is very accurate at the story line and beyond the wide array of weapons and stunts this game is one of the most funniest and most animated game made for Xbox one. Although many of the story lines is based around the mutants and gangsters these are called OD and you will discover different types of mutants further in the game the gangsters are called scabs. And they are the secondary force which control the city although these there are fizz co robots which control the island by killing their enemy which are human and making the island theirs altogether the ending has a big cliff hanger at the end. And possibly this is leading to a sequel or a add on for the cliff hanger at the end of the game. Altogether this game is a amazing game if you love exploration, action and animation this game also is a bit too colorful and the story line gets a bit random near the end but altogether this is a great game to recommend of 2014.. Luxicon's Game Reviews: Sunset Overdrive. Sunset Overdrive, by far, is one of the most chaotic and intensely fun video games on the Xbox One. What other game do you have this much fun just moving around the city through these insane, almost ludicrous ways? Some can say Prototype or the Infamous Series can give you the same feel, but it's nothing like you get with this.The story is like that of most Post-Apocolyptic games, I.E. Something is released and jumpstarts the Awesome-Pocolypse(Yes, that is what they call it.), Mainly the soft drink Overdrive, the newest product by the Fizzco Corporation. Fizzco is basically Coca-Cola if they sunk all of their marketing in Fanta Orange while also merging with the bloody IMC from Titanfall. You play as a lone, vaguely late-teenaged, early twenties employee at Fizzco, where Overcharge is being released to the public of insanely idiotic and stereotypically teenaged......teenagers. You're job sucks and you're stuck picking up the trash. Soon, one of the teenagers who drank the new beverage starts acting sick, before becoming an OD, which are this game's version of either mutants or zombies that other games would have. Thus, Horror Night begins, and soon, everything goes straight to hell as the Apocalypse is kickstarted in Sunset City.But it's an Awesome-Pocolypse, and everything is out to kill you. Whether it's the OD, the Scabs which are basically this game's version of Raiders or Gang Members, and even a bunch of Fizzco Security robots that are programmed to kill all survivors in an effort to cover their tracks. Sunset City is now a constant war zone between each of the three enemy factions. In many cases, it's you versus the whole world, as you use your arsenal of almost limitless possible ways to smash the hordes of enemies. Along with just you and some ex-Fizzco employees , you also team up with other factions of friendlies, which include a Boy Scouts troop that have adopted a Samurai way of honor, a bunch of Oxford students held up in what I can assume is Freddy Fazbear's Pizzaria, and a heavily delusional bunch of LARPers at war with some Scabs. (Being a LARPer myself, I was personally cracking up at everything they did in their little society.) Each have their own headquarters, complete with other characters who give away their own personal side quests. quests you can complete in order to get exclusive faction gear to add to your collection of outfits and melee weapons. And, along with all the memorable factions, some enemies that are either Scab or Fizzco are actually kind of complex. Well, complex for a game that's littered with clichés and flat character archetypes. Villains like Fizzie, Fizzco Mole, Emperor Norton, and King Scab are some of the most despicably evil kinds of villain seen in a video game so far. Some may find this kind of corny and cliché, but dealing with the subject and joke of the game, I found it as a perfect level of ham. But then again, what kind of villain were you expecting from a game that literally starts with the word "APOCALYPSE" written entirely in fire and explosions?However, while the villains are well casted in their factions, I can't have any nicer things to say about the other, main faction you have to defeat most of the game, which is the OD themselves. Not only do they look generic compared to most of the surprisingly original look of both the Scabs and the Fizzco Robots, many look so uncreatively similar to one another. I'm not talking about a horde of OD that you fight, I mean the 'Alternative' kinds of enemy types, like Blowers, Gunkers, and Spawners. All of them look so much like the original OD, and it's not like the original OD were really original in the first place. Hell, the poppers are just OD with bulging, glowing puss bags that explode on contact. Even Emperor Norton, who becomes a giant dragon, looks like any other kind of OD you fight in the game. It's a very big missed opportunity, and it broke what could've been some awesome looking monster designs.Not only that, many of the wackier guns you use in the game lack any real punch. The only guns worth using and leveling up are guns that either are practical like the Dirty Harry(A Magnum), the AK-FU(An assault rifle), the Fizzbot Rifle(Another rifle), The Hand Dragon Cannon(A miniature grenade launcher), The Flaming Compensator(A Shotgun with fire), and the Excalamune(A pretty badass sword you get near the end of the game). The rest of them, have almost zero punch when dealing with a massive horde of enemies like the OD and the Scab. Hell, The Fizzbot Rifle is required if you want to beat some of the Fizzco enemies. The Vinyl Gun doesn't even have any real other then for bragging rights. These two things, followed by a relatively short play time for the main game(It's only about 5 hours to beat) bring this almost legendary game down. Which is why, I'm giving this gameA B-Ranking. It's a great game and an absolute blast to play, but it's still crippled with ineffective weapons, uncreative enemies, and a short actual main game. If the game were a bit longer, the OD were more creative, and if more of those weapons were effective and useful, then this could've been one of the greats. However, as it is now, it's very average and only a B.
|
tt0283111
|
Van Wilder
|
Vance “Van” Wilder, Jr. (Ryan Reynolds) is a confident and cheeky-chappy senior in his seventh year at Coolidge College. With no ambition to graduate, Van spends his days driving around campus in his customized golf cart, posing nude for figure drawing classes, organizing soirees for his peers and interviewing for a new assistant, whom he eventually finds in the sexually repressed Taj Badalandabad (Kal Penn).
Upon learning that his son is still in school, Van’s father, Vance Wilder Sr. (Tim Matheson), decides to sever Van’s financial support, citing that “sometimes you have to recognize a poor investment, and simply cut your losses.” Faced with disenrollment due to unpaid tuition, Van seeks a payment extension as a favor from Deloris, the registrar. Knowing Van’s sexual prowess, the elderly administrator forces Van to have sex with her in exchange for an extension. Afterwards, Deloris hands him the paperwork for an extension, which Van realizes is all he needed to ask for in the first place.
While at a strip club, Van schemes to begin a tutoring program for Coolidge students using topless strippers as the instructors, reasoning the students to succeed in their tutoring sessions. The hustle is short-lived, however, when the strip club owner demands the women employed by his club return to work. Meanwhile, Gwen Pearson (Tara Reid) is an academically successful reporter for the campus newspaper.
While her articles are well-written, they do not generate interest from the student body. Her editor assigns her to get an “unattainable” human interest story on Van Wilder, which she hesitantly accepts. Out of ideas, Van is approached by the Lambda Omega Omega fraternity, offering to pay him several thousand dollars to throw them a blowout party and boost their popularity.
Van agrees, throwing them a hit 1970s-themed roller disco party. Overhearing two of the Lambdas expressing their excitement over the party’s success and their satisfaction with Van’s work, Gwen writes a story crediting Van as the host of the party. Van scolds the story, having intended for the student body to believe that the Lambda’s threw the party believing they deserved such recognition. Gwen apologizes, and Van agrees to sit down with Gwen for the follow-up piece her editor had assigned for the cover of the graduation edition; frustrating Gwen when he repeatedly claims their interviews are actually dates.
Gwen’s boyfriend, Richard “Dick” Bagg (Daniel Cosgrove), is a pre-medical student and the president of his fraternity Delta Iota Kappa, or DIK. As he learns of Gwen’s work with Van and suspects a growing bond between them, he moves to sabotage their prospective romance. Van and Richard exchange escalating pranks until it culminates in Van, Taj and Van’s roommate Hutch (Teck Holmes) replacing the cream filling of a batch of pastries with canine semen taken from Van’s English Bulldog Colossus.
Employing a tactic Van previously used to get her out of class earlier in the film, Gwen accesses Van’s records from the Admissions & Records office while doing background work on her piece. She learns that Van has actively avoided graduating for the past seven semesters, questioning his motives for doing so. Angry that Gwen dug into such personal details, Van disassociates himself with Gwen and takes a contemplative look at his life.
Taj shows Van that he only needs to throw one more party to cover his fees for the semester. Meanwhile, Richard arranges to sabotage this party with Jeannie (Emily Rutherfurd), a member of a sister sorority. The night of the party, under the guise of resolving their differences, Richard, Jeannie and his fraternity’s Vice President distract Van and Hutch at the door while they smuggle underaged children into the party and get them drunk, then call a campus police officer to the scene.
As the officer is leaving, believing nothing wrong has happened, two of the minors appear outside completely incoherent. As a result, Van is arrested for selling alcohol to minors and faces expulsion from Coolidge. The student body pools its resources to defend Van against the charges before a university panel featuring, among others, Van’s collegiate adversary Professor McDougal (Paul Gleason), Deloris and Richard.
While the law club invests time coaching Van to plead innocent to the charges, the rest of the student body works to generate support for Van. Having learnt from his past mistakes and what Gwen has shown him, Van goes off book during the hearing and takes responsibility for the kids at the party. He throws himself at the mercy of the court and asks that rather than expelling him they force him to graduate since he is only 18 units shy of his degree.
With Professor McDougal as the swing vote, he surprises everyone by casting the 3-2 vote in favor of Van’s reinstatement, and as Van studies for the quickly-approaching finals, Gwen learns from Jeannie that not only did she and Richard frame Van for the kids at the party, but they also slept together the night the plan was conceived.
In retaliation for this, Gwen spikes Richard’s ritual protein shake with a powerful laxative just prior to him taking the MCAT. The effects set in just as the exam begins, with no bathroom breaks permitted for the two-hour exam period. Unable to hold out, Richard “dials down the middle” of most his multiple-choice exam sheet and hurriedly exits the exam room, disgusting his fellow test takers with his flatulence. As he rushes to find a bathroom, he is intercepted by one of the doctors from the group meant to interview him for admission to Northwestern Medical School. Unable to hold himself any longer, Richard strips off his pants and has violent diarrhea in the waste basket in the room, to the revulsion and horror of the doctors present.
Van is further acquitted when Gwen publishes in her graduation article about Van that Richard was actually to blame for the incident involving the drunken minors. The student body waits with bated breath as Van makes his way through his finals.
With his economics final five minutes away, Van is awoken by Taj and rushes across campus for the exam with Professor McDougal. Van utilizes the entire exam period, finishing with a negative attitude. He awaits the results of the exam, which are personally delivered by McDougal himself, who informs him that he passed and will thus graduate. McDougal notes that he had been so hard on him all those years because he believed Van wasn't living up to his potential, Van responds that he thought McDougal had just been upset over him "fooling around" with McDougal's daughter.
The university celebrates Van’s graduation with a wild party held in Van’s honor. Van’s father appears, admitting he was wrong and expressing his pride in Van’s success. Gwen then arrives, lovingly reuniting with Van.
|
entertaining, cult, humor, comedy, adult comedy
|
train
|
wikipedia
|
i didn't expect much coming into this movie, i didn't hear much about it and Van wilder was one of the national lampoon movies without Chevy Chase.
Reynolds did a spectacular job in the movie, but I must say that without the character Taj the movie wouldn't have been as funny.This is more of a guy comedy type movie but my gf loved it also.The donuts scene I must say was a little gross but still the movie was amazing.
This is the kind of guy everyone would like to be or know in College.I don't think they could of taken anyone else then Reynolds to do this role maybe I m just saying that because he is one of my favorite actors but he did do a great job.
This jerk will do anything to get Wilder out of college.Directed by Walt Becker (Buying the Cow, Wild Hogs) made an smoothly surprisingly well done outrageous comedy with a couple of very funny scenes (With also one hilarious gross-out scene is actually disgustingly memorable, if you like it or not).
Reynolds' appealing performance makes this college comedy film fun to watch.
If you cannot take any of the above and find enjoyment in them, don't waste your time with Van Wilder.If, on the other hand, you like vomit-inducing pranks, beautiful young girls flashing their boobies, and hilarious one-liners galore peppered by a huge dose of stereotypes (but without hatred), you will have one of the most entertaining 2 hours of your life.
A surprise find is the actor playing Tara's boyfriend: he plays so well, you will LOVE to hate him.All I can say is, with college for 20 years behind me, I wish I had a Van Wilder when I was attending school.
I've started to enter my pompous intellectual phase, yet I still have a big weakness for teen movies.Animal house, Ferris, Weird Science, Bachelor Party and more recently a resurgence with American Pie, Road Trip, Have the Cow and Van Wilder.All of these films are great, IMO.
At least you have the innocence and optimism to know your life is all in front of you and getting laid and having fun, is pretty much the only thing on your mind (that hasn't changed if we are honest).I am disappointed that so many people criticise a film that clearly wasn't meant to be taken too seriously and is genuinely funny.
National Lampoon's Van Wilder is an aggressively funny movie,unashamed by its bad taste..
Not only is this movie gut-bustingly funny if you can get past the crude visual puns like a pit-bull with what looks like a ten-pound scrotum attachment, and a crotch-enhancer pump that is mistaken for a bong this transcendent comedy of gross manners is most affecting because it's incredibly well-made.
Director Walter Becker (creator of the ingenious short-film Saving Ryan's Privates) handles the irreverent and random acts of background physical comedy with ease and panache.The campus wild man is fittingly known as Van Wilder (played by Ryan Reynolds).
Van Wilder has enthusiastic support from everyone but his burned-out workaholic father (played by Tim Matheson, once the wild man in National Lampoon's Animal House) who decides after seven years of his son's enrollment to stop tuition payment.Van Wilder becomes the subject of a school newspaper editorial and Tara Reid plays the snobby, uptight reporter Gwen whose ties belong to frat boy Richard Bagg (Daniel Cosgrove), who conducts hazing rituals that are crueler than anything since Animal House.
There are innocent people involved in the mayhem, including a scene where pre-pubescent boys raid one of Van Wilder's parties and end up barfing out of a school bus (but hey, these young boys had the time of their life until then).
Van Wilder wants to be the next iconic gross out teen movie.
The National Lampoon magazine folded during the filming of their "Loaded Weapon 1" movie back in the 90s, and since then they've dished out nothing but weak remakes of earlier classics, and "Van Wilder" proves to be no exception.
Ryan Reynolds is typically annoying as the title character who frees his college from studying and the ideal to better oneself and turns it into a party-zone with the help of recycled gags, predictable one-liners, and a slew of bad supporting actors and actresses.
Featuring some of the worst acting this side of Pauley Shore from newcommer Ryan Reynolds (apparently channeling Chevy Chase) and "veteran" teen film actress Tara Reid (whose acting seems to get worse and worse with each performance, if that is possible).
I will say this about National Lampoon's films of late---they are getting funnier--AND maybe someday, the movies they crank out now will be as good as the earlier ones they released.
The movie Van Wilder is OKAY, but I'm sure they could have done a bit better in churning up the laughs--everything is too heavily relied on gross humour.
The film doesn't explain why she was dressed this way or why this scene was necessary but it is clear that the target audience is teenage boys and that the depiction of women is slanted accordingly.Overall then a mostly unfunny and obvious genre movie that goes through the motions but does very little else.
Van Wilder was a really funny and great installment in the National Lampoon series.
Ryan Reynolds and Tara Reid were really good, and the movie had lots of sick gags and hilarious sequences.
All, in all, Van Wilder was a good and huomorously disgusting movie that you will love.
I generally hate these teen sex comedies and I approached "Van Wilder" with hesitation, but I actually found it to be quite entertaining and humorous (if you're in the right mood, I suppose).Ryan Reynolds (doing a great Chevy Chase impersonation) is a guy in his late 20s who has been at college for eight years and still doesn't have a graduation in sight.
His father, a rich politician (played by Tim Matheson), finally decides to cut off his son's money and as a result, Van has to think of a way to come up with enough cash to stay in school.Pretty soon Van becomes a party planner and uses his knowledge on partying to throw great ones for nerds.
Don't get me wrong, it's not a great movie; but I found Reynolds (who seems to pick up a lot of flak) to be quite funny and Matheson and other ex-Lampoon star cameos were amusing.Recommended for those who can enjoy stupid humor.
Ryan Reynolds is funny, but other than him, the entire movie is nothing but a parade of pretty faces in a very bad script with no comedy..
Ryan Reynolds plays the titled slacker who's been residing at Coolidge College for seven years living it up until his dad (Tim Matheson of "Animal House") decides to stop payment on his tuition for not making good grades.
So, Van Wilder tries to come up with fool-proof schemes that will get him some fast money so he can stay in school.The latest from National Lampoon tries to be as good as "Animal House," but fails.
Okay, this movie tried to be a cross between a light-hearted comedy and a gross-out film in the tradition of Animal House and American Pie. Sadly, it could not achieve a satisfactory balance.
While I admit lots of really really bad movies targeted to young people these days have had some success, I have faith in my generation, that they will avoid this crap college flick, like they would avoid the cops when transporting alcohol in their backpacks to their desired party destination when they are underage.
While I like to joke about college as much as the next guy, Van Wilder seems to have been written from every played out, cliche bit of college humor and comedy, rarely a scenario being close to accurate of real college life either..
But if you feel like conducting your own experiment in terror, watch this, but get a copy of Road Trip as a palate cleanser for afterwards, it's not Citizen Kane, but it's amusing and the man who directed it finds new and interesting ways to expose the female form, the thing that many will be expecting to see when they watch this type of movie.
Van Wilder: Party Liaison is an awful movie with a storyline that seemed interesting but turned out terrible and a great comedic cast that are wasted by a brutal script.The movie is just one ridiculous joke after another,I literally didn't properly laugh at any scene,a lot of parts were just purposely disgusting,like the part with the dog and the twinkies,I don't see how anyone could write something like that and expect people to find it funny instead of just plain gross.I really like Ryan Reynolds as an actor and he's gone on to prove after this film that he can definitely act,but Van Wilder was just an annoying character that I found very unlikeable and wasn't rooting for him throughout this film,the only character who's scenes I enjoyed in any way was Kal Penn's character.Van Wilder: Party Liaison is a terrible movie that I wouldn't recommend to anyone.
So a movie these days that has anything to do with teenagers can't possibly be a comedy, but nothing less than a hardcore drama to say the least, unless you consider the sky high divorce rates and incredibly declining birthrates and out of wedlock birthrates of today to be funny.Van Wilder is one of the most disgusting movies that has ever been made.
Likewise, grossness is not funny, it's not going to automatically result into a good comedy movie.
This film is wannabe all the way in its attempt to borrow things from other movies, like Wilder's sex with a nasty looking lady (stole Woody's fling from Kingpin ).
Van Wilder has been at Coolidge University for 7 years now {this is mentioned about every other minute in the movie, clearly the film's 'star' joke}.
When I say a cameo from EE is the highlight of the movie you'll understand just how poor a movie this is VAN WILDER is one of those gross out comedies that seems to be a cross between American Pie and FREDDIE GOT FINGERED .
National Lampoon, which hasn't used its name on a movie in years (hell, "Vegas Vacation" didn't even use it), slaps it on the latest in a string of tasteless comedies, this crap heap called "Van Wilder".
The last movie to do this successfully was "Road Trip", which, in my opinion, is up there with "Animal House".Ryan Reynolds(Two Guys, A Girl and a Pizza Place), in the title role, is a very exciting, charismatic actor with an acute sense of comic timing, but he's still no John Belushi.
National Lampoon movies used to be what we looked to for good laughs and gratuitous nudity.
Van Wilder (Ryan Reynolds) is the eternal student at Coolidge College where he has been studying for seven years but yet to graduate.
When some under-age kids are found by the police drinking in one of his parties Van Wilder's college days seem to be numbered and he decides he finally needs to grow up, realise his potential and graduate while taking revenge on the local college jock who got him into trouble.The film is a cross between Animal House and American Pie. Tim Matheson who plays Van Wilder's father appeared in Animal House and Tara Reid who plays the student paper journalist appeared in American Pie.There is also plenty of gross out humour such as éclairs filled with dog semen or a protein shake laced with laxatives.
There is the added sub-plot of Wilder's assistant, an Indian exchanges student, Taj Mahal wanting to have sex with an American girl and getting into all sorts of scrapes like setting himself on fireReynolds injects enough heart and decency in Van Wilder to actually make you root for him and it is amusing enough with bad taste pranks to make you laugh several times..
'Van Wilder' certainly doesn't attempt to reinvent the wheel, sticking beat for beat with your standard college/slacker comedy, but like its star, Ryan Reynolds, it's an amiable enough flick that gets by more on its likability, fast pace and fun atmosphere than an abundance of laugh out loud gags.The aforementioned Reynolds is backed up by an equally likable, if perhaps culturally stereotypical, performance from Kal Penn.
National Lampoon's Van WilderEconomically speaking, most parents would likely prefer to have a permanent high school student as a child than a permanent college student.Unfortunately, the father in this comedy has the latter.After seven-years of loafing through college, Van Wilder's (Ryan Reynolds) dad (Tim Matheson) has enough and cuts off all funding to his son.Forced to go it alone, Van makes an agreement with school heads that he can cram a year's worth of information into his head in six days, and finally graduate.But that won't be easy, as Van is in a prank-off with a fraternity brother that doesn't like him hitting on his girlfriend Gwen (Tara Reid).More gross-out comedy than genuine laughs, for some reason Van Wilder has had a cult-like following that relished its over-the-top sexual perversions, and revel in the leads blasé nature.Incidentally, the ultimate college prank is convincing students to buy textbooks.
There is no doubt in my mind that a lot of viewers will be offended by those scenes, and as a result have their whole experience ruined.The story in the movie is very simple: Van Wilder is still in College, for the 7th year in a row.
Tim Matheson is first-rate.On the whole, 'Van Wilder' offers some really good laughs..
A lot of bathroom humor and takes from American Pie, Road Trip, Not Another Teen Movie and Animal House of course.
My university had an advanced screening of Van Wilder a couple of weeks ago, and I must say that I found it to be up there with the likes of American Pie and Animal House when it comes to gross out, college humor.
Taj is an international student who volunteers his time to Van in order to learn how to better pick up women.This is a very typical college humor movie, along the lines of American Pie and Animal House.
The gross-out gags were laugh out loud funny, and the movie moved along at a good pace.
VAN WILDER *+__ Romantic Comedy / Ryan Reynolds, Tara Reid, Kal PennVan Wilder is a professional college student.
The movie seemed pulled by two producers--one, an old-time National Lampoon man who uses dry wit and satire; the other, a thirty-something MTV exec who knows 18-year-olds love to be grossed out.
But older college movies like Animal House and even PCU succeeded in that satirization while still having a lot of different types of girls on-screen, and not just beautiful ones.
If you like the mix of gags with more cerebral comedy of earlier National Lampoon films, you'll be bored and annoyed that Van Wilder didn't fully use its actors' potential..
I just came from a free preview and all my friends agreed that this is definately one of the funnier movies we've seen in a LONG time.Ryan Reynolds (Van) is gut-bustingly funny throughout the film with his own spin of Jim Carrey/Jeremy Piven charisma, and Tara Ried shines as always as the ridiculously hot school newspaper reporter.If you're looking for a good time and great laughs reminiscent of PCU, Real Genius or Animal House, then GO SEE THIS MOVIE!But as fair warning, if you have any qualms about excessive grossness, beware, Van Wilder is chock full of it.Personally, I can't wait see more of Ryan Reynolds.
In the tradition of such films as Ferris Bueller, Road Trip & the American Pie movies this "coming of age" comedy made me fall out of the theater chair laughing!
But you will have a lot of laughs and a good time viewing Natl' Lampoon's Van Wilder.
Even though this makes the man sound bad, you'll notice there is much more to Van Wilder.The movie follows the recent teen trend of outrageously disgusting sight gags, but adds a few decent tricks to the mix.
Going into this film, I expected to see a raunchy, humorous movie similar to Animal House(as the trailer and reviews stated).
Oh my, Van Wilder is one of the funniest movies I have seen in a long time.
If you liked American Pie, You will more than love Van Wilder.
The movie was a good, solid film, with lots of humorous parts.
Ryan Reynolds is hilarious, and definitely turns a pretty week story line into an entertaining movie.
I really did like the movie, it just was not up to the National Lampoon films of past..
I expected quite a bit more from National Lampoon but considering the other comedies that have come out this year, Van Wilder is easily among the best.
I recommend you see Van Wilder if you just need to have a good laugh and you have an extremely sick sense of humor..
Ryan Reynolds stars as Van Wilder, a Coolidge College student who has been there for seven years and just doesn't want to leave.
I honestly liked this movie, and I thought that Ryan Reynolds and Tara Reid did a great job.
The movie is not the next Animal House, despite what National Lampoon would like, but it was amusing and had me laughing till I was in pain at several points.-- Be warned though, a lot of the comedy is very crass, so if you don't like gross out humor- then this movie isn't for you..
This movie takes me back to great days of the 80's comedies and adds the 90's gross out humor that we all love.
VAN WILDER IS THE FUNNIEST MOVIE I'VE SEEN IN A LOOOOOONG TIME!!
Kal Penn, playing Van's assistant Taj, steals the movie even from Ryan Reynolds.
van wilder was the most hilarious national lampoons flick i have seen in a while.
Ryan Reynolds does an incredible job as Van Wilder while co-stars Kal Penn and Tara Reid create memorable characters.
|
tt0027996
|
Mr. Deeds Goes to Town
|
During the Great Depression, Longfellow Deeds (Gary Cooper), the co-owner of a tallow works, part-time greeting card poet, and tuba-playing inhabitant of the (fictional) hamlet of Mandrake Falls, Vermont, inherits 20 million dollars from his late uncle, Martin Semple. Semple's scheming attorney, John Cedar (Douglass Dumbrille), locates Deeds and takes him to New York City. Cedar gives his cynical troubleshooter, ex-newspaperman Cornelius Cobb (Lionel Stander), the task of keeping reporters away from Deeds. Cobb is outfoxed, however, by star reporter Louise "Babe" Bennett (Jean Arthur), who appeals to Deeds' romantic fantasy of rescuing a damsel in distress by masquerading as a poor worker named Mary Dawson. She pretends to faint from exhaustion after "walking all day to find a job" and worms her way into his confidence. Bennett proceeds to write a series of enormously popular articles mocking Longfellow's hick ways and odd behavior, giving him the nickname "Cinderella Man".
Cedar tries to get Deeds' power of attorney in order to keep his own financial misdeeds secret. Deeds, however, proves to be a shrewd judge of character, easily fending off Cedar and other greedy opportunists. He wins Cobb's wholehearted respect and eventually Babe's love. She quits her job in shame, but before she can tell Deeds the truth about herself, Cobb finds it out and tells Deeds. Deeds, who has been in love with her, is left heartbroken, and in disgust he decides to return to Mandrake Falls.
After he has packed and is about leave, a dispossessed farmer (John Wray) stomps into his mansion and threatens him with a gun. He expresses his scorn for the seemingly heartless, ultra-rich man, who will not lift a finger to help the multitudes of desperate poor. After the intruder comes to his senses, Deeds realizes what he can do with his troublesome fortune. He decides to provide fully equipped 10-acre farms free to thousands of homeless families if they will work the land for three years.
Alarmed at the prospect of losing control of the fortune, Cedar joins forces with Deeds' only other relative (and the man's grasping, domineering wife) in seeking to have Deeds declared mentally incompetent. Along with Babe's betrayal, this finally breaks Deeds' spirit and he sinks into a deep depression. A sanity hearing is scheduled to determine who should control the Deeds' fortune.
During the hearing. Cedar calls an expert who diagnoses manic depression based on Babe's articles and Deeds' current behavior; he gets Deeds' Mandrake Falls tenants, eccentric elderly sisters Jane and Amy Faulkner (Margaret Seddon and Margaret McWade), to testify that Deeds is "pixilated". Deeds is too depressed to defend himself and the situation looks bleak when Babe finally speaks up passionately on his behalf, castigating herself for what she did to him. When he realizes that she truly loves him, he begins speaking, systematically punching holes in Cedar's case—when he asks the Faulkners who else is pixilated, they reply, "Why everyone, but us"—before actually punching Cedar in the face. In the end the judge declares him to be "the sanest man who ever walked into this courtroom."
|
depressing
|
train
|
wikipedia
|
I want to jump into a time machine and go to those days, the days of Mr Deeds, Gary Cooper, Jean Arthur and Frank Capra..
Frank Capra knew that Gary Cooper was made for the part of Longfellow Deeds, he waited until Harry Cohn could get him from Paramount before making this film.
Or is it my favorite?!Just a wholesome, thought-provoking expose on the weirdness of typical American city thinking and behavior, being brought to light by a naïve young man who has down-to-earth small-town common sense!From the IMDB age-bracket reviews, it seems this movie might not appeal to the younger, especially girls under 18 (go figure).A great Frank Capra-directed film.
The film follows a good-hearted small-town Vermont man (Oscar-nominee Gary Cooper) who inherits a fortune from a relative he never knew.
Now, one important message this film tries to share is-"However smart, sharp or deceit a town can be, a person who has everything good in him, everything elegant in him, can never be affected in a bad way until he himself tries to degrade him."Frank Capra has taken so lively, so real, so effective issue in 1930s,that is still applicable to this 21st century.
OK, that was a minor complaint, but an excellent come-on.I did not realize until after I saw this film how many movies similar to this that Frank Capra directed: You Can't Take It With You, Mr Deeds Goes to Town, Meet John Doe, Mr Smith Goes to Washington, It's a Wonderful Life...
What an amazing film and perfect casting by Frank Capra who knew that Gary Cooper was destined for the part of Longfellow Deeds.
He is urged to move to New York into his late uncle's mansion so that he can settle the estate and tie up all the loose ends.His inheritance becomes huge news and the hot shot reporter Babe Bennett played with gusto by Jean Arthur is soon hot on the trail of her target and nicknames him "Cinderella Man".Naturally, they fall in love, naturally he finds out how she has been deceiving him all the time by pretending she is someone else.But in the meantime, he is impressed by the plight of the ordinary farmers in the massive Depression that has hit the U.S.A. and starts to set up help for them.He is soon deemed insane and a court hearing is heard where all the plot threads are then tied up, and very neatly too.What delights and surprises me on the many viewings I've had of this movie over the years is that it is not the simple cornfed aw-shucks type of Capra movie that some make it out to be.
Cedar and two assistants find the person in Mandrake Falls, a small hamlet in Vermont: 28-year-old Longfellow Deeds (an earnest Gary Cooper, who got an Oscar nomination for the role), a shy, eccentric, non-smoking, non-drinking, tuba-playing poet.
He's even dubbed in news articles as "The Cinderella Man" by streetwise reporter, Louise "Babe" Bennett (a sweet, lamb-like Jean Arthur), after her enchanting night-outs, under the guise of poor luck girl Mary Dawson, with the naive Deeds.
Bennett knows she's one, She can't take the words back, but falls for him regardless, and love and humanity conquers all.Thanks to Oscar-winning director Frank Capra (It Happened One Night, Meet John Doe {with Cooper} and It's a Wonderful Life) and his witty scribe pal Bob Riskin, "Deeds" is a smart and smart-aleck satire that celebrates the underdog, giving him wealth and fame, but retaining his dignity and honor.
Cynics and money-loving sharks may pounce on him, but Deeds stands tall and strong, even with friends like the law firm's gravel-voiced P.R. man, Cornelius "Corny" Cobb (Lionel Stander, who later played Max the car driver of the romantic detective TV series, "Hart To Hart") and baby-faced lead butler Walter (Raymond Walburn) and, later, Bennett herself, during the film's climax.
The cast is fun (look out for Western character actor George "Gabby" Hayes as a luckless farmer), the story echoes Shakespeare while being socially conscious (Deeds helps out the victims of the Great Depression, in a way that irks the firm) and Capra and Riskin had a good time orchestrating it.Stay far away from the Adam Sandler remake.
Gary Cooper does well in a somewhat atypical role for him, Jean Arthur does well in the kind of role that she often played very well, and Frank Capra applies his usual touch to hold it all together.The story has a light but interesting premise, with Cooper as the naive Mr. Deeds who is confronted with the consequences of sudden wealth.
What director Frank Capra is able to do here is create a tale of little city versus big city but also in dealing with corruption and helping out your fellow man.These are themes common to nearly all Capra films and here Gary Cooper is able to transcend the idea of a major Hollywood star playing a down to earth, small-town idealist nice and considerate to all he meets unless they get deep under his skin.
This other theme of the dark side of media use is another Capra feels strongly about and it shines through especially in the final courtroom scenes when all is revealed and the true colors of all characters are established.Gary Cooper is one of the most under-appreciated leading men in Hollywood history, perhaps because he didn't show the archetype leading man quality other big stars of his time did.
The two main characters for instance already like each other from the start, which of course makes the movie and its love-story a totally different one.On top of that it has a better written story in my opinion, even though "It Happened One Night" is a more respected movie than "Mr. Deeds Goes to Town", also award-wise.
Then there's the entire court room sequences as he sits there acting only with expressions, it's special I tell you.Jean Arthur has a back story to the film that makes me admire her all the more, she was only chose quite late on in casting by Capra after he caught her in a small low budget production, and she suffered violently with nerves on each shoot, but the results are incredible as she dominates the camera in every scene she is in, with her delivery, her voice that makes me ache in a good way, this lady covers herself in glory.
Jean Arthur, Capra's favourite actress is again great as Babe Bennett, the big city reporter who betrays and eventually comes to love the naive country man.
The movie appealed to the Depression American audiences as they watched ordinary,shy Mr.Deeds,played wonderfully by Gary Cooper go up against the phony,pretentious rich people who try to prove deeds insane because he wants to help the downtrodden with his inherited money.
Although he had earlier successful films ("American Madness", "The Bitter Tea Of General Yen"), Frank Capra's real success in American movies began with "It Happened One Night", and was quickly solidified by "Mr. Deeds Goes To Town".
It breaks my heart that millions of younger people are going to see *that* and believe it is an original tale.Anyway, Gary Cooper plays Longfellow Deeds, a small-town man who is the sole heir of his uncle's twenty million dollar estate.
Gary Cooper is typically laconic playing small town milquetoast Longfellow Deeds who is named as the sole recipient of a millionaire's estate; he's so well-scrubbed, he'd just as soon give away the money rather than have his life changed by fortune.
Certainly this is not meant to be a suspense film, but it needn't go out of its way to kill all the suspense it has set up, either.It should be said that this film didn't stand much of a chance with me to begin with, what with the lead role being played by Gary Cooper - an actor who, to my mind, possesses all the rugged good looks of George Formby and all the dashing charm of Boris Karloff.
Capra's usual ensemble of characters are all there - Cooper plays the all-American small town everyman hero, there is a mystifyingly odd performance from Jean Arthur as the pithy love interest, Douglas Dumbrille is the fuddy-duddy clueless old gentleman and the always awful Lionel Stander is the sort of character he always plays.
All loose threads of storyline had been tied up and the curtain was ready to fall I was about to award this film kudos for actually doing something different and out of tune with the Hollywood fairy-floss that makes up the rest of the story - then Capra spoils it all by tacking on a brief and unnecessary coda that makes it indistinguishable from every other bit of feel-good plop he ever excreted.To briefly give some credit where it's due, at least the Mr Deeds character was not entirely as wholesome as Mr Smith, making him not an exact carbon copy and I must confess that the first forty minutes of the film was mildly entertaining in its own way, although seldom funny.
The less cynical viewers amongst us who don't notice every plot device, every stock character and every recycled storyline in a film like I do, may well be able to find some enjoyment in the rest of the film as well; though I struggle with the possibility of the courtroom scene being anything less than painful.If one thing can be said for Capra, he was many years ahead of his time - he paved the way for many of today's clueless directors with no concept of the art of cinema.
DEEDS GOES TO TOWN seems like a retread of other Frank Capra movies.
Frank Capra classic about a good-natured small town man named Longfellow Deeds (Gary Cooper) who inherits a fortune and finds himself surrounded by opportunists in the big city.
As usual with Frank Capra's movies, the supporting cast is made up of excellent character actors like George Bancroft, Lionel Stander, Ruth Donnelly, Douglas Dumbrille, and H.B. Warner.
while, unlike "Meet John Doe" or more overtly "It's A Wonderful Life", "Mr Deeds Goes To Town" has no immediate tie-in to the Christmas period, its ideas of universality, common decency and the brotherhood of man, particularly towards the deprived in society will always chime in with the season of good will, the time when I've just watched it.For me, the quality of Capra's work from 1934 "It Happened One Night" right through until "It's A Wonderful Life" in 1946 is almost unparallelled in the annals of Hollywood.
Its sympathy with the dispossessed working farmers must have had particular relevance to viewers of the time coming out as it did in the midst of The Great Depression, but as ever, Capra, masterfully sidesteps the obvious pitfalls of over-sentimentality with this sparkling mixture of pathos and humour, topped off with an uplifting message of nothing less than love thy neighbour and do unto others...It always helps when you've got big stars doing good jobs in the leads and Cooper and Arthur are superb in their roles.
In the end though, Capra plays out his updated Christ and the Money-lenders parable to brilliant comic effect, allowing both we the audience and a silently glum Cooper to wait and wait and wait before he takes up the cudgels and wins the day (and of course the heart of Jean Arthur in the process).A simply marvellous, timeless movie from Hollywood's Golden Age with a recurring message that will not go way and will always have relevance in modern society..
The impression I get here, is as if the character is too ashamed even to show her face to the audience.Mr Deeds Goes to Town is a delightful relic of a bygone age, before film-making became a mess of technical stylisation, when direction meant nothing more than finding the best way show the story and performances.
this movie is all about being true to yourself and sticking to your convictions.Gary Cooper is Longfellow Deeds,a simple,small town humble man who inherits a large fortune of 20 millions dollars.soon,everybody wants money from him and many people try to change him.this movie succeeds for a number of reasons,one of which is the appeal of star Cooper.he's just so likable,you can't help but empathize with the character.but the message of the film also helps a great deal.it's not preachy at all,and it's very relevant.even more so today.it's nice to see a movie that has a moral centre to it.there's also some humorous and romantic moments that work well.the supporting cast is also effective..
Capra's direction is great & the story of the big city lawyer having already stolen money from the estate before Deeds Uncle died is a classic story which all too often happens in real life.Jean Arthur is great in her role & the sparks between her and Cooper are in evidence in this.
Gary Cooper has the title role in "Mr. Deeds Goes to Town," another wonderful film from Frank Capra that also stars Jean Arthur, Lionel Stander and George Bancroft.
Longfellow Deeds in the person of Gary Cooper is a man you will really like.Cooper is perfect as the hick who inherits a large fortune and wants to give it all away.The movies of Frank Capra from this period are among the best comedies made.They're pure magic.Jean Arthur got her big break in this movie and she is as Cooper..perfect.
DEEDS GOES TO TOWN is relatively light, its professionalism is never in doubt and with this film Capra began in earnest his period of 'message' pictures (his earlier drama American MADNESS [1932], with a backdrop of the Wall Street crash, however had already shown his genuine concern for the 'little people') which culminated in his second collaboration with Cooper the ambiguous and rather cynical MEET JOHN DOE (1941).
MY RATING- 7.8This is quite a moving tale a la american by the master of socio drama, Frank Capra in which he uses one of his fave actors Gary Cooper as the country man who inherits a fortune from a rich uncle and is double crossed in the city.
A small town "rube", (as he is expected to be), outsmarts numerous big city schiesters, proving that honesty and integrity are more powerful than greed and opportunism.Gary Cooper is absolutely charming in this role, as Longfellow Deeds.
When a small-town guy (Gary Cooper) inherits a large fortune, he goes to New York, where he's preyed upon by his uncle's own lawyers, a newspaper reporter who cozies up to him to get the inside scoop of what he's like (Jean Arthur), and others who are looking to swindle him.
Overwhelmed by the turn his life has taken, and awoken to another use for his new-found fortune, Mr. Deeds makes a momentous decision.Directed by the legendary Frank Capra, this has the Capra trademark features: the main character goes from nobody to somebody, and discovers it's not necessarily a good thing; there's the usual mountains of sentimentality that are laid on so thick and idealistically that they should backfire, but work out in the end.
Capra takes liberal swipes at reporters, lawyers, judges, psychiatrists, poets and opera with comic relish and serious undertone while balancing an engaging romance between leads Gary Cooper and Jean Arthur.Longfellow Deeds (Cooper) , a tuba playing rube from Mandrake, Ohio inherits millions from his New York City uncle.
Acting wise, Gary Cooper is wonderful as Longfellow Deeds, the tuba-playing "Cinderella Man" who inherits a small fortune, and Jean Arthur is a good and alluring match for him.
Gary Cooper gives a great performance as the sympathetic Mr. Deeds, as does Jean Arthur as Babe Bennet.Even that this movie was made over 70 years ago I found it pretty current.
Frank Capra's "Mr. Deeds Goes to Town" is the sort of film that makes people say things like "They sure don't make 'em like they used to".
Capra's trademark style is evident here as he unfolds a story of a simple country boy who inherits a fortune along with all of the complications that go along with it.Gary Cooper plays the titular Mr. Deeds and does a fine job of bringing a sense of innocence & warmth to the character.
Meanwhile, the supporting cast is peopled with interesting characters played by the likes of Lionel Stander, Douglass Drumbrille & H.B. Warner.Capra's direction was rewarded with an Oscar, the film's only win out of five nominations (including Best Picture).
Precisely, that is what happens with the film.Gar Cooper as Longfellow Deeds is wonderful and Jean Arthur as Louise "Babe" Benett was lovely, charming and admirable.
And the plot is a bit plausible, who's to say no one inherits a big fortune.What make this story stand out for me are the characters and what they do throughout the film, that to me is one of the reasons why I like most of Frank Capra's film are that their actually concerned about characters not just plot line alone.I really like the protagonist Longfellow Deeds played brilliantly by Gary Cooper.
Many small pieces give this film enough energy to overcome its nonsensical storyline.******** Mr. Deeds Goes to Town (4/12/36) Frank Capra ~ Gary Cooper, Jean Arthur, Lionel Stander, Douglass Dumbrille.
DEEDS GOES TO TOWN (1936) **** Gary Cooper, Jean Arthur, Lionel Stander.
Frank Capra struck gold again in this hilarious and heartfelt comedy/drama starring Gary Cooper as Longfellow Deeds, a simple(yet shrewd) small-town Vermont resident who inherits a great deal of money from his uncle.
Cooper is very good in his role but in my opinion it's Jean Arthur who steals the show as the reporter who sets out to make Deeds look like a fool but then falls in love with him.
Capra celebrates the common man and the spirit of man like no other.Here we have Gary Cooper as Longfellow Deeds, a small-town hick idealist who inherits $20 million.
|
tt0114234
|
Rangeela
|
A street-toughened orphan by the name of Munna (Aamir Khan) is befriended by some kind folks, whose effervescent daughter Mili (Urmila Matondkar) soon grows to be his best buddy. Both gravitate toward the Mumbai movie industry. While Mili finds occupation as a movie extra, Munna earns his livelihood selling movie tickets in the black market.
Mili has ambitions of becoming an actress. Fortune glances her way, when she dances her way into a movie star's attentions. This actor, Raj Kamal (Jackie Shroff), arranges for her to be auditioned for the heroine's role in his upcoming movie called Rangeela. Mili's shortcomings amount to distractions, but thanks in no small way to Munna and Raj, she lands the role.
Raj and Munna both fall for Mili, but Mili is too busy making the movie to notice any of this. She starts spending a lot of time with Raj during the filming. Munna tries many times to tell Mili that he loves her, but he is unable to, or Raj gets in the way. Eventually, feeling inferior, Munna decides to leave Mili to Raj, who can give her a better life than he can. The matter is not resolved though, as Mili hears of this on the film's opening night. She asks Raj to help her find Munna, which he does after realizing that Mili seems to love Munna and not him.
Mili stops Munna in the midway, misunderstandings get cleared and the lovers unite.
|
romantic, humor
|
train
|
wikipedia
| null |
tt0048312
|
The Long Gray Line
|
The movie is framed as the reminiscences of Master Sergeant Martin Maher (Tyrone Power), who first came to West Point in 1898 as a civilian employee. Arriving from County Tipperary, Ireland, Marty begins as a waiter. When he realizes that enlisted men receive better treatment than do hired laborers, he immediately signs up. Capt. Koehler (Ward Bond), impressed with his boxing skills, wants him as an assistant in athletics instruction.
Marty meets Mrs. Koehler's cook, Mary O'Donnell (Maureen O'Hara), also recently arrived from Ireland. They marry and settle into a house on campus. Marty becomes a corporal, and Mary saves enough money to bring his father (Donald Crisp) and brother (Sean McClory) to America. Mary becomes pregnant, but the baby dies only hours after birth, and Mary learns that she may never have another child. The cadets become the children they will never have. Over time, Marty continues to earn the love and respect of cadets such as Omar Bradley, James Van Fleet, George Patton and Dwight D. Eisenhower. The Mahers grow close to the family of "Red" Sundstrom, a West Point cadet killed in World War I.
Years later, Marty is still at West Point, and James "Red" Sundstrom, Jr. (Robert Francis), along with the sons of others whom Marty had trained, has become a cadet. At the outbreak of World War II Sundstorm confess to Marty that he has illegally married his girlfriend which could disqualify him from graduating. Although his marriage is annulled, Sundstorm resigns from West Point to join the regular U.S. Army. Later, Mary attempts to view one of the parades she so loves but her poor health forces her to watch from her porch. She quietly dies while Marty is fetching her shawl. On Christmas Eve, Marty prepares for quiet evening but is joined by a group of cadets. Kitty (Betsy Palmer) arrives with Red, Jr., who has earned his captain's bars in Europe and wants Marty to pin them on.
After Marty is faced with retirement, he heads to Washington to see the President (a former cadet) about the matter. He is met by the Superintendent of the United States Military Academy along with several high ranking officers on his return to West Point. Slightly bemused by the attention, he is taken to the parade field. The film concludes with a full dress parade in Marty's honor. As the band plays a series of Irish tunes, all the people Marty loves, both living and dead, join the parade to honor him.
|
romantic, sentimental, flashback
|
train
|
wikipedia
| null |
tt0105636
|
Trespass
|
The film opens with fast-talking businessman and diamond dealer Kyle Miller (Nicolas Cage) speaking to a client over the phone as he returns to his lavish mansion home, his wife Sarah (Nicole Kidman) and his teenage daughter Avery (Liana Liberato). Despite the charming facade, it is immediately clear that the family is dysfunctional and emotionally distant: Avery disrespects her parents and, despite being forbidden to do so, sneaks out of the house to go to a party with her friend Kendra. Sarah appears bored with life as a housewife and yearns for more in her marriage while Kyle seems to harbor a hidden aversion towards his wife. Just as Kyle is about to leave for a business transaction, the house is suddenly invaded by a gang of robbers masquerading as police.
The thieves, consisting of leader Elias (Ben Mendelsohn), his stripper girlfriend Petal (Jordana Spiro), his younger brother Jonah (Cam Gigandet), and a large intimidating man named Ty (Dash Mihok), tell Kyle and Sarah that they have been spying on them for some time and are aware of the large amounts of cash and diamonds hidden in their home. They command Kyle to open a safe hidden in the wall but, despite the threat of a syringe containing lethal injection chemicals, he defiantly refuses, believing that he and Sarah will be killed if he simply gives in to their demands. Sarah, meanwhile, recognizes Jonah through his mask. Through a series of Jonah's flashbacks and a conversation with Elias, it is strongly implied that Sarah and Jonah had a previous affair when the latter was employed as a technician to install the house's security system. Unbeknownst to Elias, Sarah secretly steals the syringe from him during this conversation.
Having left her party in disgust (after the host Jake clumsily attempted to seduce her), Avery returns home and, after a brief chase, is also captured and taken to her parents. Elias appeals to Kyle, claiming that he needs money to pay for a kidney transplantation for his dying mother and that, if Kyle refuses to comply, he will instead take one of Avery's kidneys. Sarah catches Elias off-guard and holds him hostage with the syringe. Forced into a Mexican standoff, the thieves compromise by letting Avery escape in exchange for Kyle opening the safe. He does so, revealing it to be completely empty. Kyle explains that he is actually bankrupt and has no money; his house and all of his possessions were bought on loaned credit. Enraged, Elias breaks Kyle's hand and instead demands material compensation by taking Sarah's prized diamond necklace. However, Kyle reveals that this too is a fake cubic zirconia replica and is completely worthless. Ty recaptures Avery from outside and brings her back into the house. Kyle volunteers for his own kidney to be taken instead of his daughter's, but Elias reveals that it was a ploy and that he hated his mother, who is already dead. Ty grows impatient after receiving a phone call and commands Elias to hurry up; Kyle realizes that the burglars are themselves being coerced into committing the heist against their will.
The thieves then separate the Miller family, with Kyle and Avery being tied up and guarded in the living room and Sarah being pursued by Jonah in the kitchen. Jonah states to Sarah that he still loves her and promises that she and Avery will be left unhurt. Meanwhile, Kyle uses a lighter to burn both his own and Avery's binds; they attempt an escape and set off the house's security system. Kyle ends up in a struggle with Ty, and, despite Ty's superior strength and fighting skills, Kyle manages to inject a portion of the syringe chemicals into his arm, causing him to fall unconscious.
Thinking that Ty is dead, Elias shoots Kyle in the leg and reveals his true motives: that he is a drug dealer working for an organized crime syndicate. Shortly after being given a job to sell $180,000 worth of cocaine, Elias and Petal were carjacked at gunpoint and all of their shipments were promptly stolen. Faced with threats of retribution, Elias was then forced to commit a heist (under the supervision of henchman Ty) to pay off his debt. Jonah, who had previously seen the Miller residence, suggested it as a place to rob.
Avery attempts to run out of the house again but is caught by Jonah. Under the threat of her parents being killed, she is forced to answer a call from the security company and successfully convinces them to call off the police. However, a security guard shows up nevertheless, with Sarah ordered to make him leave, but the security guard catches sight of Jonah and recognises him as a colleague, prompting Jonah to shoot him in the head.
Kyle reveals to Elias that the only thing of any worth on him is his life insurance. Desperate and out of options, Elias kicks Kyle down and prepares to kill him. At the last second, Avery remembers the money she saw at the earlier party and pleads with the thieves that she can help them steal it from the party if they spare her father's life. Elias reluctantly agrees to the proposition and sends Petal to supervise Avery as she drives to the party house and ensure that she keeps her word (during a conversation between Elias and Petal it's revealed their daughter was taken into care). Although Avery's initial idea is to seduce Jake and then steal his money, she is horrified when Petal begins to deliriously proclaim that she plans to massacre all of the party guests and then take the cash. Seeing a swerving road ahead, Avery accelerates the car, unbuckles Petal's seat belt, and intentionally crashes into a telephone pole, incapacitating Petal and allowing Avery to handcuff Petal to the steering wheel.
Back at the Miller home, Sarah learns that Kyle had discovered a picture of her kissing Jonah from security footage and was suspicious for some time that she had been unfaithful. Sarah, however, insists that she is innocent and only loves Kyle: the same flashback is now shown from her perspective, revealing that Jonah is in fact mentally ill (and off his medications) and that the supposed love affair between him and Sarah was all in his head. The "kiss" had occurred to Sarah's complete surprise and against her will. At this point, Ty reawakens from his stupor and attacks Sarah. Enraged, Jonah tackles Ty and the two fight. Just as Ty is about to strangle Jonah to death, Elias shoots him in the back for trying to kill his brother. However, in his dying breath, Ty reveals to Elias that he had been set up all along: the "robbers" stealing his cocaine shipment were actually fellow members of the same crime organization and the operation was done in order to blackmail him into stealing more money for them. More damningly, Ty also claims that Jonah had masterminded the entire plan so he could have an excuse to return to the Miller residence and profess his love to Sarah. Elias is shocked by the allegations but refuses to believe them (though doubt about his brother does seem to creep in.)
Through the chaos, Sarah and a wounded Kyle escape to the tool shed behind the house and are pursued by Elias and Jonah. After a brief fight, the thieves break through a partition in their tussling and to their surprise discover a large amount of money that's been hidden in the shed; Kyle reveals that he had sold Sarah's real diamond necklace and was saving the money as a nest egg for his family when he noticed his business/fortunes declining. As Elias and Jonah begin to collect the cash, Avery appears (having survived the car crash with minor injuries) and points a gun at them. Elias calls her bluff and claims she can shoot but he will still have time to shoot one of her parents, he then aims his gun at Sarah - but he is shot, from behind, and killed by Jonah for this. Jonah tries again to convince Sarah that she belongs with him but she rebuffs his offers, calling him insane. In an attempt to sacrifice himself, Kyle tells his wife and daughter to run while setting the money in the tool shed on fire. He also shoots Jonah's foot with a nail gun, trapping him in the shed. While Avery goes to call the police, Sarah tries to help Kyle but she is grabbed in a last-ditch effort by Jonah, who is convinced that it is destiny for her to die together with him in the fire. However, Kyle then shoots him in the neck, causing him to fall and become engulfed in the flames. Sarah then carries Kyle away to safety just as the shed collapses.
In the backyard, Kyle tries to tell Sarah to let him die so that she and Avery can survive on his life insurance fund but she refuses, stating that she loves him regardless of whether he has money or not. Avery runs back to her parents announcing that help is finally on the way. The three family members embrace as the real police arrive and surround the house.
|
revenge, cult, murder, violence
|
train
|
wikipedia
| null |
tt0067445
|
Morte a Venezia
|
The protagonist, Gustav von Aschenbach, travels to Venice for health reasons. There, he becomes obsessed with the stunning beauty of an adolescent Polish boy named Thaddeus who is staying with his family at the same Grand Hôtel des Bains on the Lido as Aschenbach.
While the character Aschenbach in the novella is an author, Visconti changed his profession from writer to composer. This allows the musical score, in particular the Adagietto from the Fifth Symphony by Gustav Mahler, which opens and closes the film, and sections from Mahler's Third Symphony, to represent Aschenbach's writing. Apart from this change, the film is relatively faithful to the book, but with added scenes where Aschenbach and a musician friend debate the degraded aesthetics of his music.
While Aschenbach attempts to find peace and quiet, the rest of the city is gripped by a cholera epidemic, and the city authorities do not inform the holiday-makers of the problem for fear that they will leave. As Aschenbach and the other guests make day-trips into the city centre, they begin to realize that something is seriously wrong. Aschenbach decides to leave, but in a moment of impulse decides to stay. However, he himself is dying.
Rejuvenated by the presence of Thaddeus—though they never actually converse—he visits the barber who, in his words, "returns to you merely what has been lost", dyeing his grey hair black and whitening his face and reddening his lips to try to make him look younger. As he leaves the barber's shop the barber exclaims: "And now Sir is ready to fall in love as soon as he pleases". Aschenbach continues to gaze at Thaddeus from afar, the latter more aware that he is being gazed at. In the climactic scene, Aschenbach sees Thaddeus being beaten up on the beach by an older boy. When released, Thaddeus walks away from him alone towards the horizon. He suddenly turns back to look at Aschenbach, then turns away to face the sun, and stretches his arm out towards it. Aschenbach too, stretches his hand as if to reach Thaddeus, and at that very moment—heightened by the crescendo in Mahler's Adagietto—he dies from the cholera infection. A few people notice him collapsed on his chair and alert the hotel staff. They carry Aschenbach's body away.
|
tragedy, romantic, flashback
|
train
|
wikipedia
|
Luchino Visconti's "Death in Venice" is a masterpiece of utterly haunting beauty that will capture the imagination of anyone interested in the screen's capacity for breathtaking images.
It is about the struggle within the soul of a man, Gustav von Aschenbach, a composer vacationing in the Venice of 1911.In Mann's book Aschenbach was a writer, but Visconti asserted that the book had been inspired by events in the life of Gustav Mahler, whose music, mostly the haunting adagietto of his Fifth Symphony, is used as background (and foreground) music, helping create an almost tactile mood of melancholy.Dirk Bogarde plays Aschenbach, a man possessed by feelings of failure, haunted by the grief he and his wife (Marisa Berensen) shared over the death of their daughter.
In one horrifying scene a barber "re-makes" Aschenbach's face so that it is both a grotesque parody of youth and an ominous death mask.Visconti's skill in recreating lush period detail, to paint family-album poses of aristocracy, to make beauty seem dangerous, to underline the complexity of human psychology, are all in evidence here.
The color photography by Pasqualino De Santis, and the costumes by Piero Tosi are excellent.The ending of the film is unforgettable: Gustav languishing on the beach, the Polish folk song in the background, the boy Tadziu in the water turning into an angelic apparition with extended hand.
He becomes obsessed with the boy and amidst the backdrop of a city quietly dying with a plague, he simply observes and ponders, trying his best to keep his desires at bay.The core of the film is in Dirk Bogarde's performance.
We see the awe, the pain, the fever, the fear, the desire and the ultimate surrender all in that forlorn face.The music (most of it by Gustave Mahler) also reflects all this, and Visconti's incredible photography of the decaying Venice pinpoints the end of an era in a way that is both dreamlike and unsentimental (despite the romantic quality of the film).The film is slow and langorous, like the hush of the ocean sweeping the shore.
With hardly any dialog it captivates a viewer with the beautiful cinematography, the fine acting, and, above all, the Mahler's music without which the movie simply could not exist."Death in Venice" is a stunning Luchino Visconti's adaptation of the Thomas Mann novella about a famous composer (in the novella he was a writer but making him a composer in a movie was a great idea that works admirably) Gustav von Aschenbach (loosely based on Gustav Mahler) who travels to Venice in the summer of 1911 to recover from personal losses and professional failures.
If he could, Ashenbach probably would've said, "I was able to witness one of the faces of perfection, I could not bear it but I was chosen to learn that it exists here, in this world and I can die in peace now because it did happen to me." Unforgettable music, Gustav Mahler's haunting adagietto of his Fifth Symphony found perfect use in a perfect movie.
Adapted by Mr. Visconti himself who decided to focus on the Venice chapter only as well as to modify the occupation of the main protagonist, Gustav von Aschenbach who becomes a music composer (highly inspired by the composer Mahler), the film was also inspired by other Thomas Mann's novel like 'Doctor Faustus' or by Marcel Proust's writing.
Often reduced and presented as a decadent film in which homosexuality and pedophilia are the main themes, the novel like the movie deals in fact with a much more complex and powerful dynamic.Indeed the film is based on an equation between Death and Beauty as an aphorism for Perfection and in which the results is Time (or the lack of it).
Does von Aschenbach desire Tadzio or is he fascinated by what he represents: Perfect Beauty?The challenge of Luchino Visconti was to apply a superb cinematography and a precise narrative method to a film that in nature deals with complex concepts.
The main role is played by Dirk Bogarde, a British actor, who is making the best of his last days longing for a love he can never achieve.The background music by Mahler is very sombre and fits the tragic ending.
The Perfectionism Of Visconti+The Music Of Mahler+The Beauty Of Bogarde=Perfect Film.
I must say I reluted to see "Death In Venice",because been a great fan of composer Gustav Mahler,I though the film was an insult.But one day I saw a film called "Modesty Blaise",and I sat my eyes in the most beautiful actor I have ever seen:Dirk Bogarde.When I find out that he played the leading role in "Death In Venice",I decided to leave all my prejudices aside,get all my courage and rent the film.I can only say one thing:Sublime.Gustav Von Aschenbach is the perfect man.He is beautiful,handsome,talented,sweet.The fact that he falls in love for someone of the opposite sex is something secondary.All that he needed was someone to understand his genius,that is the one thing that he did not find in Venice."Death In Venice",is a masterpiece of a lifetime.Dirk Bogarde is the most talented and beautiful actor of our lifetime.
The people who go into beauty--ascetics--death perfection of art on and on (and the movie does present the story this way) are missing the real story.The real story comes out better in the book = a late middle aged man (Dirk Bogarde is too young and handsome for the role) becomes infatuated with a 15 year old boy.
My Rating : 10/10 ♠ MASTERPIECE ♠This is not for the average viewer.It is arthouse, creative, desolate territory and only a few can truly appreciate it.I think it's a prerequisite to be drowsy to really enjoy this film and absorb it's beauty which is other-worldly and...dreamy.Gustav Mahler's haunting adagietto of his Fifth Symphony found perfect use in a perfect movie.
It reflects every emotion of the main character - it sobs, it longs, it begs for hope, and it summarises the idea that once you are blessed to encounter beauty you are condemned to die.The movie for the viewer is perhaps similar to what the boy was for the aging composer....
This is an adaptation of the Thomas Mann novel , avant-garde composer Gustave Aschenbach (Dick Bogarde) , loosely based on Gustav Mahler character , being well portrayed in this brooding as well as slow-moving classic movie .
The celebrated story of a man obsessed with ideal beauty written by prestigious Thomas Mann is magnificently brought to the screen , concerning about desire , homosexuality , children lost , plagues and adult situations throughout .Thought-provoking character studio of a reputed artist , his mishaps , digresses , loves his homosexuality and continuous search for beauty and perfection .
Impressive and immortal musical score by Mahler , in fact his Third and Fifth Symphonies were adapted as background music for the film ; being excellently conducted by orchestra director Fanco Mannino.This studied as well as slow motion picture was masterfully directed by Luchino Visconti .
Yeah okay it's a European art house movie so I wasn't expecting Charles Bronson to massacre hordes of bad guys but even so I did expect some substance if not an actual plot The film revolves around Professor Gustav Von Aschenbach visiting Venice .
The final scene, in which the lovesick middle aged man watching a beautiful boy as his absurd makeup runs and he dies of the plague is one of the most horrific and sad in film history.
A critic wrote of a famous Wagner conductor, "He doesn't beat time, he beats eternity." For all I know this was meant as a compliment.I get the feeling that around the early 1970s directors worked out how to make the slowest possible films: there's "Death in Venice", and there's "Solyaris".
Famed Italian Director Luchino Visconti takes viewers back to the year 1911 in Venice, Italy, the setting for a story about an aging composer named Gustav von Aschenbach (Dirk Bogarde) who settles into an elegant hotel at a seaside resort, to recuperate from mental trauma.
Thematically, Aschenbach, as well as the boy, and even the city of Venice all symbolize various concepts and their interrelationships that include morality, art, beauty, perfection, death, and the passage of time.To some extent one's reaction to this film will depend on what one thinks of Aschenbach.
Yes I have to say I pity you for not realising the beauty of this film, and the pure art of the DRAWN OUT scenes you mentioned, which are deliberately so to give a sense of lost time and longing.
I remember watching the film "Death in Venice" in a world literature class, where the students had been charged with reading the laborious, but brillant novel by Thomas Mann.
There is at least as much in the movie that indicates he wants a carnal relationship with the boy, as there is to support that he's undergoing a chaste, parental paean to lost youth and fleeting beauty.Twenty minutes into this (the longest 20 minutes of your life) 'Death in Venice' has staked out some pretty dire territory: dwelling on the obvious / remaining in an undeveloped holding pattern.
All of Death in Venice resembles that movie's indulgent, climactic ballroom sequence, which receives uniform critical raves, but which is too long, overstates points already made in better portions of the film, and brings things to a complete standstill..
What matters is the pacing--not the running time.UPDATE: Since seeing "Death in Venice", I have watched quite a few more Visconti films and realize I do like most of his films.
The combinmation is the X of death.While Thomas novella clearly stand on its own, its great beauty should be appreciated also with the Heinrich's short story very much in mind.The choices made in their filming should be appreciated in that context as well.In Der Blaue Engel, Heinrich Mann charts the sexually driven downward plunge(for that is the visible curve of Rath's life), to inevitable and premature death, for a highly respected figure who has reached down to embrace a shallow and false artist and artistry (one may conclude).
Tadzio isn't necessarily leading him on -- he's looking at him; Visconti just zooms in is all.The film doesn't detail Gustav as being gay -- Tadzio isn't even really male, he's a prettified version of a boy (delicate, pale, wispy, with golden locks) that everyone seems to love (including one gorgeous, slightly older young man who he wrestles with).
this film is not about the story...it is about atmosphere and art...the plot is incidental unlike the book...the director has opted for feelings rather than interest...the photography is surreal and the feeling of actually being in a real place at a real time is overwhelming....the time frame makes you feel that you're following live events...the performances are perfect...no one appears to be acting...just being themselves..the music is as perfecta choice as there ever was and if i was marooned on an island with one film...this would be it..i feel sorry for those without the intellect, appreciation of aesthetisism and impatience to enjoy this masterpiece.
Terrible and this includes basically all the flashbacks-- but especially those featuring his musical cohort in Germany--what terrible direction.Knowing the story however I was able to enjoy the re-creation of 1910 Venice which was very well done and must have cost a fortune--just for the costumes.Like another reviewer stated so well the actor who plays Tadzio (Bjorn Andresen) does not capture the character in the book...he just isn't handsome enough is basically the problem too thin too feminine.
Like wise the actor playing Von Aschenbach (Dirk Bogarde) tries his best but you don't get the convincing story the book gives you of his vortex like descent into various humiliations as he becomes infatuated with the 15 year old Tadzio.
Dirk Bogarde has the opposite problem he is too young and good looking to need these sorts of humiliating disasters.The movie tries to convey that Tadzio represent the muse of art or some such nonsense (Aschenback was in love with the intellectual idea of beauty and art)...
This captivation was a pastiche composed of many elements: The extraordinary shots directed by Visconte, primarily his love of long, languorous shots of people dining, swimming, walking and containing a significant character passing through this mass of people; the cinematographers brilliant interpretation of Visconti's shot selection; the acting by the principles without over-riding dialog and conveying the scenes complexity through facial features alone.It is true: young people watching this film for the first time must be aware that they are watching a unique film, a film that could not be made in 2006.
Unfortunately they tragically minimize the amazing beauty and depth of this work and others like it from those years.Please, if you have not seen Death in Venice, rent a copy and immerse yourself in a film and story from another time.
It doesn't (and probably can't) capture the philosophical complexity of Thomas Mann's novella, but Luchino Visconti's film does create a sense of sensual decay and presses home the idea of the importance of grasping hold of the opportunities that life offers.But it goes beyond that.
It is a beautiful film to look at almost creating Impressionist canvases on occasion and, by changing Aschenbach from Mann's novelist to a Mahler-esquire composer, and using Mahler's third and fifth symphonies (the Allegretto from the latter is a major theme), Visconti finds an apt substitute for the original.Indeed, perhaps it's no coincidence that Visconti uses very, very little dialogue.
Dirk Bogarde is well suited as the repressed artist Aschenbach who visits Venice and finds ideal beauty in the young boy, Tadzio.
Much criticized for being slow, boring and too obvious in stating it's point (an old man discovers beauty in a young boy and is tragically destroyed, first mentally, then physically), we should appreciate this movie for what it is.
Director Visconti and Dirk Bogarde, the leading actor, admirably succeed in showing how the aging composer Von Aschenbach discovers his romantic interest in a young boy.
We see his inner struggle, mostly on the face of Bogarde, against the beautiful backdrop of Venice and accompanied by the most wonderful music, composed by Gustav Mahler.This movie is slow, there is no denying it.
The movie is a real artwork masterpiece, "Opera" of all and ever circulating essences which make it not only one whole and told life story, which virtuoso Luchino Visconti tells through excellent Dirk Bogarde, Bjorn Andersen, Silvana Magnano and every and each of other virtually less important but still equally essential actors and other team members, who all contributed their apparent part apparently well, but is the circle where end involves and meets the new beginning too.
Nevertheless, when I'm feeling artsy again, I'll probably give this film another whirl.I picked up "Death in Venice" on DVD after reading Thomas Mann's novella for a class.
There is minimal dialogue in the film and the music by Mahler enhances the beauty of the movie as does the lack of spoken words.In the early 1900's a sick and aged Professor visits a hotel in Venice.
Based on Thomas Mann's Original Book, Beauty, art and decadence coexist in a film that will lead you, once you watch carefully, to some of the most important subjective and aesthetical questions ever made in the XX century.
The most perfect opening sequence of any film ever made.As the smoke from the steamers' funnel hoves into view, the heartbreakingly beautiful sounds of Gustav Mahler's Adagietto from his Symphony No5 haunts our senses just as the beauty of Bjorn Andreson haunts von Ashenbach.Dirk Bogarde stars in the best film he ever made as a dying composer visiting Venice.
It is slow, it is profound and it could be boring, but if you have an ounce of poetry in your soul you will watch this movie and reach another plane of existence.It is that good.Thank you Visconti,Bogarde and Mahler for a feast of ravishing beauty..
Much to his credit, Visconti did set out to find a younger boy, so he was not making the ignoble concession to social correctness other directors have made under similar circumstances, and I would not mention it if the film was not otherwise so nearly perfect.As many appear still to be unaware of it, it may be interesting to mention that Death in Venice is partly a true story.
Maybe Visconti was attempting to distance himself from the character, to make his film appear less autobiographical and less scandalous.The object of beauty with which Bogarde's composer becomes obsessed is a young boy of 15 with delicate features and a long mane of wavy blonde hair.
Both Mann and Britten succeeded in using these tensions in their own very different ways to create great works of art.Visconti's film is a very fine achievement but is not true to the book in one important respect: Tadzio, at sixteen, is too old.
Art film lovers would probably rank this much higher on their scale of appreciation, but I found DEATH IN VENICE, while sumptuous to look at and listen to (the music of Gustav Mahler fills the soundtrack with his symphonic music), as beautiful and empty as a multi-colored seashell.
Death in Venice is a great adaptation from a wonderful book written by Thomas Mann;I liked so many scenes;the profound performance of the great Dirk Bogarde as Aschenbach and Luchino Visconti was one of the most talented directors from Italy.
'Death in Venice' is arguably Thomas Mann's masterwork, the tale of a man's obsession, part pure and partly paedophillic, with a beautiful young boy.
However, when applied to this movie, MORTE A VENEZIA based upon the novel by Thomas Mann, it's a slightly different story.The entire film is, at first view, so unique, so psychological and so much influenced by the various thoughts of an artist (both director and main character Gustav von Aschenbach) that it seems to be "unwatchable" for many viewers.
Since I don't know the back story and the movie has little in the way of plot or exposition, I'm left wondering about Aschenbach (Dirk Bogarde)'s obsession with young Tadzio.
|
tt0040367
|
A Foreign Affair
|
In 1947, a United States congressional committee which includes prim Phoebe Frost of Iowa (Jean Arthur) arrives in post-World War II Berlin to visit the American troops stationed there. Phoebe hears rumors that cabaret torch singer Erika von Schlütow (Marlene Dietrich), suspected of being the former mistress of either Hermann Göring or Joseph Goebbels, is being protected by an unidentified American officer. She enlists Captain John Pringle (John Lund), another Iowan, to assist in her investigation, unaware he is Erika's current lover.
After seeing Erika with Adolf Hitler in a newsreel filmed during the war, Phoebe asks John to take her to army headquarters after hours to retrieve the singer's official file. In order to distract her, John woos Phoebe, who initially resists his romantic advances but eventually succumbs to his charms.
Colonel Rufus J. Plummer (Millard Mitchell) advises John he is aware of his relationship with Erika and orders him to continue seeing her in the hope she will lead them to another of her ex-lovers, ex-Gestapo agent Hans Otto Birgel (Peter von Zerneck), believed to be hiding in the American occupation zone. Meanwhile, Erika and Phoebe are arrested during a raid designed to catch Germans without proper identification papers at the Lorelei, the nightclub where Erika performs. At the police station, Erika claims Phoebe as her cousin in order to secure her release.
Phoebe, grateful for Erika's intercession on her behalf, goes with her to her apartment, where Erika confesses that John is her lover just before he arrives. Humiliated, Phoebe leaves. Colonel Plummer attempts to reconcile Phoebe and John. John is targeted by a jealous and armed Birgel at the Lorelei, but Birgel is killed by American soldiers who shoot him first. Erika is arrested and sentenced to serve time in a labor camp, and Phoebe and John are reunited.
|
satire
|
train
|
wikipedia
|
In the opening scenes we see army captain John Lund at the black-market, selling a cake, hand-made by his American sweetheart and coming from the States, to buy a gift for his Berliner lover Marlene Dietrich.
A brilliant, cynical comedy about post-war Berlin goings on...black market, Army officers having affairs with notorious ex-Nazis, etc.It stars Marlene Dietrich (one of her all-time best performances), and amazing Jean Arthur (in one of her final films), and newcomer John Lund, who was rather wooden in later performances...here, he's terrific.Songs and musical score by Frederick Hollander...who's actually present playing piano.
The three songs Dietrich sings, "Black Market", "Illusions" and "Ruins of Berlin" are lyrically integral to the plot and represent three of best songs written for a non-musical film of the late 1940's.There's some serious plot points underneath the cynical comedy.Wish to heck Universal would open their vaults and release it on DVD in the US; thankfully it's available in the UK (get an all-region DVD player...I did!).It's an absolutely essential late 1940's comedy and in my opinion, one of Billy Wilder's best comedies.Remember....Wilder's next film was "Sunset Boulevard"..
She also sings "The Ruins of Berlin" and "Lovely Illusions." Jean Arthur is also good in one of her last films.
Jean Arthur, surely one of the greatest of all Hollywood comediennes, Marlene Dietrich in a part to match her Lola Lola in Blue Angel, John Lund a great under-utilized actor with the wit and ruggedness of Clark Gable and Millard Mitchell, one of those character actors whose mold was sadly broken decades ago.In my book this film ranks with Double Indemnity as the best work of Billy Wilder and Charles Brackett.Great songs by the legendary Frederick Hollander who actually appears here as Dietrich's accompanist..
Jean Arthur is irresistible as the frustrated Congresswoman, throwing herself at John Lund with enthusiasm and gradually coming to see human behaviour in shades of grey, rather than black and white.John Lund is very good as the cynical army officer, attracted to Dietrich while repelled by her politics and prepared to romance Arthur in order to bury Dietrich's Nazi past.
Plus, it's history.Billy Wilder had a special relationship with Berlin, and, to be sure, with Germany, and his movies show how deep this understanding ran: "One,Two, Three" and "A Foreign Affair" are among the best films made on Berlin.
Although A Foreign Affair turned out to be a big success for all involved, biographies of Billy Wilder, Jean Arthur, and Marlene Dietrich all talk about the difficulties they had in this film.
It looks far better than the standard newsreel films that are often used as background for foreign locations.Marlene Dietrich plays the girlfriend of former Nazi bigwig Peter Von Zerneck who is presumed dead by the public at large, but the army knows is very much alive.
He decides to use the growing relationship that Captain John Lund has with Dietrich as Von Zerneck is the jealous type.But into the picture comes Jean Arthur, part of a group of visiting members of Congress touring occupied Berlin.
In one scene, she coyly admits her first name is "Phoebe," which happens to be the name of a character she played years earlier in a western called Arizona (1940).Wilder would revisit Berlin again in 1961 for the hilarious send-up One, Two, Three -- still a great favorite and indeed a classic film..
It is understandable that Billy Wilder did not want to make the milieu too bleak in order to dampen the comedy, but keep in mind that matters were far more brutal and squalid than portrayed here.It is a rather dark joke that Dietrich is cast in the role of a German woman who has had Nazi lovers and still feels loyal to Hitler.
I guess it takes someone like Billy Wilder, who returned with this film to a city where he once lived (and that he loved), to discover the comic effect of a "weight-challenged" GI with a bunch of flowers and a dachshund on the lead walking to his "Fräulein" through the ruins of a bombed-out street.
Less ingenious directors probably would have indulged in mourning and (self)-pity, which is exactly why many German movies from that immediate post-war time are unwatchable (unless you are fascinated by the morbid beauty of the ruins and rubble).As a German my only minor quibble with "A Foreign Affair" is the German dialogue (not the occasional "Strudel" and "Gesundheit" from the American actors, but the actual German by supporting actors and extras): in most cases it sounds embarrassingly dumb, even feebleminded.
And their logical conclusion is that, granted attractions back and forth, most people—despite regulations and even differences in language and politics—are likely to do toward one another that which comes naturally." That aspect is also memorably revealed in two of Ms Dietrich's famous songs: "Illusions" and "Black Market." The songs occur to manifest the romantic aspect of the movie but also 'its vagrant cynicism and its unmistakable point." (Crowther).Not much would be achieved if it weren't for the performances.
Billy Wilder returned to Berlin after the war to film part of "A Foreign Affair," starring Marlene Dietrich, Jean Arthur, and John Lund.
Wilder lived and worked in Berlin and, following his always excellent instincts, got out and came to America just in time.In the film, a group of government people arrive in Berlin to assess the morale of the 12,000 American soldiers still stationed there.
Dietrich is a gorgeous woman who survived by picking up with a high-ranking Nazi official, and she's kept out of a labor camp now thanks to the protection of an army officer named Pringle, played by John Lund.
Dietrich performs several numbers in her inimitable style, which is an added treat.This is Billy Wilder at his cynical best, with Pringle selling his birthday cake on the black market that Frost brings him from a constituent, and being slipped stockings for his girlfriend.
John Lund in probably his best performance plays a playboy Captain who is carrying out orders attempting to find Dietrich's Nazi boyfriend by courting Dietrich.Along comes a Congressional fact finding delegation of which Phoebe Frost represents a district in Iowa.
She meets two American privates that believe she is German and takes her to the night-club Lorelei, where the lead attraction is the singer Erika Von Schluetow (Marlene Dietrich), who is the secret mistress of Captain Pringle.
The officer seduces Frost to protect Erika and himself from martial court, but the jealous former lover of Erika, the Nazi Hans Otto Birgel (Peter von Zerneck), is seeking revenge against his competitor."A Foreign Affair" is a cynical, but naive and dated romantic comedy of the great director Billy Wilder.
The politicians are also not spared; the ruins of Berlin are also extremely painful to see; but there are funny moments alternating with others dramatic and great performances of Marlene Dietrich, Jean Arthur and John Lund.
The central threesome of Jean Arthur, Marlene Dietrich and John Lund put in excellent performances, which create the right mood for the piece and ensure that their characters are believable.
Jean Arthur plays congresswoman Phoebe Frost, whose last name tells a lot about her personality.She goes to Berlin to investigate G.I. morals.Her frosty personality is heated a little when she meets Captain John Pringle (John Lund).But she doesn't know he's the lover of the café singer Erika Von Schlütow (Marlene Dietrich), who's also the former mistress of a wanted war criminal.Billy Wilder, who else is behind this marvelous romantic comedy.A Foreign Affair (1948) has the best of actors.John Lund is terrific.Marlene Dietrich is, well, Marlene Dietrich.And she was also a top-notch singer.Jean Arthur is absolutely wonderful.I nearly fell in love with the character she plays, even though she's a Republican.I want you all to watch this classic and enjoy.There are awfully funny scenes there, like the one where Pringle wants to kiss Phoebe.Wilder really knew how to do it..
"Do you know what it was like to be a woman when the Russians came in?", Dietrich asks Arthur -- who has no idea.The three songs sung by Dietrich sort of sum up the subject of the film and it's not funny romance -- "The Black Market," "Illusions," and "The Ruins of Berlin." It's funny, though.
Billy Wilder was a very skilled narrator,and A Foreign Affair (1948) is homogeneous,compact,limpid and well-told,a jewel of agility,a movie unconventional,intelligent and masterly made.This delightful sex comedy,a tour De force, is one of Billy Wilder's best creations,and his output in the '40s is impressive and amazing:Double Indemnity,The Lost Weekend,concluding with Sunset Blvd..A Foreign Affair is an excellent sex comedy,very amusing,original and fresh.Wilder invests his sarcasm,his sardonic flair.It is obvious that he prepares for the womanizing John Lund the wild flower from Iowa,Mrs. Jean Arthur,and not the rottenness of a dashing and decadent German aristocratic charmer (Mrs. Marlene Dietrich).But Wilder has also the sense of making this a punishment for his John Lund,who is forced to exchange first class hedonism for an insipid Iowa idyll.The comic is natural, vigorous,perspicuous;it reminds,today, that Billy Wilder was one of the few great comic authors.When he made the Affair,15 years after his arrival in Hollywood,Wilder was 42;A Foreign Affair (1948) expresses well,and accurately,his mind,his thought,his conception,his fluid procedure,his taste for profligacy,cynicism,and the depiction of some debauchery,as incarnated,here,in Marlene Dietrich.But the conception itself,Wilder's understanding of the comedy,is what makes the Affair so pleasing.(In some recent first class comedies,like What Women Want (2000) ,where Mel Gibson gives a truly outstanding and lively performance,the lack of the director's aesthetic conception ,or of a powerful and daring instinct,makes itself felt.)The social world of A Foreign Affair (1948) is that of Germany Year Zero, 1946,but the contrast is obvious.Wilder's perspective is a lucid and libertine one ,his perspicuity is merciless.He vivisects;but the tone is temperate,mastered:nothing strident or vulgar.From Double Indemnity to The Fortune Cookie (and 4 more films followed,from '72 on,but a movie like The Front Page is a flop,a reject),Billy Wilder's road meant an amazing succession of hits.(In Germany,he was mostly a writer,for 5 years.)At 44 years,he gave his masterpiece:Sunset Blvd.;and if his career would have ended in '58,after Witness for the Prosecution,he would still be one of the greatest.There is a certain Billy Wilder texture,a certain flux,a delectable fluidity that make his films,Double Indemnity as well as The Lost Weekend,A Foreign Affair,Sunset Blvd.,Love in the Afternoon so easily recognizable;this plastic makes Wilder one of the most skilled artists of the black and white cinema.He felt,he felt the depth of the black and white plastic.After Some Like It Hot,he made 6 more films with Jack Lemmon.But a flick like A Foreign Affair shows that he was already interested in sex comedies even before his string of comic movies that began in the '50s.Wilder was enormously gifted.Mrs. Marlene Dietrich is once again an astute,light-some woman,the mere embodiment of licentiousness, vice, depravity, sin,heathenism,as in The Scarlet Empress (1934),Martin Roumagnac (1946), Touch of Evil (1958),etc.,etc..Marlene Dietrich was a woman of breathtaking, luminous, sensuous,astounding beauty.She was most attractive in her 40s and 50s,as the screen shows her in A Foreign Affair (1948) and in Touch of Evil (1958),a slightly elder Marlene Dietrich far more attractive,prepossessing and stunning than she was in her prime;her carnation was shiny.
This beautiful woman was larger than life.The comic scenes of A Foreign Affair (1948) are spontaneous,fluid,they have precision,keenness,verve,an admirable pace,and there is no ballast.The movie is about the ruining of the sensual life of an American officer in the postwar Germany.The merry love life of the American military in Berlin is threatened by a congress woman.This film expresses Wilder's strong conception of the cinema,and his exact understanding of the nature of the movies.Certainly one of the best ten '48 movies,as it rises to very amusing heights.It has to offer a work that is representative for the director,and that contains one of Mrs. Dietrich's finest roles.A word about Mrs. Jean Arthur.She might have been 40,43 or even 48 years when she made this picture.A Foreign Affair (1948) was her penultimate feature movie.She knew how to look provincial,naive and hot;she is,of course,compelling right from the start,but the viewer is supposed to disagree.Her portrayal is fresh,camp and endearing.It was a challenge to team up these two actresses,Jean Arthur and Marlene Dietrich,that are both very appetizing,but in most dissimilar ways,and,strangely,this it just what makes them so compatible.Mrs. D.
Director Billy Wilder also co-wrote this post-WWII comedy (along with producer Charles Brackett) involving a prim, humorless Congresswoman policing American troops stationed in Occupied Berlin, finding little but celebrations and skirt-chasing from the randy soldiers.
As Arthur probes into Dietrich, Lund tries to run interference by getting involved with her romantically, thus setting up a love triangle.There are many great things about the film, starting with the footage of Berlin, which was still absolutely devastated by the war.
I thought the balance was good, and frankly pretty amazing considering director Billy Wilder was Jewish, and lived in Austria and Germany until leaving for Hollywood at 27 in 1933.Marlene Dietrich is iconic, and as a German-American who had to be convinced to take the part of a Nazi collaborator since the idea was so repugnant to her, her performance is filled with soul and depth.
The situation she ends up in following a raid of the cabaret is contrived, though how the love triangle plays out is reasonably good, and Arthur delivers in her somber moments.Overall, a film that gives you post-war Berlin, Dietrich singing in a smoky cabaret, and some food for thought.
Billy Wilder's romance-triangle comedy is set in the Allied-occupied Berlin in 1947, in the face of Hollywood's entrenched agism and sexism, A FOREIGN AFFAIR is bracingly headlined by two 40-plus female marquee players, Jean Arthur (in her penultimate picture) and Marlene Dietrich, in roles which cagily keep their real ages under wraps.
Arthur plays a prudish American congresswoman Phoebe Frost of Iowa, scandalized by the dissipation she witnesses of American soldiers in the rubble strewn city, she is headstrong in making an example by finding out the American officer who is clandestinely protecting a German torch singer Erika von Schlutow (Dietrich), a woman with a Nazi past.
The women steal the honours in this film about a soldier John Pringle (John Lund)who has a lover Erika (Marlene Dietrich) in Germany but falls for a Congresswoman Phoebe (Jean Arthur) who is on a 5-day stay in Berlin investigating morale and morals within the US army.
Billy Wilder obviously had a cynical point of view in mind when he directed A FOREIGN AFFAIR and cast JEAN ARTHUR, MARLENE DIETRICH and JOHN LUND in the leads for a story about an American congresswoman (Arthur) investigating conditions for GIs in post-WWII Berlin.The rather bleak atmosphere seems to work against the material at times, but the script is witty enough to overcome any such distractions after awhile.
He's more than able to share the limelight with the female stars and has enough masculine presence and likability to carry the day.The story has staid Arthur discovering that she's falling in love with Lund, while at the same time aware that he's been courting a German nightclub singer--so that things get a little heated before they're straightened out for a happy ending.Summing up: The Charles Brackett script proves that the Brackett/Wilder combination was something to deal with..
Dietrich is perfect in the role, beautiful and talented as usual, but a manipulative whore is hardly a likable character.Jean Arthur plays Ms. Frost (the name says it all) a frigid congresswoman investigating how the US troops behave in occupied Germany.
At one point in the film, Erika tells Phoebe to accompany her home, "It's the next ruin", she explains."A Foreign Affair" is one of Mr. Wilder's best achievements as he gives us an account of the city he knew well..
Jean Arthur excels as uptight Congresswoman Phoebe Frost, carefully finishing off a report before taking a look at Berlin from the air - reminding us of a previous character written by Wilder, Garbo's Ninotchka, who failed to be impressed by Paris initially.
Shot amidst the bombed out ruins of postwar Berlin, Billy Wilder's "A Foreign Affair" positions us to sympathise with Erika Von Schluetow (Marlene Dietrich), a German glamour queen who may or may not have once worked with the German War Office.
These parts of the film were done on location.The plot, such as it is, has John Lund (Capt Pringle) romancing Erika (Dietrich) not knowing he is being set up a a target to bring her Nazi ex-boyfriend out of hiding.
That is because of the early plot.Congresswoman Phoebe (Jean Arthur) and a congressional group come to check out the morale of our American troops staying in Germany after the war.
This makes little sense historically as the Russians had just raped most of the German women in Berlin in 1945, but because there is a shortage of German men after the war, I guess we can stretch with that.Lund and Arthur really fall into love, but Pringle (Lund) has to stay on his mission with Dietrich (Erika).
An essential Billy Wilder film starring Jean Arthur, Marlene Dietrich and John Lund.
Directed by Billy Wilder, with a screenplay he co-wrote with Charles Brackett and Richard Breen (adapted by Robert Harari) that was based on David Shaw's story, this essential comedy drama romance stars Jean Arthur, Marlene Dietrich, and John Lund.
Berlin, 1948, the titular foreign affair may be Captain Pringle's (John Lund) fraternisation with German chanteuse and former companion to Nazi brass Erika Von Schluetow (Marlene Dietrich ), or his wooing of visiting U.S. Congresswoman Phoebe Frost (Jean Arther) (or both) or, more broadly, the ever-present canoodling between US serviceman and the local fräuleins.
John Lund is quite good as the Lothario trying to play two hands at once (although there is more going on than meets the eye), Arthur is OK (although a little goofy at times, especially when she is supposed to be drunk), Millard Mitchell is great as the Colonel in charge of shepherding the members of congress around while dealing with the complexities of occupation and of locating high-ranking Nazis hiding out in the city, but the real star is Dietrich.
|
tt1334106
|
X-Men Origins: Wolverine
|
In 1845, James Howlett, a boy living in Canada, witnesses his father being killed by groundskeeper Thomas Logan. The anxiety activates the boy's mutation: bone claws protrude from his knuckles, and he impales Thomas, who reveals that he is James's real father before dying. James flees along with Thomas's other son Victor Creed, who is thus James's half-brother and has a healing factor mutation like James. They spend the next century as soldiers, fighting in the American Civil War, both World Wars, and the Vietnam War. In Vietnam, the increasingly violent Victor attempts to rape a Vietnamese woman, and kills a senior officer who tries to stop him. James happens upon the fight and defends Victor, resulting in the pair being sentenced to execution by firing squad, which they survive due to their mutant healing abilities. Major William Stryker approaches them in military custody and offers them membership in Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes, and Chris Bradley. They join the team for a few years, with James now using the alias Logan, but Victor and the group's lack of empathy for human life causes Logan to leave.
Six years later, Logan is working as a logger in Canada, where he lives with his girlfriend Kayla Silverfox. Stryker and Zero approach Logan at work. Stryker reports that Wade and Bradley have been killed, and he thinks someone is targeting the team's members. Logan refuses to rejoin Stryker, but after finding Kayla's bloodied body in the woods, Logan realizes Victor is responsible. He finds him at a local bar, but Logan loses the subsequent fight. Afterward, Stryker explains that Victor has gone rogue, and offers Logan a way to become strong enough to get his revenge. Logan undergoes a painful operation to reinforce his skeleton with adamantium, a virtually indestructible metal. Once the procedure is complete, Stryker attempts to betray Logan by ordering that his memory be erased so he can be used as Stryker's personal weapon, but Logan overhears this and escapes to a nearby farm, where an elderly couple take him in. Zero kills them the following morning and tries to kill Logan, but Logan takes down Zero's helicopter and swears to kill both Stryker and Victor.
Logan locates John and Fred at a boxing club. Fred explains that Victor is still working for Stryker, hunting down mutants for Stryker to experiment on at his new laboratory, located at a place called "The Island". Fred mentions Remy "Gambit" LeBeau, the only one who escaped from the island and therefore knows its location. John and Logan find LeBeau in New Orleans, then both fight Victor, who kills John and extracts his DNA. Agreeing to help release mutants that Stryker has captured, Gambit takes Logan to Stryker's facility on Three Mile Island. Logan learns that Kayla is alive, having been forced by Stryker into surveilling him in exchange for her sister's safety. However, Stryker refuses to release her sister and denies Victor the adamantium bonding promised for his service, claiming that test results revealed Victor would not survive the operation. Stryker activates Wade, now known as Weapon XI, a "mutant killer" with the powers of multiple mutants.
While Logan and Victor join forces to fight off Weapon XI, Kayla is mortally wounded leading the captive mutants to Professor Charles Xavier and safety. After Logan kills Weapon XI, Stryker arrives and shoots Logan in the head with adamantium bullets, rendering Logan unconscious. Before Stryker can shoot Kayla, she grabs him and uses her mutant power to persuade him to turn around and walk away until his feet bleed. Logan regains consciousness but has lost his memory. He notices his dog tags read "Logan" on one side and "Wolverine" on the other. He pauses upon noticing Kayla's body, but does not recognize her, and leaves the island.
In a mid-credits scene, Stryker is detained for questioning by some MPs in connection with the death of his superior, General Munson, whom Stryker had murdered to protect his experiment. There were two alternate post-credits scenes that were shown at different screenings. One post-credit scene reveals a surprise twist on the fate of Weapon XI/Deadpool where he is revealed to have survived his decapitation. The other post-credit scene shows Logan in Japan where he tells a barmaid he is "drinking to remember."
|
revenge, violence
|
train
|
wikipedia
|
Just a ridiculous amount of fun.
(X-Box 360 Version).
It is a pretty interesting situation this game has...
the movie (which I actually have not yet seen, so am not going to judge) received very mixed reception, whereas the movie tie-in, which in general are notorious for being thrown together quickly to be released in time for the movie, seems to be receiving unanimous acclaim.
After playing it, it's really not that hard to see why.
In the first minute of the game you will realise, this was not a game made for the Wolverine movie, this is a game made from the Wolverine character.
You will dismember, disembowel, be-head and just cause a large amount of pain all around on your travels through the game.
There is enough blood and gore to satisfy the most "hardcore" of Wolverine fans.
I'm not one of the people who thinks adding gore is a good way to cover up a game's flaws, but in this case, it is.
There are plenty of flaws, but most of the game you will be too absorbed in the coolness of it all to care.Words can not describe how satisfying it is to slice your way through mass amounts of bad guys in so many different ways.
Want your enemies blended?
Want to pop of an enemy's head like a pimple?
It's gonna happen.
It's just a game that gives you a great sense of power.
Great for those of us who have a bit of low self esteem!
Forget drinking your problems away, slice them away through Wolvie!
(Remember people, violence may be fun in video games, but it is never cool in real life...
so don't be a fool.
The More You Know).
And this sense of power is evident from the start...
wait until you really start to level up!
The amount of power you have can sometimes make the game a little easy, and the automatic healing ability helps a lot as well, but there are still some pretty challenging parts and as I have said before (and I can not stress this enough) the GAME IS FUN!
When I was playing it, I wasn't thinking "This is too easy," I was thinking "This is too cool!From a technical point of view, the game is really nothing special...
there are little bugs around, like amazing disappearing and reappearing clothed...
apparently Wolverine can regenerate a singlet, but it will take him a lot longer than actual skin.
The graphics are also nothing special, except in the major cut-scenes in which they were amazing.
There were a lot of video game clichés, like platforms that move for no apparent reason and stuff like that.
The game's story is nothing fantastic, jumping back and forth a little, but it contained enough fan-service to keep me entertained.
Another thing that added to the quality of the game was the voice acting, which was very well done, and I felt Hugh Jackman sounded more like Wolverine in the game than he did in the movie (not that I don't love him in the movies).
Also, the controls in the game are very easy and will become intuitive after just a short time of playing.Apparently a sequel to the movie has been green-lit...
as I have not seen the movie, I don't know whether I'm excited or not.
One thing I do know is that I desperately hope that Raven decides to do the tie-in game for that as well, so the nerdy heart may smile again..
Wow!.
2 days ago,I went to Game Stop to find a game that I really wanted to play.There were many choices,but in the end,I chose 'X-Men Origins: Wolverine'.Once I got home,I immediately put the disc inside my Xbox and started playing.Once it started,I didn't want to stop.This game is simply fantastic.The graphics are good and it manages to stay true to the movie,which I also loved.If there's one thing about this game that I will always know,it's how much blood and gore is in the game.You play as Wolverine,which gives you the advantage of ripping your enemies in half,cutting their heads off,etc.Overall,this is a great choice if your looking for a really fun game..
Better Than the movie.
To Be Honest I only got the Uncaged Edition and I love the game in this it has no limit to the title Wolvie Has of "Killing Machine" this game is great it almost as good as Punisher (2005)(VG) or Halo as a Video Game The Movie was OK 6/10 I like Wolvie but not as much as this game I like heroes more obscure or gory like Predator (Dark Horse), Moon Knight (Marvel), Ghost Rider (Marvel), I like this game it's better than the movie in all aspects great game a definite must-play.
that pretty much sums it all up unlike all the other comments I did I won't spoil the endingRating: 10/10.
Not the best at what it does...
but not the worst.
I have not tried this on the X-Box 360, and this review is not of that version.
Before the events of the three X-Men, Wolverine had a past...
well, he had about seven that conflict with one another.
He was in love with and living with Kayla, out in the woods, and he held down a job, made a living.
This is after he abandoned the secret squad that he and his brother Sabretooth(...don't ask.
Just don't), along with other mutants, was on.
One day, Creed kills his love, and he hunts him down.
Our hero is not a match for him, however, and his old leader, Stryker offers him the opportunity to undergo an experimental process, that will cover his bones in the unbreakable metal Adamantium...
including his trademark claws.
He again goes about finding Victor...
and getting revenge on him.
If you've watched the so-so movie(I won't spoil it), you already know that the script of it was basically that of a video-game.
Licensed games are almost always crap, and when the film(this follows the plot of it very closely, and doesn't really bring in anything new) is lousy...
well, you'd think this was awful.
Oh, it's not a masterpiece, either.
These things are usually rushed, at times incomplete.
There are portions and aspects where you can tell they ran out of time.
Meanwhile, it isn't buggy or even glitchy(like the Iron Man one, for a recent example).
The game-play is you running(well...
walking at a mildly determined pace) from points A to B, fighting(so much so that it grows stale; then again, this is so short that you can complete it in a day and a half or so, so you're not tired of it for long before you're done with it) many enemies(about half of the types aren't really "evil"; for example, those poor fellow woodsmen!) along the way, and occasionally solving simple puzzles/tasks.
Quality of design for the linear levels ranges, if none are downright poor.
They tend to be positively tiny, and this nearly constantly loads the next area...
fortunately, this process goes fast.
Honestly, there are spots where you spend one minute before you go on to the next bit, and ones where there is no one to take out.
This doesn't elaborate on the wars the sibling duo of cat-like killers have participated in.
I would have thought that was one of the things they'd use to extend the time it takes(instead, expect to spend a lot of time on William's personal army).
Bosses are OK(this doesn't always give you an idea of when you can hurt them and when to steer clear), if they don't tend to be memorable.
The last one is the easiest of them(and none of them are all that challenging), and in general the ending is anti-climactic.
There are some cool settings, like when you engage in combat atop a moving truck, or run away from a flooding dam(yep, *that* one).
The acting is passable.
Yes, the people from the flick(to an extent) return.
Schreiber does fairly well.
Jackman...
He's kind of flat in this.
The lines are reasonable(some good banter), with a couple of nice ones.
You can't always tell what is being said, especially in the flashback, over the radio.
This isn't very challenging, with exceptions.
You seldom go far back when you die, it saves by checkpoints and does so frequently.
The camera moves on its own, and not exclusively in a helpful manner.
You can't see a great distance before it's just dark or "horizon".
The graphics are fine, and there are a decent amount of details to it.
Most cut-scenes are in-engine, with a few full CGI ones that are well on the way to being downright awesome.
AI isn't terrible; I've seen a disarmed foe present a knife or try to retrieve their gun.
You earn XP by doing well, and it can be used to upgrade, thus getting new attacks.
Beating this entirely allows you to play it again on the hardest of the three difficulty settings, with everything you've "earned" intact.
There is nothing else unlockable, other than a rematch with the Blob, win for 750 points.
In five minutes for an additional 750.
In portions of this, you have to Lunge, leaping or the like from place to place, and all it is is moving the Wii-Mote in a certain direction when prompted to.
This occurs in specific battles here and there; in that situation, it's better and more immersive(it's still got nothing on, say, Prince of Persia: The Two Thrones).
The clawing and slashing is pretty fun and can be intense; you can do fast ones or a strong ones, and there are combos and chains, and since there are only two buttons to activate them, they're straightforward.
It would be excellent if you could switch back and forth between who you're hacking at, instead.
Blocking is useless.
Strikes in quick succession will ramp up your self-healing(you won't stand still to regain life...
you do, a couple of times, run around avoiding being hit, to do so, though) and fills up the red meter, allowing you to enter Rage mode.
You go swifter and are tougher that way.
Opponents can stun you, and there is an average variety to them.
Some are invisible, and you have to use Sense mode to tell where their scent is(they won't be revealed, their movements will leave a residual smell that you can pick up on...
thought out and implemented well), which you can also use for hints on how to proceed(it can tell you what you can interact with).
Animation is attractive enough(and seldom awkward), if movements and controls can be a tad stiff.
There is plenty of mild violence with a little blood and disturbing content.
I recommend this to the biggest fans of the character.
From what I understand, it's better on the other consoles.
What a gyp.
Release your rage animal.
This game is awesome!
Very well done with good graphics and good story adapted straight from the film.
Hugh Jackman and Liev Schreiber are here again and they even did a good job here.
I have to be honest with you...
if you are angry, I mean really, really angry, don't yell at people, don't punch them or call them names, instead get this game sit down on your PC or Xbox, or whatever and plays this game, it's a great anger management.
It really gives you that sense that you need to release some anger and unleash the rage upon your opponents that varies in so many forms.
Wolverine is one good badass here, a pure animal full of anger, with his growling sounds and powerful yells, the way it should be.
I say get this game and play it.
You'll really feel better after a few levels..
Cut to the chase Bub. This is the definitely the definitive Wolverine game out on the market.
This one puts X Men 3's video game to shame and pretty much any other X men game ever.
Why you ask?
Well it's because we the gamers finally see Wolverine's full Berserker rage and the awesome damage that Wolverine can actually do.
Be warned this game is definitely not for the kids.
Wolverine's attacks are vicious, unpredictable and brutally violent, so much so I loved it.
The violence is bloody and quite gruesome.
Wolverine has many moves that include the dismemberment of any enemy stupid enough to get in his way and trust that happens a lot.
From cutting arms off, decapitations, impaling on spikes and even vivisection with plenty of claret (blood) almost spraying on the screen, Wolverine is a guilty pleasure as you do love killing anything that decides to shoot at you, come at you with machetes and inhuman monsters out to snuff you out.
The wounds on Wolverine every time he is hit are graphic and jaw dropping as you can actually see inside his body for a limited time and see all his guts and bones underneath his shredded flesh and chargrilled entrails.
No other game has done this ever and no-one else has had the balls to make a superhero game that as violent as Xmen Origins Wolverine.
There were quite a few times when my jaw dropped to the floor after seeing Wolverine pull off certain moves like taking a pilot of a gunship and shoving his head into the blades spraying blood everywhere.
This game will easily keep you happy after you have had a stressful day at work and you want to let off a lot of steam.
If you love Marvel and you want a great game with plenty of gore then Wolverine is one you shouldn't miss.
be warned though sometime it can get quite frustrating..
X-Men Origins: Wolverine (The Video Game).
Hold up, Bub. While this is second to none in the market for violent slashing and graphic violence and awesome moves and combos as what one would expect a Wolverine game should be, it just comes short with some limitations.
I am first and foremost a free roaming gamer.
Those are the kinds of games I like.
One that you are free to roam anywhere in the entire given map.
But that doesn't happen in this game.
You are locked in a specific location and are limited to a lot of things to do there.
I can't climb the rocks.
Duh, Wolverine and his adamantium claws can slice through rocks like it was butter.
Instead in some instances you are given a hanging rope to climb on to or there are specific areas where you are allowed to climb the rocks using your claws.
There are lots of metal objects you cannot destroy.
In the fictional story there isn't anything stronger than adamantium.
How can some metal objects be in God Mode and indestructible in this game?
Your character here has the ability to target an enemy and lunge at him from a distance.
But on his own, Wolverine cannot jump mere distances without an enemy standing there to target.
Escaping from the Weapon X facility would've been easy as I could've sliced my way thru any of those stupid metal doors no matter how thick they were.
The plants are almost all indestructible too.
Gee. I knew the developers couldn't possibly make it too perfect.
That's why I gave this game a 9 instead of a 10.
All in all it's an amazing game if you're willing to shrug off the ridiculous limitations they put on Wolverine in this game, then it's a really fun game.
I'm still waiting for them developers to really come up with realism in games.
Like in most games, how come I can't go smashing thru any door at all and are just allowed to do so on some doors specially if they were part of the game mission or something.
I may not be huge and superhuman, but I have smashed thru wooden doors so many times in real life.
Duh even without guns and just my bare hands!!!
|
tt0279113
|
The Good Girl
|
Justine Last (Jennifer Aniston) is a depressed and unmotivated thirty-year-old woman living in a small town in Texas with her husband Phil (John C. Reilly), a house painter who spends most of his free time smoking marijuana with his best friend, Bubba (Tim Blake Nelson). Justine works at Retail Rodeo, the local big-box store, along with Cheryl (Zooey Deschanel), a cynical, plain-spoken young woman, Gwen (Deborah Rush), a ditzy older woman who manages the cosmetics counter, and Corny (Mike White), a Nazarene security guard.
One morning, Justine notices a new cashier and later introduces herself. Holden (Jake Gyllenhaal) appears quiet and reserved, qualities that the two of them share and, therefore, quickly take a liking to one another. They begin taking their lunch breaks together and Justine gives Holden rides home. One time, he invites her in and she accepts. They swap stories about their lives including how Justine feels unappreciated by Phil and Holden tells her of his obsession with J. D. Salinger's novel, The Catcher in the Rye, and how he took his self-assigned first name from its protagonist, Holden Caulfield.
As the weeks go by, Justine and Holden start to bring out the best in each other. But when Holden makes a pass at her, she rejects him, leaving him dismayed. He becomes more and more besotted by her. Some time later, Holden does not show up to work but sends a letter to Justine, writing that if she does not meet him at 5pm that day behind the nearest Chuck E. Cheese, she will never see him again. After much consideration, Justine decides to accept Holden's invitation, only to be intercepted by her manager, Jack (John Carroll Lynch), who insists that she take a very ill Gwen to the hospital. Justine then meets up with Holden. The two have sex for the first time in a motel room that Justine pays for with her credit card.
As the affair continues, Justine's marriage to Phil continues to deteriorate. One night, Justine spots Bubba's truck in the parking lot of the motel where she's been meeting Holden. She becomes convinced that Bubba knows, telling Holden that they need to cool down for a while. When Justine goes to visit Gwen in the hospital, she is told that Gwen has died after contracting parasites from eating poisonous blackberries that she bought at a roadside fruit stand. When she returns home, Bubba starts hinting to Justine that he knows about her affair with Holden. Feeling guilty, Justine suggests that she and Phil should attend a church bible study that Corny, a security guard, had invited them to. Soon after they arrive, Justine spots the motel desk clerk she encountered with Holden, she grabs Phil and demand they leave immediately.
Justine speaks to Holden in private at work the following day, explaining that what they're doing is wrong and she can't see him anymore. Bubba tells Justine to meet him at his house. He blackmails her into having sex with him by threatening to tell Phil about her affair if she refuses, and she reluctantly gives into his demands. Holden, who has been following her since the split, sees them through a window.
Holden does not show up for work the next day but is waiting in Justine's car when her shift ends. He calls Justine a whore and drunkenly demands an apology. He then says he could kill her husband to free her from her marriage. Justine becomes desperate to extricate herself from the relationship with Holden. She goes to talk to his parents and tells them that he is mentally ill and that he has imagined a romantic liaison between them. She goes on to suggest that Holden be hospitalized. That night after feeling unwell all day, Justine takes a pregnancy test. The results are positive. Phil is over the moon, but Justine feels uneasy, since she doesn't know whether the father is Holden or Phil.
The next day when Justine arrives at work, Cheryl tells her that someone stole $15,000 from the safe and that the police suspect Holden. Justine is called into Jack's office and interrogated about their relationship. As she leaves for lunch, Justine encounters Holden, who brags about having stolen the money and about his plans for them to escape. Holden tells her to meet her the following morning at a hotel. When Justine gets home, Phil, Bubba, and Bubba's new girlfriend are all waiting for her so they can celebrate. The phone rings and Phil answers. The doctor's office has called; they tell Phil his sperm is "no good". He tells them his wife is pregnant and they don't know what they are talking about and angrily hangs up. Bubba assures Phil they made a mistake, that "they don't know everything". Phil then questions aloud if this means Justine isn't pregnant. She also assures Phil that they just made a mistake.
The next morning Justine quickly packs a suitcase. While waiting at the light to turn toward either the hotel or the Retail Rodeo store, she assess her future if she stays versus if she runs away and becomes a fugitive with Holden. She decides to stay. She arrives at Retail Rodeo and goes to the manager's office, telling him where Holden is hiding and how long he will be there. After arriving home, she watches a news report saying that the police have surrounded the hotel where Holden is staying and that Holden shot and killed himself. The next day, Bubba shows up at Retail Rodeo and tells Justine that Phil opened a statement from the credit card company, which listed the motel that Justine paid for with the card. Bubba then begs Justine not to tell Phil about their sexual encounter. When Justine arrives home, Phil is looking at the credit card statement and tearfully asks Justine if she has been having an affair. After she says, "yes", Phil strikes her. Later, Phil expresses remorse at hitting his wife and asked her if the baby is his. Wanting to spare Phil any more pain and protect herself, she tells him that he is the father. Phil insists on knowing who she had an affair with. When Justine says it doesn't matter, Phil concludes it's Corny, the security guard who invited them to Bible study. When Justine arrives at work the next morning, Cheryl attempts to cover up her facial bruises with make-up just as Corny walks by. His arm is in a cast and his face beat up. Cheryl informs Justine two "beefy guys" with baseball bats and face masks beat him up.
As the movie concludes, Justine is still employed at Retail Rodeo. In a narrated scene, Phil brings the baby to Justine, who is deep in thought on the bed. She lovingly holds the baby and the couple seems blissful.
|
romantic, comedy, depressing, entertaining, flashback
|
train
|
wikipedia
| null |
tt0080638
|
Do Aur Do Paanch
|
Vijay (Amitabh Bachchan) and Sunil (Shashi Kapoor) are petty burglars. They don't go well with each other and are sworn enemies. Their respective bosses command them to go to a school where their task is to abduct a rich man Seth Mathur's (Shreeram Lagoo) son, Bittoo and bring him in so as to demand a huge ransom. Vijay and Sunil fake their identities and join the school as Ram and Lakshman, respectively. Ram is appointed as a P.E. instructor while Lakshman is made the music teacher. On their journey towards the task, Ram meets Anju (Parveen Babi) the principal's daughter while Lakshman meets Shalu (Hema Malini) the dance teacher. Both the ladies, unaware of their background and motive, fall in love.
Vijay and Sunil get close to Bittoo so as to lure him but as days pass by, both of them realize their true affection for that boy and drop their plan of abducting him. Meanwhile, Anju and Shalu come to know of their lovers' true identity and by their word of love and affection change them for good. Sunil's boss Uncle Jagdish (Kader Khan) loses hope on him and he himself comes up with a plan and abducts the boy. Vijay and Sunil join hands to save the boy from Uncle Jagdish and rescue him with Uncle Jagdish and his henchmen being arrested by the police eventually.
|
good versus evil, revenge
|
train
|
wikipedia
| null |
tt0174157
|
El rebelde (Romance de antaño)
|
The setting is 1922, in French-occupied Vietnam, and anti-French rebellions by peasants have emerged all over the country. In response, the French have activated units of Vietnamese secret agents to track and destroy the rebels. One agent is Le Van Cuong. Although he has a perfect track record, Cuong's conscience is troubled by the sea of Vietnamese blood he has spilled. Following the assassination of a high-ranking French official, Cuong is assigned to seek and kill the notorious leader of the resistance. Cuong encounters Vo Thanh Thuy, a relentless revolutionary fighter and the daughter of the rebel leader. She is captured and imprisoned by Cuong's cruel superior, Sy. Cuong suspects that Sy knew about the attack on the French official before it happened, and could have prevented it. Suspicious, he warns Thuy that her organization has a mole, helps break her out of prison and becomes a fugitive himself. Her fiery patriotism inspires Cuong, and he develops feelings for the young woman as well. Meanwhile, Sy is tracking Cuong and Thuy, knowing the pair will lead him to Thuy's father.
|
revenge, melodrama
|
train
|
wikipedia
| null |
tt0050598
|
A King in New York
|
"One of the minor annoyances in modern life is a revolution." Due to a revolution in his country Estrovia, King Igor Shahdov (Charlie Chaplin) comes to New York City with almost no money, his securities having been stolen by his own Prime Minister. He tries to contact the Atomic Energy Commission with his ideas for using atomic power to create a utopia.
At a dinner party, some of which is televised live (unbeknown to him), he reveals he has had some experience in the theater. He's approached to do TV commercials but does not like the idea. Later, he does make a few commercials in order to get some money.
Invited to speak at a progressive school, he meets Rupert Macabee (Michael Chaplin), editor of the school paper, a ten-year-old historian who gives him a stern anarchist lecture. Although Rupert himself says he distrusts all forms of government, his parents are communists who are jailed for not giving up names at a Joseph McCarthy-type hearing. Because young Rupert had spent time with him, Shahdov is suspected of being a communist himself, and has to face one of the hearings. He is cleared of all charges, but not before a scene in which Shahdov accidentally directs a strong stream of water from a fire hose at the members of the "House Committee on Un-American Activities" (HUAC), who scatter in panic. He decides to join his estranged queen in Paris for a reconciliation.
In the meantime, the authorities force the child to reveal the names of his parents' friends in exchange for his parents' freedom. Grieving and guilt-ridden, Rupert is presented to King Shahdov as a "patriot". Shahdov reassures him that the anti-communist scare is a lot of nonsense which will be over soon, and invites him to come to Europe with his parents for a visit.
In addition to its condemnation of HUAC's methods, the film takes witty potshots at American commercialism, popular music, celebrity culture, and film. A dinner party scene includes a number of satirical portrayals of actors and public figures of the period, including Sophie Tucker.
|
satire
|
train
|
wikipedia
|
"A King in New York" is one of those few films that gets better and better every time you see it.Yes, it's flawed--the sets look shabby, and some of the dialogue is stilted and melodramatic.
Yet despite these shortcomings, AKINY still stands out as a wonderful, playful satire of 1950's America.For those of you who may not know, Chaplin himself was targetted by the U.S. government at the time for his alleged communist leanings.
The first is Ann Kay (Dawn Addams), a beautiful young woman who seduces the King and lures him into appearing in her television commercials, and Rupert Macabee (played by Chaplin's son, Michael), a brilliant young boy whose parents have been imprisoned by HUAC.
Chaplin slyly slips in and out of these bits (which are essentially silent comedy pantomimes dating back to his earliest days in English Music Halls) with great ease.Such scenes provide the most satisfying moments in the film.
Regardless of the basis for this film's comedy pieces, one can find a few moments where Chaplin is taking a direct shot at those who had doubted him.The plot involves Chaplin as King Shadov, a ruler of a ficticious country whose people have ousted him based on his unwillingness to manufacture Atomic Bombs.
In 1952, Chaplin returned to his home-town of London for the premiere of the brilliant 'Limelight (1952),' where he was greeted with great enthusiasm, though with his arrival came the news that the American government had rescinded his re-entry visa into the United States.
Over the next few years, the aging filmmaker toyed with numerous ideas for his next film including a possible resurrection of the Little Tramp before settling upon 'A King in New York,' whose screenplay took about two years to complete.'A King in New York (1957)' tells the story of King Shahdov (Chaplin), a dethroned monarch who seeks refuge in the United States, his entire wealth cunningly stolen from him.
Its youth, its genius, its vitality!" However, through his relationship with a brilliant young boy, Rupert Macabee (Chaplin's own son, Michael), whose parents happen to be members of the Communist party, Shahdov becomes embroiled in the period's rampant McCarthyist witch-hunts, revealing the devastating truth that perhaps America's notions of freedom have become a mere illusion.Despite Chaplin's insistence that "my picture isn't political," it most undoubtedly is, with the director just as he did in the final scenes of 'Monsieur Verdoux (1947)' evidently expressing his distaste for what society has become.
This is not the day of great artists; this is the day of politics."'A King in New York' was filmed at Shepparton Studios in London, and the film does a very successful job of imitating the hustle-and-bustle of the Big Apple.
Though my review has stressed the political implications of the film, 'A King in New York' also works pretty well as a light comedy, and I almost died laughing when Chaplin walked into the House Committee on Un-American Activities with a fire-hose attached to his finger.
Owing to its somewhat disagreeable stance towards the United States, Chaplin was unable to find any willing American distributors, and so 'A King in New York' remained unseen there until the 1970s.
Charlie Chaplin's A King in New York is a fine film to see when it's a laid-back afternoon and it comes on TV, as it's a bit of a surprise to come upon.
This time, instead of being on poverty row with holes in his shoes and a sweet and enduring love for a street girl, he plays a king whose country has gone to war and without many prospects financially comes to America to do commercials for products that he would surely rather not be pushing on the public.
As life does imitate art (as far as the stereotype goes it does have a ring of constant truth), Chaplin at the time was an exile, kicked out of America for being a supposed communist, and with his non-prolific career going a little bit on the slide, he made the film as a quasi-light attack on American consumerism, of the vanity and stupidity that can come out of prosperity.But at the same time, there is still the sensibility that Chaplin loves life and individuals, if not certain groups.
My favorite scenes where Shadhov's botched plastic surgery debacle, where it's funnier seeing the King trying not to laugh at a slapstick spectacle than the actual spectacle itself, and the scenes of the King trying to shill the items, often to the dissatisfied directors (I'm reminded of Lost in Translation, and in fact Chaplin's scenes are probably more successful than Coppola's).Although the film is preachy at times- it's best when Chaplin goes for the more succinct jabs as opposed to the grandstanding, ironic since it worked perfectly at the end of the Great Dictator- the overall high-spirited and serenely theatrical direction makes this a worthwhile effort.
Far from being the controversial film it got a reputation as following a non-release in the 50s in the US, it's only a cunning satire, with moments light and foreboding, and it deserves to be seen just as much as Chaplin's classics (if only by his fans, who might be apprehensive at the filmmaker making too many 'statements')..
Might Mr. Chaplin's performance in a speaking role be as sadly disappointing???The answer in a resounding word was, "NO!" If anything, Chaplin's voice and accompanying ability to express himself with words enhanced his screen presence by providing a new dimension with which to appreciate his seemingly limitless talent.I'm not sure just how to explain this other than the fact that I watched most of the film with a big grin glued to my face.
In today's world of over-the-top silliness and questionable acting passing as good comedy, his performance is a clear indication that intelligent comedy is not an oxymoron and that the "King" of it is the same person as the king of slapstick.If you're the kind of person who appreciates the subtlety in Woody Allen's humor, you will find yourself marvelling at "A King in New York" and you will see (and hear!) a part of Charlie Chaplin you may not ever have known existed..
When A KING IN NEWYORK came out it couldn't even get a distributor in the U.S. so virulentwas the hatred for "turncoat" Charlie.Now, forty seven years later, and thanks tp the amazing TCM, I havefinally seen A KING IN NEW YORK and though it is somewhat uneven andepisodic, I believe it to be one of the best of Chaplin's films.
But gee, since Chaplin was up against these zealots (who are the real "anti-American" ones if people actually knew their history), I suppose we should be able to forgive him for not being so subtle in "A King in New York!".
Sure it has a funny and effective "european royalty thrown into American culture" plot but this film really has more serious and important plans for the viewer....Watch it and don't feel guilty think.
Seeing the king sell all kinds of 'royal' products was pretty amusing itself.But when he visits a 'progressive' school and hears young Michael Chaplin spouting off the virtues of Karl Marx at the drop of a hat, he's taken with the kid although exasperated at being the butt of the jokes of these unruly kids.
A King In New York, born out of Chaplin's exiled bitterness remains a really unjustly neglected piece of comedic satire and relevant truths of the time..
I can think of many worse examples and while this late Chaplin picture may lack the genius of his earlier work, (it was his penultimate film; he made it several years after "Limelight" and before "A Countess from Hong Kong"), it is an often very funny satire on what Chaplin perceived as 'the modern age'.
Driven out of America by McCarthyism, Chaplin constructed his New York in a British studio and typical of its writer, director, star and composer it makes no apology for its attack on right-wing politics, in particular the HUAC, as well as television, Cinemascope and plastic surgery.
A KIng in New York (1957) was the second to last film that Charles Chaplin completed before his retirement.
Too find out the answers to these questions and many more you'll have to watch this Charles Chaplin classic A KING IN NEW YORK.I was surprised by how well this film was.
Chaplin Has His Say. As probably one of Chaplin's lesser efforts, this falls short of the level of sheer genius to the level of mere mortal excellence.As proof of Americans' depressing ability to laugh at any ethnic group or nationality except for themselves, at the time, this movie got many Americans' hackles up, and by the looks of the comments here, still does for some people.
However, Chaplin's tone in this film, described by some as bitterness, I would more accurately call incisiveness.Of course this movie had to be made in Britain, and wasn't shown in the USA for about 20 years, until after the youthquake of the late 1960's and the changing of the generational guard, proving Americans are not fond of having their foibles and hypocrisies pointed out to them in a rather obvious manner.Some of the more satirical aspects of the film, including the film trailers, TV advertising, the reality television show (Chaplin about 40 years ahead of the curve on that one) and the whirlwind feel of New York City, represent rather gentle pokes at a society in which, to remind everyone, Chaplin had worked in and made his fame and fortune in for over 40 years.It's only when the Senator McCarthy inspired storyline takes hold, around halfway through the film, that the story turns markedly more serious.
Chaplin sprinkles the film throughout with references to the US Constitution, and freedom of speech, and "American blood boiling." Clearly he is on the side of freedom versus totalitarianism, and against the witch hunt like tactics of HUAC that destroyed American careers, drove people into poverty or exile, and provably never found one person that was a real, imminent danger to American society.
Looking back from this point, almost everyone agrees that HUAC and its blowback were a blot on the history of the United States and its aspirations of freedom, and rightfully so.Although this aspect of the film is a bit heavy-handed, and the rather sad ending is somewhat disappointing but rather realistic within the context of the times, I feel that this only detracts mildly from the comedy on offer, Chaplin's amazing screen presence, and artistry as a writer, actor and director.
Why don't you judge it reasonably, dear American IMDb users?For those people who do not know any background story about this film:There was an important biographical turn in Chaplin's life in the mid 50's: he actually shot A King In New York in Switzerland.
A recently-deposed European monarch (Charles Chaplin) seeks shelter in New York City, where he becomes an accidental television celebrity and is later wrongly accused of being a Communist.Although the main character is obviously the king, we have to give credit to the Communist child (or perhaps more properly anarchist).
It had been over 20 years since Charlie Chaplin last adorned his beloved character 'The Tramp.' Although in his later performances, the aspects of the icon are inescapable, A King In New York deliberately brings the slapstick back into an interesting context.
His last two films, The Great Dictator and Limelight, were two of his best films that were seamlessly able to blend comedy with a message and emotion.Unfortunately, A King In New York doesn't have the same weight to it emotionally and leads it inevitably into being lesser Chaplin.
1957's "A King in New York" shows Chaplin at the end of his film career.
Refused permission to reenter the U.S. in 1952 due to the idea that he held anti-American beliefs, he actually made this film about a deposed European king in New York in England.
The film's political statements are heavy-handed, but there are still some good comic turns by Chaplin and his viewpoints and comic bits on America and rampant commercialism and consumerism still hold up today.
"A King in New York" is a very smart and underrated movie by Charles Chaplin.
While it brings the slapstick comedy that made him famous first, putting the deposed King Igor Shahdov from fictional European country Estrovia in absurd situations and making funny facial expressions, the film also presents a very important political discussion about McCarthyism and the Communist-hunting obsession, besides very nice sketches about TV shows, advertisements and cinema (the short trailers shown in the first part of the story are hilarious, and so is Ann Kay's behavior in from of the cameras).
Chaplin had left the United States because of the cold war right- wing paranoia that victimized, Therefore, he produced this film in Britain, his home country, in order to satirize that undemocratic situation, just like he had done with Nazism in "The great dictator".
If you are not doing research on Chaplin and are looking for an entertaining but obscure film, avoid the King of New York.
To all intents his final film, short on laughs and high on bitterness, it rarely achieves the heights of prior works.Chaplin was never subtle when it came to satire, as the wonderful Great Dictator should attest.
So that then if it pleases everybody, I'm a communist." Saying such things yourself is fine, but using a small child to make your political speeches for you is extremely unsettling.The film, his first effort to be shot in England, tries to recreate New York with sets and stock footage, as the star was no longer allowed entry into the United States.
Containing just a bit part for Charlie, King is really the last time the public would have to see him fully on the screen.King Shahdov is probably one of the least endearing Chaplin characters as he is painted as a lecherous man who peers through keyholes at bathing women and says things like "I must tell you some of my jokes...
Like A King in New York it's a mediocre piece and not the work of a genius, but it's a shame Chaplin wasn't making more films towards the end of his life, even if both pictures do fall firmly in the camp of "it's regrettable he didn't retire after Limelight".
The American Way and Chaplin's Take on It. Many admirers of the golden era of Chaplin's work may wish to think that "A King in New York" (1957) never existed, but if we get past its seeming difference with the director's preceding oeuvre, we come to glorify the fact that the film did in fact come to existence.
At its heart, "A King in New York" is a satire of the American way of life which is dominated by falsity, betrayal and competition, emerging as the capitalist ideology whose weaponry includes the culture industry, superficial worship of youth; and the media as a de-democratizing power.
On that front Chaplin's penultimate film 'A King in New York' disappoints a little.
A King in New York feels a lot like Chaplin's temper being released in the form of a film.
He arrives in New York keen to re-establish himself and maintain his status as a monarch but it is not long before American life overtakes him and he feels the effect of television, advertising, plastic surgery and political witch-hunts.Although I was concerned what I would find, I felt I should check out some of Chaplin's final films.
Well, people think that because the kid sounds like a Communist that the king must also be one--leading to a lot of confusion and a few laughs.It turns out that the kid had run away from the school after his parent had been forced to testify before the House Committee on Un-American Activities.
This part of the film just isn't very funny and lasts way too long.Despite this hosing, the scene abruptly ends and newspapers announce that Chaplin is cleared and he is once again beloved by the American people.
A King In New York is a satire by Chaplin about his impressions of America.
Chaplin plays a king of a fictitious eastern European country who is forced, due to a coup, to flee to New York City.
I watched a lot of early Charlie Chaplin films and can only say that like Red Skelton, to me they were neither funny nor what I would classify as great.
I think the reason some people don't like it is because they want the Charlie Chaplin of the old silent film era.
After seeing the boy broken by government officials, the king consoles him before returning to his own country, exasperated with American life.Clearly the film was ahead of its time.
His character, King Shadov, is presented before the house of Un-American Activities Committee as a suspected Commie, mirroring Charlies real life experiences in the states just a few short years earlier.If ever a film delivered the ultimate two-finger gesture and a final winning laugh then this was it.
A KING IN NEW YORK is a curious film in the Chaplin-canon.
In the same way, he hardly made KING in a desire to let out his opinions, at least not solely so; rather, I believe that in search of new comedy material, he decided to use themes which had obsessed him much in the last few years, making the McCarthy-era and American culture obvious choices.Chaplin tries to chew a lot, but I think he succeeds most of the time, as his covering of nearly every theme in the film somehow relate to one another.
It has been pointed out that Chaplin here was working without his own studio and employees, for the first time in forty years, which possibly made him less open for criticism from others while making the film, or he may not even have been offered it.
A KING IN NEW YORK is by no means his best film, but it must rank among his funniest, and is quite thought-provoking every once in a while.
|
tt0312329
|
Against the Ropes
|
At a young age, Jackie Kallen learns about boxing with her father and uncle in a small gym. Later, she becomes the assistant to a Cleveland boxing promoter. Her boss then begins doing business with Sam LaRocca, a sports manager, during a middleweight championship fight.
LaRocca asks afterward what she thought of the fight. Obviously unimpressed with Jackie's knowledge of boxing, LaRocca offers her the loser's contract for a dollar. She goes to visit the fighter at home, only to find him addicted to drugs.
Enter Luther Shaw, a small-time hood. Kallen watches in horror and fascination as Shaw pummels the former middleweight champ. She offers to manage him professionally. Shaw is at first hesitant, but he eventually signs on with her.
Because of LaRocca's influence, Kallen can't find Shaw a fight anywhere in Ohio, so the two are forced to go on the road until Shaw makes a name for himself. Jackie begins to get swept up in all the attention she gets for being the first female boxing manager. Her attention eventually shifts from Shaw to her own media persona as her fighter's number of wins continues to climb.
Finally realizing that she is not paying enough attention to her only client, Kallen agrees to sell Shaw's contract to LaRocca on the condition that he be given a championship fight. LaRocca agrees, setting Shaw up for a shot at the title before he could be ready. Kallen arrives at the fight and stands in Shaw's corner as he pulls off an upset and wins the championship.
|
romantic, entertaining
|
train
|
wikipedia
|
Agreeable comedy-drama about boxing world with a likable Meg Ryan as an obstinate promoter.
The movie focuses to Jackie Kallen(Meg Ryan), a Jewish girl from Detroit, a secretary plenty of wide dreams.
After a stake with a famous commissioner(Tony Shalhoub)she becomes a boxing promoter of a young boxer(Omar Epps).Then she hires a retired coach(Charles S.
Dutton) for training the inexperienced boxer.Although is a fictional story is based on true events referred by United States's most noted boxing manager.
The casting is frankly excellent, a sympathetic though selfish Meg Ryan, a two-fisted but sensible Omar Epps, today well known as the doctor in ¨House¨, such as Tony Shaloub by ¨Monk¨series; furthermore Jose Cortese and Tim Daly(son of James Daly and brother of Tyne Daly) as a sports reporter.
The film will like to Meg Ryan fans and boxing buffs but displays nice combats..
Kallen is obviously a change-of-pace role for Meg Ryan who generally plays the innocent ingénue lead in romantic comedies.
Yet, despite the fact that she is a trifle more serious here and even gets to work with an accent (the mark of any 'serious' performer looking to buck up her credentials), the movie itself is so lacking in tension and grit and so determinedly upbeat and optimistic that it really doesn't give the actress a whole lot of opportunity to truly stretch those acting muscles.
Omar Epps fares a bit better, turning in a performance of strength and dignity, though the script lets him down by failing to develop his character to any appreciable extent.
The one fight scene is only moderately well executed and comes way too late in the film for anyone interested in the sport to still be hanging around ringside at that point.
Meg Ryan plays a Jewish woman from Detroit who strives to become a successful boxing manager despite facing many obstacles, including an unscrupulous boxing promoter, played by Tony Shalhoub.
Against the Ropes looks at the relationship between Kallen and her first professional boxer, played by Omar Epps.Against the Ropes is your typical Lifetime movie of the week feature that somehow made it to theaters.
Meg Ryan has given us some pretty good movies in the past, but I can't seem to find any redeeming qualities...
The whole thing needs a remake, with a different cast, as I believe that Jackie Kallen's story is valid to boxing history and should be told...I thought that Tony Shalhoub, the actor who is Jackie's rival (also plays Monk on TV)has turned in a sight better performances than this before...
The story arc is clichéd, (underdog succeeds against all odds, hubris sets in, everything lost, then redemption), and Meg Ryan, who I think is a better actress than some, is badly miscast here.
Meg Ryan pulls a great performance as the underdog of this movie.
They should have thrown in the towel during the final act, because this movie was not holding itself up.It's bad enough that the story has nothing to do with the real life of Jackie Kallen, these characters have nothing to do with reality at all.
In this world, good always triumphs over evil and people always get their dreams.Here's how Kallen describes the movie on her own site:"The true story of boxing manager Jackie Kallen - dubbed the First Lady of Boxing - a former Detroit TV personality, publicist, and suburban mom, who broke into the predominantly male boxing community and guided the careers of several fighters, including champions James Toney and Thomas Hearns.
Kallen later went on to become the commissioner of the International Female Boxers Association."This movie is an insult to the sport of boxing.
The saddest thing is the real story of Jackie Kallen would have made a great movie.
Meg Ryan portrays her as a spinster working as a secretary for a boxing promoter in Cleveland.
Charles Dutton is always amazing, and Omar Epps looks like an up and coming action star, but the script isn't up to their talents.
Tony Shaloub also does a lot with a poorly written character.If this movie really had told the real story of Jackie Kallen, it would have been worth seeing.
Meg Ryan and Tony Shaloub are excellent in this fact-inspired movie..
In the DVD extras, the real lady boxing manager is interviewed and it is a nice addition to the story that was inspired by her life, but many things have been changed so it is not really a biographical sketch.
been a contender.My honest advice is do not watch this unless you have a strong drink in one hand and the other ready to hit your remote's fast-forward button.Meg Ryan has a terrible time getting into Jackie Kallen's character and struggles to bring any depth to the part.
Meg Ryan plays Kallen with a streetwise edge in her voice and is appropriately cast, but her outlandish wardrobe certainly belies the salary of a glorified secretary, and Tony Shalhoub embarrasses himself as a 'Godfather'-styled kingpin of the boxing mecca (he dresses and talks like John Gotti, but only seems to have one client).
The boxing scenes are slapdash, with Ryan walking right across the ring at one point to deliver a last-second pep-talk to Omar Epps, the kind of conspiratorial speech that is older than dirt (why doesn't she just say, "Win one for the Gipper"?).
Having intensely disliked the last four or five Meg Ryan movies, I looked upon viewing "Against the Ropes" with some trepidation.
After all, the movie had received terrible reviews, both with the critics and with the members of the IMDb. While boxing is my favorite spectator sport, I don't like it enough for "Pay for View" or HBO.
So I went into the movie knowing nothing of Jackie Kallen or the accuracy of the film.
I could appreciate the work Ryan, Omar Epps, Charles Dutton, Timothy Daly and, especially, Tony Shaloub were putting on the screen.
Despite the Hollywood touches, this movie is less predictable than either "Brockovitch" or "Twelve Monkeys," which both received much better reviews."Against the Ropes" motivated me enough to read Jackie Kallen's biography.She's a hottie like Ryan, no surprise since that was necessary to get any attention at all in a "man's sport".
On a positive note, the last boxing scene was well shot.'Against the Ropes' felt very incomplete and it's a waste for the cast and crew who are otherwise known for their good work.
Against The Ropes is an underrated movie about a female boxing manager.
Meg Ryan seemed like the last choice to play this role, but she is good as a woman who is trying to manage a champion fighter.
While it doesn't break any ground in a sport that is seen here in a more glamorized way, the film presents us a woman determined to succeed at being a boxing promoter.
Dutton, an actor himself, makes the best of the material Cheryl Edwards wrote, based on the real Jackie.Jackie Kallen is a woman who knows a lot about boxing.
While boxing drama has been dealt with in much better movies, we won't dwelt on it.Jackie Kallen, is played by Meg Ryan.
Even though they are few and far between, I like boxing movies, and I thought the fight scenes in this movie were pretty good.
Lots of stereotypes in this film, of course, but then that's what most boxing movies are all about.
it's just a little confusing to be the actual subject of a movie and yet have it not follow your life enough that you can't recognize yourself." It's not a Rocky story, rising from nothing to champ, because it can't decide who is Rocky - is it Jackie or Luther?
In fact it's very very good.Jackie Kallen has lived around the boxing ring all her life.
She is still Meg Ryan - that's her curse, she's that good and loved - but she's also Jackie Kallen, and very convincing at it.Omar Epps should have got his name above the title too as he's also very good.
And watch for Tony Shalhoub in a distinctly unsavoury role.Directed by Charles Dutton who also has a part in the movie, it works well and reaches a satisfactory climax, and you really feel it's been worth the ride - for Jackie, for Meg and the other stars and people on the project, and for you..
I thought it made the story a bit boring and would've liked to have seen it concentrate more on Omar Epps and Meg Ryan's relationship and title conquest.
Meg Ryan provides a great performance in this boxing movie that deals more with the people than the boxing.
The flashy dresses of Meg Ryan (apparently reflective of the real female manager) and the changing personality evolve over time.
Nice Meg Ryan boxing film.
The film also suffers from a split personality syndrome: it wants to tell the "real life" story (based on actual events, but heavily fictionalized) of Jackie Kallen (played in the film by Meg Ryan), the first big-time female boxing promoter, but it also wants the rousing ending of a big bout, so it dovetails Jackie's story with that of a fictional pugilist, Luther Shaw (Omar Epps), and, in the process, loses its focus.
Jackie Kallen (Meg Ryan) grew up in the boxing gym.
Gavin Reese (Tim Daly) is a sports TV personality.This is a fictionalization of the real female pioneer, boxing manager Jackie Kallen.
I do like Meg Ryan and Omar Epps' connection.
Omar Epps and Meg Ryan were great in this movie!
Meg Ryan did the best she could in that type of character, and, although it was a change from her usual movies, it deserves a chance.
I am a big fan of Meg Ryan, but I was skeptical about this movie and it turned out to be entertaining.
Against the Ropes is very loosely based on the life of Jackie Cullen, boxing's most successful female promoter ever.Meg Ryan is Jackie, who's struggling as PA to a boxing venue owner, despite her family connections and knowledge of the sport.
When she gains a dud boxer after a wager, Jackie encounters the talented Luther (Omar Epps) and enlists retired trainer Felix (Charles S Dutton, who also directed) to get Luther match-ready.Although Meg Ryan does well enough with Cheryl Edwards' hackneyed script, the real Jackie Cullen seems to be a far more interesting character.
"Against the Ropes" might very well have been based on the life of Jackie Kallen, but I doubt her life was really this clichéd or peopled with such run-of-the-mill characters.Screenwriter Cheryl Edwards shows us nothing we haven't seen countless times before.
I half-expected Dabney Coleman to reprise his role from "9 to 5" (1980).We get the rags-to-riches bit, the angry street kid turned into disciplined fighter, the blow out scene during sparring, the outburst from the trainer and, lest we forget, the slow-hand clap.Surely, Jackie Kallen's real life was much more interesting than this.
I realize writers and filmmakers take liberties with stories, but to come up with such a stale story wastes good talent - Meg Ryan, Omar Epps, Tony Shalhoub and Charles S.
Then again, having a stronger story would've helped immensely, too.Dutton plays Felix, a trainer brought out of retirement, just as every other trainer in every other boxing film, and Kerry Washington's Renee is utterly superfluous as Luther's love interest.
Even Tony Shalhoub, a treat as TV's obsessive-compulsive detective Monk, plays a hackneyed sleazebag.Instead of giving us insight into what is surely a unique life - a female boxing manager struggling and succeeding in a male-dominated sport and world - Edwards lumps one predictable moment atop another, each one terribly conventional.
Couldn't have been better!Another thing I especially liked was so little use of profanity, and you know in the real boxing world it was there, but this movie was classy enough it didn't need to resort to vulgarity to get the points across.Growing up as a woman in a family owned tire business in the '60's, I could empathize with everything she was going through.I cried at the end with joy, it's the kind of movie you just feel good when you leave.
After seeing Meg Ryan in her last movie I felt this was reason to feel this way.
It's so predictable that one might think that the real Kallen would have been offended by the Lifetime Movie-of-the-Week treatment of her colorful life, but as she was an active executive producer, I guess we can assume she enjoyed Meg Ryan's gravelly-voiced, fiendishly asexual interpretation of herself.
(For the record, the real Kallen was a mother experienced in sports journalism when she became a boxing manager, not the downtrodden spinster secretary as shown in the movie).
The movie is a true story about a woman who is a manager of boxers----is that important for people to know!!!This is not one of Meg Ryan's better roles--she is the only recognizable one in the movie--everyone else appears to be a wannabe!!
stereo typical boxing movie and Meg Ryan uses a bad accent.
I didn't know finding a champion boxer was so easy.Ryan over acts and uses this bad accent like she's talking through her nose.
Charles Dutton, who also directed the film plays a trainer, he is usually very good in supporting roles, in fact he was great in one of my favorite sports films:Rudy, looks embarrassed.
You want to see a movie about a fighter being managed by a woman, see The Main Event with Barbara Streisand and Ryan O'Neal, no, not a very good movie but at least it was more entertaining than this waste of celluloid!!!STAY AWAY!!!
A boxing movie with Meg Ryan..
a boxing movie where Meg Ryan plays a tough and smart promoter.
I usually enjoy Meg Ryan movies, but in this one I felt she was stilted and trying a bit too hard to be her character.
Meg Ryan portrays a boxing manager's secretary.
After a bet, Ryan buys a boxer for one dollar, and later becomes one of the first successful female managers in the history of boxing.
The only worth while thing in this movie is Meg Ryan's performance.
Do not waste 111 minutes of your life watching this movie...Between Meg Ryan's awful accent (still not sure the origin of that one) and the brutal one liners ("Here's some advice from Jackie Kallen - Always run with the big dogs, don't just sit on the porch and bark") this is one of the worst movies i have ever suffered through.
Omar Epps is definitely the highlight of this movie but like his character in the film, he is overshadowed by Meg Ryan's character and bad acting.
I feel bad for the real Jackie Kallen who this movie was supposed to portray.
Not being familiar with the "true" real life story of the main character, I was consistently disappointed to find myself detached from the experience, and realising that I could predict the entire plot from beginning to end, it felt more like a parody of the Rocky movies with a female twist than an engaging tale of a woman trying to succeed in a mans world..
Here she seems totally out of place as the first successful female boxing promoter and the soft lighting and patented Meg head-tilt just don't do justice to the real story.
Meg Ryan stars in a true story about Jackie Kallen, the first female boxing manager who successfully broke the gender barrier of the boxing world.
The real life Jackie Kallen plays a reporter in the movie.
There is no point in a movie about a woman who wants to be a boxing manager.
I love the big glorified ending "Jackie became the best female boxing manager of all time"...
New to DVD this week is Against the Ropes, a boxing film that is yet another vehicle to re-invent and re-energize Meg Ryan's persona.
This stab has Meg playing Jackie Kallen, a true-to-life famous boxing promoter that used her skills and sex appeal to puncture the male dominated sports arena.
But things can't be that smooth for Ms. Kallen or they wouldn't have optioned the story for a movie, and obstacles come in the form of LaRocca's influence on the sport and how he is able to keep Jackie's fighter to insignificant, under-card fights.
But as the movie plods along with some unnecessary and almost laughable accents by Shalhoub and Ryan, we find that we don't care about the characters, can see things scenes before they unfold and we are reminded that boxing can sometimes be more of a who you know rather than what you can do kind of experience.
And it's got Meg Ryan in the lead role.That to me, is part of what took away from the movie.
That's not a dig at her acting, she was fine, but I just always knew I was watching Meg Ryan portray a boxing promoter.
This movie at times seemed less like a biography/boxing movie then a showcase for Meg Ryan's outfits and for her to break out of the romantic comedy role.
To me, this builds for a true-Hollywood story that promises never to change or to bring anything tempting to the screen.I honestly could picture this film as a very gritty portrait of a woman trying to compete in a man's world, but instead what was actually shown to me was this laminated piece of fake history that was promoted as the story of Jackie Kallen's life.
What is even more appalling is the fact that Jackie Kallen looks nothing like Meg Ryan.
This film has reasonably good boxing scenes...certainly better than most.
I recommend watching this movie on mute, because Meg Ryan is nice to look at..
The thing is that there was an intention for making a movie about North America's most famous female boxing promoter (Jackie Kallen).
Meg Ryan is a bona fide movie star and a damn good actress and she would have to be to make a boxing film full of clichés watchable but she does that here.
|
tt0033517
|
A Date with the Falcon
|
Scientist Waldo Samson (Alec Craig) has discovered how to manufacture cheap synthetic diamonds that are nearly identical to actual diamonds, as he demonstrates to diamond industry representatives and New York Police Inspector Mike O'Hara (James Gleason). Samson only wishes to provide them for the American defense effort, but O'Hara insists on providing him with a police guard.
Ruthless criminals, however, abduct Samson to gain his secret. O'Hara recruits a reluctant amateur sleuth Gay Lawrence (George Sanders), known as the "Falcon", to search for him. Meanwhile, Helen Reed (Wendy Barrie), the Falcon's fiancée, becomes increasingly frustrated as the crime solving interferes with her marriage plans. Lawrence meets exotic jewel thief Rita Mara (Mona Maris) and suspects she is involved in Sampson's disappearance. Rits pulls a gun on Lawrence, and forces him to accompany her. Helen finds Rita's purse and inside, the address of Rita's hotel.
Lawrence escapes but learns from his sidekick, Jonathon "Goldie" Locke (Allen Jenkins) that Helen has gone to Rita's hotel, looking for him. Learning that Sampson is also registered there, Lawrence breaks into his room and finds the scientist, dead. The police arrive shortly after and attempt to arrest Lawrence, who asks O'Hara for a 12-hour reprieve to find the real murderer.
When Lawrence asks Helen to meet him at a nightclub, he knows follow Helen and Goldie will be followed. At gunpoint, Rita abducts Lawrence once again and takes him to her accomplice in a warehouse where Max Carlson (Victor Kilian) is holding the real Waldo Sampson captive. After obtaining the secret formula, Max decides to kill Sampson and Lawrence. Rita knocks out Lawrence, and turns on her partner, killing him, but does not locate Sampson's formula.
When the police arrive at the warehouse, they find Lawrence. arresting him for murder with O'Hara taking him to headquarters, where Helen has been arrested as Lawrence's accomplice. Rita and the remainder of the gang is brought in, and when Goldie produces the secret formula which he had taken from Max, Lawrence explains that it was Herman, Waldo's twin who was killed in the hotel and that Rita killed Max for the formula.
Lawrence and his fiancée finally are able to resume their romantic getaway, but once on board their aircraft, a beautiful young woman greets Lawrence, arousing Helen's jealousy.
|
comedy, murder
|
train
|
wikipedia
|
This is the second of the Falcon films starring George Sanders.
Who can ever forget George Sanders standing and smoking a cigarette nonchalantly on a window ledge of a New York hotel, while the crowd below gasps and take bets on whether he will jump.
When a policeman forces him inside the window at gunpoint, the street crowd sighs in disappointment, and one man says: 'I figured him for a phoney.' When Sanders goes into a florist shop to buy roses for his (new) fiancée, the woman running it is an old girl friend.
It's a perfect crime.' Hans Conreid, who stole scenes in the previous Falcon film as a police artist, really runs away with his scenes in this one as a hotel clerk.
Then we would not all be so bored by their silly special effects and exploding cars which they substitute for acting and witty dialogue, and we could enjoy a film again like people could in 1941..
Sanders plays Gay Lawrence, The Falcon, who has at last been lured into marriage by his fiancé, Helen (played by Wendy Barrie).
Just before he goes off to get married though, he gets mixed up in a case where a reclusive scientist who has created a formula to make fake diamonds that are indistinguishable from real ones get kidnapped by crooks and forced to spill the beans.
As usual, the relationship between the falcon and the Law is pretty borderline at best, the keep on trying to arrest him on suspicion of being involved in the plot, murder and anything else they can pin on him.
This is a great movie, and Sanders plays it with an insouciance that is quite invigorating: you cannot decide whether he is in his heart laughing at the whole film in its simplicity.
Wendy Barrie is almost manic in her assumed jealousy, James Gleason as the police Inspector is perfect and always brings his performance in "Arsenic and old lace" to my mind whenever I see him.
But it's George Sanders as the Falcon and Allen Jenkins as his sidekick Goldie that have the majority of the smart ass one-liners, Sanders' body language is sometimes Music Hall but always believable.Scientist Alec Craig apparently murdered by a gang after his formula to produce perfect synthetic diamonds, the Falcon unwillingly pulled into the caper whilst urgently trying to get off to get married to the frothing Barrie.
And Goldie stays with him wanting an easy life but knowing he'll never be getting one.Enjoyable film, 61 minutes short but a lot seems to happen.
George Sanders is the Falcon in "A Date with the Falcon," part of the enjoyable Falcon series, which was eventually taken over by Sanders' brother Tom Conway so that Sanders could appear in another series, "The Saint." In this one, a man disappears with his invention, simulated diamonds that pass for the real thing, which can be used in place of industrial diamonds in the manufacture of war weapons.
The Falcon becomes involved in the case, even though he's supposed to be leaving town with his abrasive fiancée (Wendy Barrie) in order to meet her parents.A little disjointed, and though others have complained about the Wendy Barrie character, I seem to remember the Falcon had an even more annoying fiancée in another film, "The Falcon in Danger," only this time, it was Gay's brother Tom who was now The Falcon.
Why these women were written with such a heavy hand is beyond me, but they do distract.Still, this film is entertaining - James Gleason is excellent as the harried head of the investigation, and Allen Jenkins is funny as Gay's assistant.
Despite having woman troubles with his fiancé, Helen, the Falcon finds himself in the middle of the investigation and pursued by the gang, who are understandably keen to get such a keen mind off the case before he makes progress.With a pretty standard (and unlikely) set up, it is not long before the Falcon is drafted onto the case.
Indeed it would have made a nice play with Helen being the sidekick that the Falcon has in other films but here this aspect and the actual plot mix about as well as oil and water and, sadly, the investigation into Samson's disappearance occasionally plays second fiddle to Lawrence having woman troubles.However most viewers of this series will have gotten used to the fact that the crime plots are never the strongest here but often this is covered by some good humour.
The Falcon himself has a certain swagger to him but too much of the film is him looking flustered and frustrated by trying to balance his couple of women.
The script does throw out some good material for minor roles and has some funny set ups (playing drunk to escape the baddies is a good moment) but generally it isn't funny enough to cover the fact that the plot can't even manage to stretch to an hour.
Gleason's inspector is good but Barrie is annoying and Maris is nowhere near the femme fatale she was clearly trying to be.It is still an OK little film but not one of the better in the series even if fans still enjoy it for what it is.
The film gets better as it goes but too much in the first half is poorly judged and the actual case/plot mostly plays as second billing behind some flat comedy involving a couple of 'dames' and several misunderstandings..
It would be hard to praise too highly these "Falcon" (and "Saint") films of the 30s and 40s, for in them was contained all the enjoyable trademarks of that fine era of movie making.These films all had good writing, good directing, good acting, good photography, crisp editing and fast action.
They also had plenty of charm and plenty of style.A DATE WITH THE FALCON is one of the best of the bunch with a neat plot and some delightful set pieces.
George Sanders and Wendy Barrie are fun to watch, and to listen to, but the supporting performances of folks like the great Allen Jenkins, James Gleason and Ed Gargan are just as entertaining.
Just go watch these films and have yourself a very good time doing so.
Date with the Falcon, A (1941) ** 1/2 (out of 4) Second film in the series has the Falcon (George Sanders) leaving on his honeymoon but at the last minute he finds himself caught up with diamond thieves.
Sanders once again is good in the role but he seems a little bored compared to the first film.
Allen Jenkins isn't given as much to do, which is a shame because he comes off very good in his few scenes here..
George Sanders was a great Comic in this Film !.
George Sanders,( Gay Lawrence/Falcon),"Solomon and Sheba",'59, played a role quite similar to the "Thin Man" series with Dick Powell.
The Falcon was about to get married to Helen Reed,(Wendy Barrie),"Peter Pan",'50 Broadway Theatre, NYC, and suddenly was caught up in a great mystery concerning diamond dealings and plenty of gangsters.
James Gleason,(Inspector Mike O'Hara), tried to keep up with the Falcon and was even forced into arresting him quite often through out the picture.
This was really a slap stick Comedy, Drama "B" picture and George Sanders did a great job playing the Major Comic.
If you are a fan of George Sanders, you will never believe the way he acted in this picture, entirely different than "The Lodger" or "Hangover Square"..
The Falcon film series is generally a lot of fun to watch, with many of the films very enjoyable and all worth watching at least once.
Wendy Barrie was very likable and entertaining in 'The Gay Falcon' (the first and very enjoyable outing in the series), but here she is in a more brashly written role and the performance feels overdone and annoying.When it comes to the production values, while not among the most visually stunning films ever made (then again 'A Date with the Falcon' is not that kind of film), 'A Date with the Falcon' is very meticulously filmed and lit with sets that are elegant and atmospheric.
The music is lively and haunting, while the direction solid, the script is witty and smart (even more so, and more electrifying than that of 'The Gay Falcon') and the story a vast majority of the time very engrossing and never incoherent or a test for endurance.
The characters are also a lot of fun with the only exception being Barrie's.As said with 'The Gay Falcon', George Sanders is a truly great lead, he was never less than watchable and magnificent when at his best, and he looks so relaxed and at ease here and plays with his usual suave and imposing manner while also with an elegance, cutting aplomb and charm.
James Gleason is also excellent.Hans Conried steals scenes gleefully, and while he doesn't have as much to do Allen Jenkins is still enormous fun and also a scene stealer.
Mona Maris is an alluring femme fatale.In conclusion, one of the best outings in a series of films that are most enjoyable.
Second in RKO's fun series of B mystery films about a suave detective named Gay Lawrence (aka The Falcon).
In the first few movies in the series, the Falcon is played by the great George Sanders.
Here the Falcon investigates the disappearance of an inventor who has discovered how to create synthetic diamonds that are identical to the real thing.
Wendy Barrie returns as the Falcon's love interest.
The rest of the solid supporting cast includes James Gleason, Mona Maris, and Edward Gargan.
In the previous Falcon movie, he played a police sketch artist.
The Falcon series was admittedly formulaic, and this whole business about a kidnapped inventor is definitely nothing new, but it was undeniably entertaining.
Good lively installment in the Falcon series.
Gay Lawrence (Falcon) gets mixed up with gangsters trying to take over a synthetic diamond invention.
There's also a number of good touches from director Reis— the humorously coordinated crowd scenes, the snappy dialog delivery, Goldie (Jenkins) tap-dancing his way up the sobriety line.
George Sanders is back as Gay Lawrence, the suave and mysterious figure known as the Falcon.
The emphasis is on comedy in this second series entry, with Gay alternately seeking a kidnapped inventor and scrambling to keep various female acquaintances apart.Wendy Barrie is fast-talking and quick-tempered as Helen, the Falcon's fiancée, at least for the moment.
Allen Jenkins is "Goldy" Locke, the Falcon's right hand man and provider of smart comments.Between Barrie and Jenkins, the wisecracks fly pretty fast throughout the picture; Sanders does his best to keep up the suavity, but even he is reduced to uncharacteristic comic exasperation ("Just as I was getting everything to run nice and smooth," he complains, upset with his romantic complications).The plot centers around a synthetic diamond formula.
The story is hardly unique but it's solid enough, and is really only an excuse for these characters to have something to work on, anyway.Among the cast of pros in familiar roles, James Gleason is steady as always as a police inspector and Edward Gargan is funny as a dumb assistant cop.Jenkins and Sanders click especially well and trade lines flawlessly.
Jenkins: "Who was that dame?" Sanders: "A very fascinating woman." Jenkins: "Every time you say that, we get into trouble." Good fun for us fans of the detective-comedy genre..
Rather lackluster entry in the George Sanders "Falcon" series.
Rather than charming his fiancé, the Falcon appears to be intimidated by her - which appears to be out of character.
Wendy Barrie as the fiancée spends the entire movie trying to get the Falcon to leave town on a trip -- was this an overnight trip before they were to be married?
James Gleason is excellent, as always, as the police detective.
Allen Jenkins is good as sidekick Goldie but appears insufficiently on screen to carry the comic side of the story.
The two females (Mona Maris is characterized by the Falcon as a skinny old hag) appear on screen too much and simply do not work.
A Date With The Falcon finds George Sanders as the smooth gentleman crook getting himself involved with a kidnapping plot.
In any event the crooks kidnap the guy who invented the synthetic diamond and Sanders has to convince the authorities he's not in on the plot.
He also has to convince Wendy Barrie that he's not two timing her with femme fatale Mona Maris.
I leave it to you which is tougher.This one really developed into more comedy than a serious B film drama with the hero himself taking over from Allen Jenkins as sidekick Goldie Locke and James Gleason as the police inspector.
Even Barrie with her jealous antics was mugging for the camera.Not the best of the Falcon series..
This comedy-mystery stars suave and sexy George Sanders as the Falcon who may very well be the prototype for the OO7 character that Ian Fleming was to introduce many years later in the James Bond series.
Directed with a heavy-hand by Irving Reis, this fast paced B-picture is an embarrassment: Alan Jenkins overacts, Wendy Barrie tries to be funny, and only such stalwarts as the great James Gleason as Inspector O'Hara and Hans Conried as the Desk Clerk seem to have any idea how to pull off this weird combination of slapstick, wisecracks and a plot so full of holes you could drive a truck through it.
I love these old Falcon movies--especially for the cad actions of George Sanders who made a career out of playing such characters.
Watching them in this way makes the continuity of characters and actions more noticeable.My main complaint in this one is the total change in character the writers and/or director imposed on Wendy Barrie.
In "The Gay Falcon"--the first Falcon movie--Wendy's Helen was sweet, helpful, and rather innocent.
Wendy was in lots of these Falcon and Saint movies and usually played a different character, and there was no quibble in that as we viewers--and probably the 30s and 40s audience did too--realize that these movies were full of character actors--not big stars--and consequently these actors could be plugged into a part as needed.
Just look at Hans Conreid in the 2 Falcon movies--completely different characters but a scene stealer in each.Although many of complaints made by other posters are valid, this movie is a must see for those of us who love B&W B-movies from the past.
In the 1930s and 40s there were a ton of B-detective series films, such as Charlie Chan, Sherlock Holmes, Boston Blackie, The Lone Wolf as well as The Falcon.
All these movies shared some common traits--the movies were short (only about an hour in length), were very quickly made, had rather formulaic plots, featured stupid cops and were a lot of fun to watch but also tend to blend together in your mind because the stories are all so similar.
Of these series, The Falcon may be my favorite due to the excellent dialog and better than average supporting characters.
It's really a shame George Sanders only made a few, though his brother (Tom Conway) continued the series with about nine of his own.
It's also a shame that as the series continued, the films became less and less interesting--perhaps due to the frequency of their being produced (six in a two year span alone).As I mentioned above, The Falcon series had good supporting characters.
In this case, the Inspector was played very capably by veteran character actor James Gleason.
In addition to these actors, George Sanders' assistant is the old reliable character actor, Allen Jenkins--who is always great for a laugh.The plot is about a synthetic diamond formula that is so good that even experts can't tell these fakes from high quality originals.
Not surprisingly, the inventor and his formula are kidnapped (after Gleason does about the only bone-headed thing in the movie--leaving the scientist alone in his lab to wait for a bodyguard to arrive).
Now that I think about it, the plot itself really isn't all that important--it's the characters and Sanders' witty comments he made throughout this breezy little gem..
"The Gay Falcon" (sic) was number 1.COMMENT: One or two bright moments — Hans Conried playing an inquisitive desk clerk without his usual accent; Allen Jenkins listening to a soap opera on his car radio — cannot lighten an elephantine script and heavy-handed acting, particularly from Gleason, Jenkins and Barrie.
The second film in the Falcon series, features George Sanders in the title role.
In this film, the Falcon (George Sanders) is about to travel on a trip to be married to his fiancé Helen (Wendy Barrie), a woman who has finally "caught" him.
James Gleason plays the police inspector, Edward Gargan is his detective, and Allen Jenkins is Goldy (perfect for this type of role, and Sanders' sidekick in all but his last in the series).
Goldy's job throughout the film is to keep this fiancé from running away, as well as to help Sanders out of a "jams".The story is about a scientist who has discovered a way to create diamonds so well that jewelers, who loaned him a $1,000 one to copy, can't tell the difference.
The police inspector naturally wants to protect the scientist, but before the detective "bodyguard" arrives, criminals kidnap the scientist and his formula.To keep the Falcon from helping the police, the criminals decide to neutralize him.
An old female acquaintance (Mona Maris, also providing a jealousy plot-line for the fiancé of the Falcon, associated with the criminals, attempts to persuade him to join them.
The whole mystery is wrapped up rather quickly and conveniently in the end in at least two ways: how all the criminals are rounded up, and the recovery of the missing formula.It ends with the Falcon and his fiancé (and curiously, Goldy) finally leaving on their trip to be married when, of course, another of the Falcon's many female acquaintances shows up.
|
tt4814290
|
Te3n
|
John Biswas (Amitabh Bachchan) is a 70-year-old grandfather who visits the police station regularly. He is desperate to find the kidnapper and murderer of his granddaughter Angela, who died eight years ago. Police inspector Sarita Sarkar (Vidya Balan) has no clues about the case. But he continues to search for the person who caused it, despite being discouraged by people all around him, and collects evidence one by one at a slow pace.
John's wife Nancy (Padmavathi Rao) is sick and uses a wheelchair. Despite personal problems, John is determined not to give up. John also regularly meets Father Martin Das (Nawazuddin Siddiqui), who was a police inspector and was handling the Angela kidnapping case. Father Martin Das tries his best in solving the case, but the guilt of being unsuccessful compelled him to leave his job and become a priest.
One day, eight years after that tragic incident, there is another kidnapping, that of a boy named Rony. Everything about it echoes the kidnapping of Angela. Further investigation reveals that the modus operandi for kidnapping Rony is the same as that of Angela. Inspector Sarita requests Father Martin for assistance in cracking the case. Martin supports partially by providing clues and Sarita, with John, start investigating the case.
In the meantime, John doggedly pieces together the identity of Angela's kidnapper from little bits of information that he collects through his own investigations. After confirming the identity of the Angela's kidnapper, he creates a plan to kidnap Rony. John wanted to seek revenge and justice since Rony's grandfather Manohar (Sabyasachi Chakraborty) was the one who had kidnapped Angela. Since the modus operandi was the same, Angela's case file is re-opened. Manohar is then nabbed when, on the instructions of the unknown kidnapper of Rony (John), he tries to flee with the ransom at the railway station. He is arrested by Sarita who interrogates him in the lock-up but he refuses to confess that he had kidnapped his own grandson Rony.
Father Martin finds out that John kidnapped Rony and confronts him. John requests Martin to arrange a meeting with Manohar. During the meeting, John makes Manohar confess about the crime committed by him in front of the police. Manohar confesses and is found guilty of his past activities. Manohar confesses that he kidnapped Angela since he needed money for his daughter's open heart surgery.
It is revealed that Angela was not murdered — while being held captive, she escaped and accidentally fell from a height on to a moving car and died. The car was driven by Father Martin Das, who was injured in the accident.
|
suspenseful
|
train
|
wikipedia
|
4 reasons we are watching this - Amitabh Bachchan, Nawazuddin Siddiqui, Vidya Balan and finally this is the Hindi remake of only one of the best Korean non-derivative thrillers in recent years called Montage that not many people even know about.
This is a story about a grandfather (Amitabh Bachchan), a priest (Nawazuddin Siddiqui) and a police officer (Vidya Balan) coming together to solve a case of a kidnapped child.
The director, Ribhu Dasgupta, should have trusted the acuity of the audience to join the dots, but it was just content to cement the fact that Bachchan's John and Siddiqui's Martin are empty shells of a man because of the devastating incident 8 years ago.
I don't mean to say I was bored looking at him because I absolutely wasn't; there are not many actors out there I would pay to watch them do nothing and with little soliloquy like Bachchan and Siddiqui.
"Te3n" is a thriller concerning the investigation of an old grandfather to find the kidnapper of her granddaughter who was kidnapped and killed eight years ago, after the police is unable to solve the case.
But the genuine thing to watch in the film is the controlled and stand out performance by Amitabh Bachchan which is phenomenal.
Not having too any expectations from the police he decides to investigate the leads himself.In the meanwhile, a second kidnapping takes place which has an uncanny resemblance to the kidnapping of John's granddaughter eight years ago.
The case is handed over to Sarita (Vidya Balan) who seeks help from Martin to nab the kidnapper, due to his prior experience with the Angela case.Investigations in these two cases set eight years apart, one by Amitabh and the other by Vaidya and Nawaz happening in parallel with some flashback scenes form the crux of this gripping psychological thriller.Cast: The main cast namely Amitabh, Nawaz, Vidya and Sabyasachi play their roles to perfection keeping the audiences glued to their seats.
Direction Music and Editing: Ribhu Ghosh's direction is superb keeping the plot on track, that along with slick editing keep the audiences hooked till the very end of the film.
Well, having said that; the ending is not bad at all and you come out of the cinema hall feeling satisfied that your money has been well spent.My Verdict: Great performances, direction, nice gripping storyline with an ending to watch out for.
Well, Te3N is a consummate example of excellent acting by Amitabh Bachchan, Vidya Balan & Nawazuddin Siddiqui.
The film for not once lets you yawn(except if you're sleepy of course :P) I will suggest you to go through the trailer which intricately carves out the story line in gaps, obviously since it's a suspense thriller.Now since you've seen this.
let's talk about the Story Plot:John Biswas, a grand-father (Amitabh Bachchan) is in deep shock even after 8 years of kidnapping of his grand-daughter, named Angela Roy. His own wife is very sick and wheel-chair bound.
Rest all you will get to know when you go for the movie.Let's hop to Acting now:Though Amitabh Bachchan is a clear ruler out of all, but the co-cast do not fail promising delivery.
Vidya Balan is simply magnificent though her screen time is a little less.Direction: Well, Ribhu Dasgupta has definitely had a great entry to Bollywood with a great ensemble of cast.
The movie is like a slow poison, slowly it takes your hold,grows on you and till climax it has completely gripped you.Story is unique, and ...its suspense thriller so i cant tell u much.Coming to performances,Amitabh has ensured a long list of awards to his Kitty(Might be National award too).
Remember that reasonably engrossing Hollywood thriller Se7en, in which two sleuths go looking for a serial killer with a thing for the seven deadly sins?E3N gimmicks its name similarly and gives us three characters in search of a criminal, but it doesn't borrow any of the smarts from the Hollywood film.
This official remake of a Korean mystery with a kidnapping and a death at its heart is a sluggish drag for the most part, brightened only occasionally by a scene or a line.Bachchan plays John, an elderly man still stunned by grief, eight years after the death of a little girl.
A fresh kidnapping turns on the spotlight on the old case again, and as new clues come to light, John's search acquires an intensity and purpose, and we sense, as he does, the coming of an end which will lead to some answers and a sort of peace.This kind of dark story with vicious undertones ( whenever a little girl goes missing, a shiver goes down your spine) could have become a terrific morality play.
Kolkata is a perfect location for a film like this with its atmospheric patches and the iconic Howrah-Hoogly vistas, reminding you of producer Sujoy Ghosh's far more engaging 'Kahaani', but how a man clad in a dark hoody ( in sultry Kolkata) manages to move around those streets so freely remains an unsolvable mystery.Its treatment does both place and characters in, turning everything lackadaisical.
The film has some of the industries' best talents Big B, Vidya Balan and Nawzudin Siddiqi to play the roles of a grieving grandfather, a police officer and a police officer turned church Pries.
Lots of logic holes like an old man single handed heads to solve a huge case and physically extends himself to some extensive search which involves breaking into offices getting data and manipulating Quite unbelievable.Performances wise I wouldn't vogue for anyone of the big talents because of the director has not done much justice to the characterization which leads their skills in vain.Over all a slow and stretchy thriller which works in parts..
We have already had excellent films like 'kahani', 'talash' and now Ribhu Dasgupta gives us 'te3n'.In 1997 I joined a queue under scorching midday sun to buy a ticket for 'Mrityudata' (one of Amitabh Bachchan's totally forgettable middle-age fares) and felt it was time to write him off.
Amitabh was disappointing while the other leads were quite good especially characters Martin and Nancy.
First things first..didn't watch "Montage" korean film..on which this movie is based..and i don't want too either...let me explain why in one word..."Amitabh Bachhan"Acting was brilliant...Amit ji, Nawazuddin and Vidya Balan were awesome to watch...
(vidya had less screen time unfortunately)Amitabh played a character who is devastated and sad...watching him..made me feel for the character..
made me feel sad too...it was acting at its finestNawazuddin plays a character who is disillusioned and keen to turn his life over...and is trying hard to but is lost anyway unless he finds redemptionKolkata itself becomes a character thanks to good cinematographyFor a thriller, screenplay lags a bit...but it never feels long...with emphasis on characters, mind boggling twists...clever reveals and an ending that is near perfect make this simple kidnap story...achieve a connect with the characters that is rare in this genre...Background music and songs deal about pain..and complement well with movieMust watch for Amitabh fans...A contemporary classic from director Ribhu Dasgupta.
Crisp detailing of the plot, marvelous Editing & amazing Sir Amitabh, Nawazuddin and Vidya defines Te3nDirector: Ribhu Dasgupta Actors: Amitabh Bachchan, Nawazuddin Siddiqui, Vidya BalanStoryline Rating: 4 Content: 4 Commercialization: 3 Entertainment: 4Acting Rating: 4 Amitabh Bachchan: 4 Nawazuddin Siddiqui: 3 Vidya Balan: 3Direction Rating: 3Music Rating: 2Cinematography: 4Editing: 5.
And for our bad luck , there also were some bad acting , some unusual reactions(like a father very much shocked after finding who was his daughter's kidnapper and describing in totally calm manner why exactly there was a good reason that particular person could easily have been the kidnapper and totally forget the expression of sadness he must have shown because their daughter has not been found by the police yet) , bad synchronisation among the scenes , providing forceful confusion to the audience by juggling the timeline and yes the SLOW PACE.
For ones i can also bear a slow pace if it makes us forward to the character development and a grand finale , but the movie didn't do anything of that.
The investigative scenes were not interesting enough , and also many things felt liked just being happened by luck (like Amitab Bachchan found out of nowhere a girl wearing the cap which belongs to his grand daughter who was kidnapped and murdered 8 long years before).
I saw this movie very late when they launched the DVD for this flick.I have not seen trailer before so i had no idea about the plot.Story is very slow and well constructed and thrilling is antic(i do not know how to describe).A man (john) who lost his grandchild 8 years ago,still searches for the guilty.While watching this movie,i did not know that i was dealing with a memorable thriller.This movie reminds me of Hugh Jackman's Prisoner.A must watch movie for those who really cares about good movies and supports this kind of thrilling.Before watching this movie i would like to tell you that you must watch it in vacant time when you are not distracted by anything else because plot is very slow and you may loose you interest in some scenes..
TE3N is based on the Korean thriller Montage, a film about a grandfather's helplessness, his quest for justice and closure that catches you by the neck and keeps you on the edge of your seats in anticipation of a new twist until the end!This 138 minute film by Ribhu Dasgupta with its captivating star cast is a must watch.
The movie is remake of the Korean movie Montage and I have to say the movie is on par with the original.The movie catches you from the get go, a grandfather wanting to know who kidnapped his grand-daughter, the story progresses in a very intelligent manner and gradually unravels itself.If nothing else watch this movie for the legend that is Amitabh Bachchan who continues to excel with every role that he takes on..
The only reason to watch this movie is probably to get that annual Amitabh Bachchan fan dose..
In a time when this industry is churning out so much crap and feeding it to the audience just for the fact people have become addicted to star names this film still acts a refreshment.When you see so many talented names in a movie and almost feel "Kahaani" like aura, you're bound to get lured.
The plot is certainly very interesting, most dialogues also feel natural but the huge number of loopholes in a suspense film like this is bound to ruin the realism factor that keeps you hooked.
In other words, it is not very difficult to infer that there are two different stories being played simultaneously which are from different times(in movie context).In my opinion, if a filmmaker chooses to hide this information in a way that makes his audience believe that all scenes are in chronological order, while in fact they aren't, and uses this to create suspense and thrill - then this entertainment is totally artificial, and this can and should be, only perceived as an idiotic attempt to deceive and fool the audience!
Performance wise all three leading stalwarts, Amitabh Bachchan, Vidya Balan and Nawazuddin siqquie, are just OK only due to lack of scope..
Story revolves between three main character John Biswas (Amitabh), Martin (Nawaz) and Sarita (Vidya).
Great dialogues.No consDirection 5/5 Dialogues 4/5 Story 5/5 Music 4/5 The plot starts with introducing the audience to the eight-year-old kidnapping case through a conversation between John and investigating officer Sarita (Vidya is dynamic).
Ribhu Dasgupta's middling thriller is just that, plus a little slow.John (Bachchan) is an aged, grief-stricken man whose granddaughter was kidnapped and subsequently killed by an unknown man 8 years ago.
But more than he can help John find his granddaughter's killer, he assists Sarita (Balan), a detective who is investigating a kidnap case eerily similar to the one he handled 8 years ago...The premise is fine and is set in the enigmatic state of Kolkata.
This makes the plot look like it is only a pillion rider without a helmet.What a man can and will do to finally attain peace during testing times is what the primary theme of the film is.
Supporting actors are good, especially Sabyasachi Chakrabarty.A good score and average camera work further makes the film watchable for people who love thriller mysteries.
But the predictability of the plot again forces me to remind potential viewers that, overall, the film is mediocre, but better than Wazir (2016).BOTTOM LINE: Ribhu Dasgupta's Te3n is an average attempt at a crime thriller where the protagonist mocks the police and gets away with crime just because his cause is a good one.
And believe me, you will love to watch these kind of movies with friends, family, everyone and every time you will feel great!.
Although I had JUST seen the original (The Classified File- released in June 2015 in Korea) I still was clinging to my seat just based off the facts that Amitabh Bachchan, Nawazuddin Siddiqui, Vidya Balan starred in it alone.
A remake of 2013 South Korean movie Montage, 'Te3n' is a Well-Made Thriller, but its not engrossing enough.
The Performances are good, though!'Te3n' Synopsis: A grieving grandfather (Amitabh Bachchan) after losing his granddaughter, in a kidnapping case 8 years back & unable to find the culprit, teams up with police officer (Vidya Balan) and a cop turned priest (Nawazuddin Siddiqui) when a similar kidnapping occurs.
Nawazuddin Siddiqui & Vidya Balan's characters aren't strongly written, but the actors make them worth watching.
This film title is made especially for those people who loves movie different from the league.In-between eight years two kidnapping happen in same style and the director presented that very adventurously.
Film starts with john (Amitabh) who always goes to the police station to know about her granddaughter Angela's kidnappers.
I expected the story to be good, based on a Korean film.
I expected good performances and acting from the 3 main lead characters.
Amitabh as the old guy, Nawazuddin as the retired cop turned priest and Vidya as the inspector working on it currently.Spoiler Alert The story is about a grandfather who's grandchild was kidnapped and got killed in the process of saving her.
Some scenes were unnecessary and some things portrayed seemed fake, such as the excessive talking by Vidya and Nawazuddin (more exchange of dialogues) and less actual working on the case etc.But overall the film was a visual treat and with a good storyline portrayed beautiful.
The riveting story and screenplay makes this suspense thriller worth watching..
Spoiler Alert!!Plot: The story revolves around an old man John (Amitabh B) who is looking for the person who kidnapped his grand daughter eight years ago.
2. Screenplay: There are many time lines in the film and the way they are presented is very good and demands intelligence from the audience.
The frail yet unmistakably imposing presence of Amitabh Bachchan as an old man, surveying a busy police precinct is exactly the type of scene that leaves the audience wondering – what could have happened?
Enter Vidya Balan as the chief inspector, with a calm yet no- nonsense demeanor, who tries to comfort Bachchan for something tragic in his past that still haunts him; and the story is set up really well within the first 15 minutes itself.Bachchan plays John Biswas, a man who refuses to give up hope on finding the murderer of his only grandchild, even when all others around him – law-enforcers and family alike – have decided to move on.
Amitabh Bachchan, Nawazuddin Siddiqui and Vidya Balan will keep you alive with their powerful performances !!!.
"Te3N" tells the story of a child who goes missing one day which involves an old man (Amitabh Bachchan), a priest (Nawazuddin Siddiqui) and a police office (Vidya Balan).
The first few scenes shows Amitabh Bachchan trying his best to find the solution to his grand child's kidnapping and murder.
Performance wise, Amitabh Bachchan sparkles as an aging old man seeking justice to his grand child's murder.
"TE3N" is definitely a good mystery-thriller but do not expect a surprising twist like"Kahaani"..
One of the very best thrillers of all-time, without a doubt in my opinion.All of what I write would of course apply to the original South Korean film as well that this one is based upon.
I don't mind it, as by remaking a film from another language you're ultimately giving the audience that understands your language a chance to joy a film that they might otherwise not be able to due to the linguistic barrier.The performances by Vidya Balan, Nawazuddin Siddiqui were awesome and highly commendable, but a special mention should go to Amitabh Bachchan, the ever-green, the ever-reliable and the man capable of pulling off any kind of role, literally!
The movie building up the atmosphere and supported by a great cast, you would expect an amazing crescendo to end the story.
It has powerful performances by a stellar cast, with great actors like Amitabh Bachchan and Nawazuddin Siddiqui working wonders for the flick.
Standing close by is Nawazuddin's naturalistic blunt yet powerful act that goes on to show that we are finally boldly heading towards progress.A LITTLE SPOILER AHEAD Unfortunately this movie comes at a time when Amitabh had chosen a similar project just months ago, that entailed his granddaughter being killed, in Wazir.
I'm not saying it's the best suspense thriller movie I've ever seen, no, but it's definitely worth the watch.
The movie is of the thriller genre about the kidnapping of Amitabh Ji's character John's grand-daughter and a similar incident which brings John's case back from the past.
The movie is a remake of the Korean film "Montage" and it is acknowledged in the beginning.
The theme of the movie looked dark but the characters were portrayed as very Bollywood-y probably because the director didn't want to risk it.Talking about performances.
The movie is bearable only because of Amitabh Ji. After "Piku" this is another radically different character that he has played in the span of 2 years.
|
tt2334715
|
La segunda muerte
|
A young boy, about 9 or 10 years old, and his adult man (if that man is the boy's father or not, is unclear) - but while driving on a low-traffic road does at least the boy see the strange face of a woman, just as a flash lightens up the environment. The day after, is a totally burned body found on the same road. A young good looking female police officer has to deal with the mystery. The forensic doctor says "it must have been the lightening". But somehow does the boy feel that's all wrong. And the young police officers is suspicious as well. And after have talked with the boy, she decides that the boy and his possible dad must stay in the village, for a few days. Then a second badly burnt body is found, and this time the forensic doctor cannot blame it on the weather. But still he gives the diagnosis "dead by a lightening hit" - again. He simply has no other explanation.
However, the police officer realises that this simply cannot be a question of two flashes from the sky. And the young boy appear to see certain things, which he dare not share with the adult man with whom he's travelling. After a third equal death do some of the villagers conclusions of their own, but they do not wish to share their theories with the police. Instead comes the village's priest in focus for them. This time does the forensic analyst suggest "spontaneous self-burning", but the truth is that he hasn't got a clue about what has happened. The young boy can see some things from the past, and it becomes obvious that something evil hit the village 30 or 40 years ago. A dead woman has as some kind of ghost returned to the little village, in order to avenge some kind of old injustice.
|
murder
|
train
|
wikipedia
|
The most perfect supernatural – detective story I have seen, and believe me I have seen it all!. If you are smart and patient you will be rewarded with one great movie and a very interest ending!As I write this, I just finished watching "La Segunda Muerte" "The Second Death", for the second time, back to back. Because some movies deserve or require to be seen twice, to flavor the story, in search for answers, to make a better sense of it, to fit the missing part of the puzzle, well, all of the above. The first time my review wasn't so favorable, I gave it 6 stars, but now I will give it a flawless 10!"The Second Death" could be called the "Lady - Death Grim Reaper" and still be accurate on its own premise. The first analogy I can come up in top of my head is that,little by little the events on the story piled up like all the zombies on "World War Z" one in top of another to make sense of climbing of a wall,(even though the two movies have nothing in common). And After three hours and ten minutes, (two viewings),I ended up thinking that every moviegoer...that everyone should watch this well elaborated film.This unfortunately (so far) ignored Argentinian movie it's a great detective, murder, ghost, twisted story, that deals at the same time with clairvoyance and religion, without spoilers, I'll say that, it provides some answers to questions that you and I may have never asked before,and that is interesting.Even thought the story at one point takes purposely or not a cue from "The Exorcist", and the 2006 Mexican horror film KM 31,(not in the gruesome way), still manages to be one of those movies that you want to add to your collection, and get together a bunch of friends and argue its merits, just to find out who would dare to hate this movie... on my part I love it! On the Second viewing , I focus on capturing every word, every attitude and look in the actor's faces, and all of them deserves recognition, as the director and everyone who made this screenplay so compelling,and I would love to write the perfect subtitles, for those who do not speak Spanish because of the "hidden" humor and wit and sarcasm lost in translation. Let's talk about the actors , first Tomás Lizzio as "Mago" (Magician) is a young actor (I never heard of him before) with a great potential, he plays a 11 year old, that behaves more like an adult, hunted by other's experiences and his own questions about his Mother. "Mago" and "Alba" (Agustina Lecouna) as the Detective with a somber past and her own demons, carry the movie on their shoulders, but every one of the actors do such a spellbinding experience for the viewer that in my opinion, this movie deserves an international audience.Not just dares to become suspenseful and intriguing by the minute,but without being ghost- scary,it definitely will scare the thoughts on the viewer for so much evil and guilt, pretty much in every one of the characters.This film becomes completely unpredictably thanks to a so well written argument, that manages to mislead you,getting your attention to the side stories that will converge to make if not an adrenaline rush - finale, certainly one of the most satisfactory endings, but the "ending" did not mean the final surprise,just after the first credits appear you will have the final shocking scene,so ready or not do not get up from your seat till everything is really over, you do not want to miss it, and after that, you'll be wondering about the possible or impossible relationship of the two main charactersBelieve me if you are into flawless suspenseful movies you won't mind that the movie plays mainly in sepia, using color just for the flashbacks.Hopefully, you are like me, looking for those hidden gems on movie-making, if so, here is one! And I really wouldn't mind to see a PROPER remake for this Argentinian, supernatural story, one that is not messed up as the one made about the Mexican "Somos lo que hay" (2010) "We are what we are" So please if you were involve with the USA not-a-remake, please stay away from this one, because "La Segunda Muerte" deserves a remake worthy of the original version! As always no spoilers here,and I hope that you enjoy "The Second Death"
|
tt0099819
|
I Love You to Death
|
Joey Boca (Kevin Kline) is the owner of a pizza parlor located in Tacoma, Washington, and has been married to Rosalie (Tracey Ullman) for years. Their marriage seems a typical one until Rosalie discovers in the public library that Joey is a womanizer and has been cheating on her for a long time.
Rosalie does not want to allow Joey the pleasure of having every woman he wants, so she refuses divorce. Taking extreme measures, she enlists the help of her mother (Joan Plowright), and her young co-worker Devo (River Phoenix), who's secretly in love with her, to kill Joey in order to put an end to his infidelity. They also hire two incompetent, perpetually stoned hit-men, cousins Harlan and Marlon James (William Hurt and Keanu Reeves).
To her surprise, Joey proves impossible to kill. Even though Rosalie poisons Joey with sleeping pills, he simply gets a stomach cramp, and dismisses it as a virus. When Marlon's cowardice stops him from being present at Joey's murder, Harlan shoots Joey, only wounding him behind the ear. Eventually a convict at the local commissary reveals their plan, and when the police arrive they find the wounded Joey in some pain. Joey is taken to the hospital, and Rosalie, her mother, Devo, and the James cousins are arrested. Recognizing the errors in his ways and at his mother's behest, Joey refuses to press charges and bails everyone out of jail. As he waits for Rosalie with flowers and a box of chocolates, he meets the Jameses, with whom he makes peace. After meeting Rosalie again, he asks her to take him back, but still offended, she runs out. Joey manages to catch her and in the janitors' closet they reveal their love with some intimacy, much to Devo's dismay and the surprise of Rosalie's mother.
|
revenge, comedy
|
train
|
wikipedia
|
But it takes off from that base and becomes a screwball comedy in the classic style.Wonderfully droll performances are given by everyone in this Hitchcock-like farce about a murder that doesn't quite work and a man who just won't die.
Joan Plowright steals every scene she is in -- which isn't easy in a film that is full of so many zany plot twists and hilarious lines of dialogue.This film is a little gem of a comedy.
I found this dark comedy hilarious in spots and so-so in others, but overall a funny movie.
Also, some Catholics might be offended because the film takes some shots at them, or at least people who go overboard in rationalizing their sins, as Kevin Kline does in here.There is an odd assortment of actors in here and they all contribute to the fun: Kline, Tracey Ullman, William Hurt, River Phoenix, Keannu Reeves, Joan Plowright and James Gammon.Supposedly, this film was based on a real-life happening, which makes it all the more interesting and lending credence to the saying that "truth is stranger than fiction."Plowright almost steals the show from Kline and Ullman, the husband-and-wife team who have problems because of Kline's persistent cheating on her.
Plowright in Ullman's mother and has some of the best lines in the film as mother and daughter plot how to kill the immoral Kline.Phoenis plays a young New Age devotee and Hurt and Reeves are funny as two totally stoned-out hit men.
Hurt is particularly good.This movie is so-so to start until Ullman finds her husband cheating.
Tracey Ullman and Joan Plowright star as Rosalie Boca and her mother Nadja, both so furious at the infidelity of Rosalie's husband Joey (Kevin Kline) that they decide to kill him.
The ensuing misadventures are VERY funny, particularly the attempts by hired hit-men Harlan and Marlon James, not-too-bright cousins played by William Hurt and Keanu Reeves..
I was introduced to this movie by my best friend and barber, and every time it comes on Showtime I am compelled to watch - it never gets old.
Chock full of shock humor and one-liners, it has never failed to bring down the house, no matter who I show it to.I Love You to Death includes many of the best elements of the blackest comedies you will ever see, but without leaving you with a bitter aftertaste.
In spite of Kevin Kline's fractured Italian accent, this is one of the funniest movies ever.
Add Harlan & Marlon (Hurt & Keanu) and River Phoenix, and a great cameo by Miriam Margoyles are Kleins' mother, and you've got yourself a highly watchable movie..
I love it when you sit down to watch a little cable/satellite television and there's nothing on, but then you stumble on a movie as good as this one.
The fact that it's based on a true story is one of the things that makes this movie so funny.
Kevin Kline is my favorite actor, and "I Love You to Death" strengthens that.
So, Rosalie and her mother (Joan Plowright) decide to hire two outside men (William Hurt and Keanu Reeves) to do the dirty work.
The whole fiasco ends in a really crazy situation.Kevin Kline's Italian accent isn't totally believable, but his manic performance makes up for that.
Kevin Kline is brilliant as Joey Boca and Tracey Ullman is hilarious as his oblivious and then vengeful bride.
This has got to be one of the great all time classics in a Dark Humor Comedy.
She plays the live-in Mother of Tracy Ullmans charater, (Rosalie) who is married to Joey Boca, (played by Kevin Kline).
Put that together with the late but very talented River Phoenix who plays the role of the busboy in the Boca's Pizza Parlor who is very in love with Rosalie; and you have one fine mix of fun, mayhem, and laughter, as they all take turns in trying to knock off Joey.
But then if that wasn't enough, they then seek outside help, which only gets more funnier, as Keanu Reeves and William Hurt try to come to the aid, playing druged out druggies, who together make Dumb and Dumber look like Yale graduates.
This Movie is absolutely hilarious, with everything from the cheeky smile of Kevin Kline, to the dopey persona of Keanu Reeves and the mysteriously weird River Phoenix.
Every character is a different character, and that is partly what makes this movie so funny, it's like a commune of different personalities put in a certain situation, and what is funny is the way in which they each try to deal with it.It is, of course highly underrated, which is really disappointing because it is so good and more people should see it!I personally came across it as a River Phoenix fan, and I must be the only person who thinks it is one of his best roles, although he didn't get to do many....But, this film is great and if you haven't seen it, do!.
This movie takes some serious subjects and make them funny and something to joke about- not to mention its a true story.
Also, Keanu Reeves who usually does serious movie roles like the matrix and sweet November is hilarious in this movie, he plays a total druggy and does a really good job at it.
Anyways I have seen this movie tons of times and recommend that you watch it, maybe you'll like it maybe you wont..
He is great as the oblivious victim, and you almost feel sorry for him.I had a chuckle watching this film and I own a tape of this one,crazy movie.
Tracey Ullman plays the wife of a pizza man who decides to kill her husband when she finds out he's cheating on her.
The actors are excellent and Kevin Kline is SO funny as the macho Italian and River Phoenix is perfect as the love struck wannabe killer.
I've seen the movie a couple of times and I always laugh until I fall off my bed when I see Keanu Reeves and William Hurt as the two cousins with one brain cell (together) who are called in to finish the husband off.
Borrowed from a real-life account of a woman who wanted her cheating husband dead, this dark, dry comedy certainly had possibilities, but in the last quarter of the film the characters turn into bungling sillies and all hope is lost in the muddle.
Kevin Kline is the pizzeria proprietor and womanizer, Tracey Ullman is his devoted wife, Joan Plowright is her Yugoslavian mother, River Phoenix plays an employee with a crush on Ullman, and William Hurt and Keanu Reeves are drug-addicts and would-be hit men.
My main problem was that it seemed contrived, I mean actually the movie kind of made me bewildered, I didn't understand the humer in it.Well, I saw it again, the person I saw it with told me it was based on a true story, this was confirmed by imdb user comments.
I honestly had no idea an incredible event like this ACTUALLY happened and knowing that can view the film differently and understand why so many loved it.I love you to death will never be my favoroite movie but knowing what I do now I can say it's an interesting one(I just wish I'd known the true facts when I saw this years ago)..
Ya' have to stick with it to reap the full rewards, but the ensemble cast including Joan Plowright, Keanu Reeves, RiverPhoenix, and William Hurt is a brilliant mix of comedic talent!
this film is a true gem...kevin kline and tracy ullman are perfectly cast...i am not a big keanu reeves fan (as a leading actor) but he is fantastic, along with william hurt, in the role of drugged-up, clumsy hit-men...the mother-in-law is perfect, the cop is perfect, river phoenix is perfect...everybody is perfect!!!
Loosely based on an attempted murder that happened in 1984, in Allentown, Pennsylvania, where a women named Frances Toto repeatedly tried to kill her husband, Anthony, 'I Love You to Death' is An Entertaining Black-Comedy with Memorable Performances!
The Late/Great River Phoenix is impressive, while William Hurt & Keanu Reeves deliver some of the best laughs.
I Love You to Death is based on the true story of a woman who's many attempts to have her adulterous husband murdered prove unsuccessful (sort of).
So the two women, with the help of her weird, but loyal, new age pizza shop employee (Phoenix), hire a few imbeciles (including cousins Harlan and Marlon--Hurt and Reeves) to do the job.
Though the movie morbidly parodies what may not really be something to laugh at, the results are so damn hilarious, making this probably one of the funniest movies I have ever seen -- particularly with Plowright as the sarcastic mother-in-law and Harlan and Marlan as the most dim-witted criminals you've ever seen.
If you feel like laughing, this is indeed a good title to see.It tells the story of a Pizza maker, who is the typical 'macho latino', and his wife, who finds out that he his having a love affair with other girls..She decides to kill him, but when she tries to do so..
I Love You To Death tells a [true] story about a cheating husband trying to be knock off by his wife.
Kevin Kline, Tracey Ullman, Joan Plowright are very good playing this slightly dysfunctional family.
Nothing works.In another movie, Kevin Kline's performance could be called racist.
Kevin Kline and Tracey Ullman are the stars of I Love You To Death and he's the exponential alpha male owner of a pizzeria in Tacoma, Washington where for the female customers he makes personal deliveries.
But there isn't a pair of breasts between 18 and 45 he can't pass up.In I Love You To Death Ullman has decided she's up to HERE with Kline's serial infidelities.
They were more successful than this team of assassins were with Kline.Adding to the hilarity when Phoenix enlists them to help are brain dead druggies William Hurt and Keanu Reeves.
Reeves and Phoenix met on this film and the next project for both would be My Own Private Idaho the best film both of them ever did.Dame Joan Plowright a.k.a Lady Olivier is also very funny with another cheesy accent.
First, reading other reviews here that Plowright stole the movie, is a bit overboard...it was difficult most of times to make out what she was saying...awful Italian accent, if that was, what it was.
Most amazing thing is that the funniest lines ("When you get shot in the head, it makes you think...") are from the real life story.
Sure, Kevin Kline is good, but the movie is not worth it.
With a title like "I Love You to Death", it's bound to be a bad movie.
Kevin Kline, Tracy Ullman, and River Phoenix are good, but it's not their best work.Basically, a nice woman tries to get her Italian husband killed after he cheats on her numerous times.Pure screwball.I'd suggest renting it if your crazy uncle Roger was over, but otherwise, you probably won't love this movie to death..
keanu reeves and william hurt play once in a life time roles, and incredibly enough, it's based on a true story!
Kevin Kline is hilarious and the things they do to him are just too funny..
The names say it all: Tracey Ullman, William Hurt, River Phoenix, Keanu Reeves (it seems playing the dumb is his strong point?).
excellent performances from all actors involved ....Kevin Kline is a gem as the cheating husband...all actors are perfect for their characters ...funniest movie i have seen ....
While there are laughs throughout I Love You To Death, the scenes with Harlan (Hurt) and Marlon (Reeves) are knee-buckling funny.
(no, I won't tell you - see the movie!) Surprisingly, this movie is "based on a true story." I've seen it a number of times.
I find it very interesting that people give this movie a poor review and then when they find out it's based on a true story, they love it!
I love the parts of Keanu Reeves and William Hurt.
Keanu Reeves, and William Hurt are also stellar in this movie..
It was 1993 or so and my roommates and I were flipping channels and came upon a movie in a singles bar scene and I noticed both Kevin Kline (Joey) and Phoebe Cates (girl at bar).
This is a very funny movie and it is worth watching for that scene alone.
My husband and I watch this movie whenever it is on, and laugh out loud every time.
Let me start to say that this little 'under the radar' black comedy flick, it's one of my all time favorites from the genre and a severly underrated film that deserved a much better praise and needs to be rediscovered as a comedy gold cult film nowadays.Lawrence Kasdan, who never disappointed (at least during the 80's, until the mid 90's) directed this quirky story based on actual facts about an italian womanizer, Joey Boca (Kline), the chauvinist owner of a Pizza Parlor, who repeatedly cheats on his devoted wife, Rosalie (Ullman), even if her loyal employer, Devo (Phoenix) and his eccentric mother, Nadja (Plowright) were trying to warn her against Joey's way of life.
When Rosalie catches him cheating on her in a public library, she bows to revenge for years of infidelity and with the support of Mother Nadja, Devo and two doped (un)professional killers (Reeves & Hurt) they plan to eliminate him, but a sinful task like this, will not be easy to concretize...Kasdan was always a great director of actors, since his debut in "Body Heat" ('81) to "The Big Chill" ('83), "Silverado" ('85) or "The Accidental Tourist" ('88), his entire cast always gave superb performances way adequated to the given material and "I Love You to Death" is not an exception.
Kevin Kline, one of the funniest actors that ever graced the screen, fresh from his truly deserved Oscar win for "A Fish Called Wanda" the year before and collaborating with the director for the 3rd time, is splendid and hilarious playing Joey Boca, a derivative performance of his Otto character from "Wanda", but equally effective and stealing every scene he's in.Tracey Ullman is impressive in her first co-leading role in a theatrical released picture, but veteran Dame Joan Plowright as her cranky Serbo-Croatian Mother Nadja, delivers a marvellous performance, her responses and facial expressions' are a riot to follow.River Phoenix is ok playing Devo, practically playing himself at that time.
William Hurt (joining Kasdan for the 4th time) & Keanu Reeves as the two hippie druggies, play one of the most memorable screen duo in a comedy movie ever (Cheech & Chong next to them look like a pair of lucid fellas), it needs to be seen to be believed, even the always subpar, Keanu, delivers here probably one of his best performances, some may say that he's just playing a part of himself, but so as River, the main difference is that the River's role and performance are bland & merely passable and Keanu is extremely amusing.The movie also features an early appearance on-screen by Heather Graham and a cameo by Phoebe Cates (from the "Fast Times at Ridgemont High" & "Gremlins" fame), the real life wife of lead star, Kevin Kline, who shot the scene with her husband in a break of filming "Drop Dead Fred" ('91).The music score by James Horner is spot-on to the events on the screen and largely contribute to the burlesque feeling of the whole.In short, "I Love You to Death" is a skillfully directed farce from a delightfully immoral screenplay from John Kostmayer and a 'must-see' for fans of such movies as "A Fish Called Wanda" ('88); "Weekend at Bernie's" ('89); "Oscar" ('91) or "My Cousin Vinny" ('92).
Telling me it's "based on a true story" instantly puts me off, makes me not want to see the movie at all.
Kevin Kline and Tracy Ullman are outstanding, William Hurt is hilarious, and James Gammon was absolutely perfect as the detective.
Joey works with Rosalie in their pizza parlour.She is convinced that he works all of the time for them and her world dissolves when she finds that he has been cheating on her for years.Being Catholic, divorce is out of the question, so she and her mother and her best friend decide to kill him.Hopelessly incompetent as killers, they hire incompetent professionals as they beat, poison, and shoot Joey, who remains oblivious to their attempts.....Very loosely based on a true story, this film is one of those old fashioned farces that we haven't seen in years.Inexplicably ignored on release, and to some extent ever since, this film does drag a little toward the end, but thanks to some great characters and Kline in one of his best roles, it has some truly funny moments.Reeves and Hurt almost steal the whole movie as the drug addicted hit men, using physical comedy as much as verbal, when they are on screen, the film is at it's most entertaining.Ullman is okay, but she is overshadowed by Plowright, who is basically in every scene Ullman is in.The script is sharp and very observant, and despite the sickly sweet ending, it has a very dark streak running through the movie.Funny and at times very slapstick, it will put a smile on your face.Be sure to catch it when it's on TV..
Kline's character was a bit stereotypical as the womanizer Italian,that all women loved, but it worked.
Overall a great movie, funny and entertaining.
Knowing Lawrence Kasdan ("The Big Chill", "Grand Canyon", "Raiders of the Lost Ark") wrote and directed this, I knew it would be good, but was not prepared for how absolutely hysterical it is.Kline is at his accent-slinging (remember "A Fish Called Wanda"?) best as Joey Boca, the Tacoma "Pizza Man" who compulsively cheats on his overly trusting wife, Rosalie (Tracey Ullman).
|
tt0014672
|
America
|
Three childhood friends – Surya (Ramesh Aravind), Shashank (Akshay Anand) and Bhoomi (Hema Panchamukhi) – are from the coastal region of Karnataka. After finishing their undergraduate studies, Shashank goes to the US for further studies. Surya is extremely patriotic about India and doesn't want to go anywhere and starts his business in his hometown, and Bhoomi stays at home. After three years, Shashank comes back to India. He starts going off on India on his way from the airport, saying how much greater America is. While in India, his family arranges his marriage to Bhoomi. Surya, on the other hand, is the one who truly loves Bhoomi and tries to tell her using recorded audio tape and plants it in Bhoomi's room having no idea that she is to be married to Shashank.
That evening Surya learns of the marriage plans. Confused, he rushes to Bhoomi's house to take the tape back. Before he could get there, someone who was cleaning Bhoomi's room accidentally replaces it with another cassette. Surya, thus unknowingly, grabs wrong tape and throws it into a nearby river.After the marriage ceremony, Shashank and Bhoomi leave for the US.
Everything goes well till Shashank loses his job and starts to drink. Surya, in the meantime, surprises Bhoomi and Shashank and goes to the US for business, but egotistical Shashank does not come to pick him up at the airport. Surya ends up taking a cab to Shashank's house. Bhoomi and Shashank drive Surya to a lot of places around. After a few days, Bhoomi and Shashank realize that Surya has come to the US on a business visit and has a very good business running back in India. Bhoomi feels very happy with Surya's achievement. On Bhoomi's and Shashank's anniversary, Surya throws them a surprise and gifts them a rabbit. Next day, they all go to a party hosted by Indians in the US. In the party, a man foul mouths India. Surya hits him, angering Shashank. Shashank leaves Surya behind at the party, forcing him to walk all the way back home.
On the way back, Bhoomi plays a tape in car, the same tape Surya had recorded in India, conveying his love for her. It had come with Bhoomi's bag from India. Shashank asks Soorya to get out of their house and blames India and Indian culture. After Surya leaves their house, he starts suspecting Bhoomi. One day, Bhoomi searches for her rabbit (Minchu), but cannot find her, and Shashank tells her he already ate it, later he tells bhoomi that he donated the rabbit to a humane society, as it reminded him of Surya. They both start arguing, then Bhoomi starts living separately from Shashank. Shashank finds a new job and later learns that Soorya has helped him get that job. Alone, Shashank realizes his mistake and feels guilty. He calls Surya and apologizes. Surya forgives him and learns that Bhoomi has separated from him. He tells Shashank not to take any steps until he returns to US, and Surya leaves for the U.S..
From San Francisco Airport, Surya calls Shashank, who is drunk. This time around, Shashank promises to pick him up from the airport. On the way he meets with horrific accident and Surya is informed by airport authorities and he rushes to the hospital. Meanwhile, Bhoomi also get the news about Shashank and she too rushes to hospital. In hospital they meet Shashank and he apologizes to them and tells that he is going to die. Doctor takes him to ICU and he passes away.
Surya manages all legal formalities around Shashank's funeral, making Bhoomi feel proud of him. Surya asks Bhoomi to return to India but she declines. By mistake he tells that he loves her, but Bhoomi tells him she cannot love or marry him, because he is her best friend and she would like him to remain so for her lifetime. Surya insists she come back to India and gives her a return ticket telling her that he would wait for her in the airport. Finally Bhoomi relents and joins him in the plane. However she tells him that she will not marry him and suggests that they be friends forever.
|
violence
|
train
|
wikipedia
|
Griffith's story-telling seems a lot less heavy-handed than in his earlier historical epics and his tableaux work is fully integrated into the action.
Lionel Barrymore is an utter swine, Neil Hamilton is poor but dashing and Carol Dempster is....
well, Carol Dempster is most of what is wrong with Griffith in this period, but she doesn't show up often enough to slow the pace and drama.Note that the trivia for this movie says it came in originally at slightly more than 2 hours when first released, but that no cut exists that runs longer than 90 minutes.
By the time he had finished he had a 14 reel history lesson and there wasn't a trace of Patrick Henry anywhere.We all know the story of the Revolutionary War but Griffith threw in a love story with Patriot farmer Nathan (Neil Hamilton) falling in love with Tory aristocrat Nancy Montague (Carol Dempster, a leading lady for Griffith for many years).
It does not help matters when, during a skirmish on the streets of Lexington someone jostles Nathan's arm causing him to discharge his gun and accidentally wound Nancy's dad!Paralelling the love story is the (mostly true but partially embellished) story of Capt.
The sequence of the Battle of Bunker Hill is staged very similarly to a scene in BIRTH OF A NATION with the attacking army, in this case the Redcoats, storming a trench packed with Patriots.
A story goes that he approached Griffith for work and D.W., knowing the reputation of his famous family, said "I am not hiring stage actors." to which Lionel replied "And I am nothing of the kind, sir!" He makes a very good and quite believable villain.
Hare his wild staring eyes and disheveled hair not only mark him as a villain but make you think he is quite mad also.Neil Hamilton later remarked that America was his first time on horseback and "I was scared to death.".
Mr. Griffith was very much in love with Carol Dempster and at one point asked her to marry him.
This is an old-school history lesson with nice, well-lit pictures and it doesn't help a lot that Griffith tries to spice it up with a Romeo & Juliet inspired love affair between Neil Hamilton and Carol Dempster, stilted and artificial.It never ceases to amaze me how the director who staged the riveting finale of 'Way Down East', the whole continuous glory of 'Hearts of the World', 'Orphans of the Storm', 'Broken Blossoms' and, oh yes, the inimitable, symphonic dynamics of the insurmountable 'Intolerance', how can it be that Griffith as late as 1924 is so uncertain as to what will play and what not?He was fifty, so?
"America" (United Artists, 1924), subtitled "Love and Sacrifice," became director D.W. Griffith's second contribution to American history on the silent screen.
Done in grand scale as his Civil War epic, "The Birth of a Nation" (Epoch, 1915), "America," as indicated in it's opening title, "The story of the sacrifice made for freedom in the American Revolution in that of a Civil War between two groups of English people, one group, the Americans, being merely Englishmen while settling on the American continent ..." What "Birth of a Nation" and "America" have in common are its well staged battle scenes, cast of thousands, authentic costumes, fine scenery, and stories told in two parts (before and aftermath) with run times past the standard two hour mark.
In retrospect, "America" didn't need controversy to achieve any box office appeal, only a simple love story highlighted by a re-enactment of events leading to America's freedom from British rule.Set in the village of Lexington in Massachusetts prior to the Revolutionary War, Nathan Holden (Neil Hamilton), a poor farmer and express rider, loves Nancy Montague (Carol Dempster), a Southern bells from Virginia living on the mountain estate on the James River.
Captain Walter Butler (Lionel Barrymore), a deputy for the king's superintendent, takes an interest in Nancy, much to the delight of her father, especially after believing Nathan to have shot and wounded him during their confrontation.
Butler proves not to be her ideal choice for Nancy as he gets the Indians to side with the king against the Americans in the war along with plotting to betray the king in order to acquire the new world for himself.Combining fictional characters with historical figures, quite commonly found in many motion pictures then and now, "America" consists those of John Hancock (played by John Dunton); Thomas Jefferson (Frank Wals); Patrick Henry (Frank McGlynn); John Parker, Captain of the Minute Men (Henry Van Boussen); and Samuel Adams (Lee Beggs).
While "America" fails to compare with Griffith's finest works, the film itself is noteworthy as being one of the very few motion pictures depicting the Revolutionary War (1775-1783) compared to many about the Civil War (1861-1865).
Highlights include Paul Revere's (Harry O'Neil) historic horseback ride warning the colonists, "To Arms, To Arms, the Regulars /British are coming"; the Battle of Bunker Hill; the signing of the Declaration of Independence; and George Washington (Arthur Dewey) leading and his troops at Valley Forge and he being sworn in as first president of the United States (1789-1797).Had "America" been produced in the wake of "The Birth of a Nation," chances are principal actors would have been basically the same, with Lillian Gish or Mae Marsh, Robert Harron and Henry B.
Hamilton and Dempster as its leading players fail to leave a lasting impression as the star quality performances of Lillian Gish or Richard Barthelmess.
In fact, their roles are overshadowed by the major support of Lionel Barrymore as the villainous redcoat, and the late entrance of Louis Wolheim as "Captain Hare, a Tory - an American renegade who uses the excuse of war for his own personal passions of savagery."With silent films commonly shown on public television during the 1960s and 70s, in such weekly series as "The Toy That Grew Up" or "The Silent Years," "America" made its rare TV broadcast in the New York City area on WNET, Channel 13, appropriately during 4th of July weekend in 1972.
It wasn't until 1996 when a fully restored 140 minute/ color tinted version turned up on VHS and later DVD from Kino Video accompanied by newly composed score by the Mammaroneck Theater Orchestra.Overlooking cliché plot and lackluster performances by Hamilton and Dempster, "America" is redeemed by its fine visuals, authentic background, and Griffith's attention to detail, including soldiers marching in bitter cold with shoes so worn out that their feet are seen touching the snow.
"America" should have been among Griffith's greatest work, but it isn't.
With all that said, "America" is something to consider, if not for American history, then for history by the American father of film himself, D.W. Griffith.
America (1924) tells the story of the American Revolutionary War through the perspectives of Nathan Holden (Neil Hamilton), a commoner who fights for the American cause, and the aristocratic Montague family, with whose daughter Nancy (Carol Dempster) Nathan has fallen in love.
Things are further complicated when Captain Butler (Lionel Barrymore) declares his love for Nancy as well.
Directed by DW Griffith.SCRIPT: It seems obvious that Griffith is aiming to recapture the epic scale of BIRTH OF A NATION, and thankfully this film doesn't have as much racism as BOAN.
The script has several issues: the clichéd story of "love at first sight" between Nathan and Nancy, told in groan-inducing purple prose; very shallow characterizations (especially Griffith's patronizing attitude toward daddy's girl Nancy, calling her a "little Tory" with "slight knowledge of politics"), and an overemphasis on Butler's villainy at the expense of the main conflict.
The story told here just isn't very interesting, and some of the love scene title cards are really awful.
She does improve somewhat later on, providing some touching moments, but her performance suffers from Griffith's insistence on fashioning her after Lillian Gish.
Neil Hamilton is too understated in the beginning but shows some feeling later, particularly in one scene where he has to make a very difficult choice.
Lionel Barrymore, though, steals the show in his scenes, playing the evil Captain Butler with sadistic glee and gusto.
There were some overlong close-ups on Carol Dempster at times that appear to have been done after the main filming was complete, and she is directed to emote in a way that doesn't match the title cards or the context of the scene.
SCORE: 5.5/10SUMMARY: America stands as DW Griffith's last attempt at an epic-scale production.
Although he tries to replicate the scale of BIRTH OF A NATION, the movie overall feels dull and uninspired.
PLEASE NOTE: Griffith's antiquated insistence on using white actors for the black and Native American parts will not set well with many viewers, myself included, but thankfully this was the last time he would do so.
Sure there were a few mistakes here and there (especially with the timeline--the movie only appeared to last a few months or perhaps a year--not over six years of actual fighting), but the overall spirit of the film and the battle sequences were excellent.
In fact, as much of the romance boiled down to the dumb cliché of "love at fist sight", it was kind of annoying the more I think about it.However, in spite of this romance, the film is truly interesting and inspiring---plus, in so many ways it seems as if the much later film, THE PATRIOT, was copied from this Griffith film!!!
This is a sick and bigoted thing that Griffith did in so many of his films--especially in BIRTH OF A NATION.
America (1924) *** (out of 4) This film is basically a remake of The Birth of a Nation but this time the story is set during the American Revolutionary War. We have George Washington (Arthur Dewey) trying to make our country free while Capt.
Walter Butler (Lionel Barrymore) tries to get the Indians on his side to attack what one hopes to become the new America.
In the mean time, two young lovers (Neil Hamilton, Carol Dempster) are split apart due to them fighting on opposite sides of the war.
Time has certainly been kinder to the film than movie crowds in 1924 because this is a pretty strong take on the war that features a nice story, great battle scenes and some fine performances.
Hamilton and Dempster are both fine in their roles, although I'm sure stronger actors would have been better.
The majority of the film deals with the actual story of the war and not the battle scenes.
Griffith handles all the quiet moments very well but there's no question that the battle scenes are where the energy is at.
Hundreds of extras were used and again, like previous Griffith epics, the battle scenes look incredibly realistic as if Griffith were there filming while the real battles were taking place.
The story of the families being split apart probably would have worked better had it not been so familiar as to the story in The Birth of a Nation but either way this was Griffith's last epic and while it's not the masterpiece of The Birth of a Nation or Intolerance, it's still impressive film-making..
Appropriately subtitled "Love and Sacrifice", director D.W. Griffith's fictionalized account of revolutionary "America" should have been more successful, given the obvious costly effort in evidence; it is weighted down by lack of imagination, and a significantly unsuitable performance from the leading actress.
Griffith gentlemanly reveals prejudices early, explaining, "The story of the sacrifice made for freedom in the American Revolution is that of a civil war between two groups of English people; one group, the Americans, being merely Englishmen who settled on the American Continent." Moreover, Griffith asserts, "The government which Canada and Australia now enjoy was absolutely denied to America through the stubborn and false ideals of the autocratic powers guiding the hand of King George the Third." During the running time, Griffith uses Royalist Walter Butler to represent the evil on the other side of the Atlantic Ocean.
Not as despicable a thesis as presented Griffith's similarly plotted Civil War epic, but neither is "America" as excitingly presented as "The Birth of a Nation".And, try as they might, Neil Hamilton (as Nathan Holden) and Carol Dempster (as Nancy Montague) are not Robert Harron and Lillian Gish in "Hearts of the World".Griffith's epics are much more convincing with when characterizations and relationships are well presented.
Compare Dempster/Hamilton with Gish/Harron in "Hearts of the World".
The later film shows how well Ms. Gish and Mr. Harron played the "bedroom window" scene which Griffith re-visits in "America".
Hamilton, a promising actor, had a great career highlight, later, as "Commissioner Gordon" of "Batman" in the 1960s; but, ribald Lionel Barrymore (as Butler) steals the acting honors.
Griffith used his stars better in the forthcoming "Isn't Life Wonderful?" ****** America (2/21/24) D.W. Griffith ~ Neil Hamilton, Carol Dempster, Lionel Barrymore.
When watching America (1924) once cannot help but remember DW Griffith's earlier The Birth of a Nation (1915).
Both films are epics concerning families caught up in a war, lustful and power-hungry villains, and star cross'd romance.
America, released nearly a decade after, feels stale and old-fashioned even for 1924.The American Revolution is the setting of the movie, but the central story is the romance between minute man Nathan Holden (Neil Hamilton) and the loyalist aristocrat Nancy Montague (Carol Dempster).
More conflict arrives in the form of Captain Walter Butler (Lionel Barrymore), who seeks to betray his king and take over the colonies, as well as possess the lovely, virginal Nancy.
Nathan and Nancy are dreadfully bland, not helped by Carol Dempster's limited performance.
You can tell Neil Hamilton is trying, but there's little he can do to give such a flat character life, though I will admit he was at his most impressive when agonizing over whether he should warn the people of Valley Forge of a British ambush or rescue his lover from being raped by Captain Butler.
Speaking of the villain, Lionel Barrymore steals the whole show as the wicked captain, delightfully chewing the scenery.Unfortunately, the movie is more interested in the bloodless love story than it is with the revolution.
The battle scenes and conversations about loyalty are the most interesting parts of the film, though even that's not saying much.
This film about the Monteagues during the American Revolutionary war proved this as well.
You see Griffith used doctrines of another time to express things in his contemporary periods, so when watching his films there's a grand sweep of history and layers and layers of his own inherent interest in history.
Considering the man's extraordinary acute vision of cinema - the way he coached actors and actresses for hours and hours, sometimes even showing them the way they have to sit, their body language and the way they have to interact in the scene - then on how he cut film, masked film, brought emphasis on certain things along side his masterful cinematographer Billy Bitzer, who ran his course shortly after "America or Love and Sacrifice" this also proves to be the epitome of a man stuck in his time and frame of mind during which films like "The Iron Horse", "Strike" and "Michael" were getting made amongst some other classics by others like Chaplin and Fairbanks.
Though I can't help to have a soft spot for his work here.It's not contrived as such and it's actually a pretty supreme experience especially when Griffith filmed the dipsomaniacal Paul Revere riding recklessly on the horse to declare "fists to fists" as a way of commencing an act of war against England.
I happen to be from Britain and found the story was interesting for me to look at as it was done with Griffith's perspicacious perspective and albeit I'm not really very conversant with it either, I understood how England was disparate back then (in the sense that they had total control over America) and how America wasn't the way it's today.
As if this was like a lesson in history just goes to show how Griffith substantiating that instead of books, films should be the new source of history, remained completely obstinate in his views.
As a lot of the film centres on Walter Butler's derailment on America, an English man, it's interesting how he pulled the performance from Lionel Barrymore that proved suave and understated and despicable in expression.
In some ways, I wasn't quite clear about whether or not Butler was English or American, so I had to try and resolve that ignorance subsequently watching the film.I agree with another reviewer on here, who said that the subplot was really unnecessary.
Nathan is the main character, who's sent out to War. During this time he's deeply impassioned in love by Nancy Monteague, a very wealthy woman who goes away to Mowhawk Valley.
There's a lot of unnecessary establishing scenes with her and Butler and it's also set during the time Washington was growing to prominence.Even with its preachy didacticism at times and the way it portrayed Men as chauvinistic, scenes such as the entrance into war and when Butler gets closer to the Americans can be intriguing, especially in the way Griffith uses lighting to emphasise them as if they're figures and his impressionistic use of editing to make you feel as though the war was taking place in his mind, which is done adeptly, but in saying so one wishes the film wasn't this melodramatic in the end.
It's a cliché I know, but unless you're interested in history, the film will rank poor.
Interesting to note that during the film there are scenes where Indians seem like they're getting treated the same way Black people were almost a decade before in Griffith's film and yet it's barely looked at.
Well for some of its faults (mainly because Griffith was coming out of his infancy in film making), I can't help, but be enraptured by the heat of war and the way Griffith shows it in great detail.
|
tt0115988
|
The Crucible
|
=== Act One ===
Betty Parris, the ten-year-old daughter of Salem preacher Reverend Samuel Parris, lies motionless. The previous evening, Reverend Parris discovered Betty, some other girls, and his Barbadian slave, Tituba, engaged in some sort of ritual in the woods. The village is rife with rumors of witchcraft and a crowd gathers outside Rev. Parris' house. The Reverend questions the girls' apparent ringleader, his niece Abigail Williams, who denies they were engaged in witchcraft. Parris decides to invite Reverend John Hale, an expert in witchcraft and demonology, to investigate and leaves to address the crowd.
The other girls involved in the incident join Abigail and a briefly roused Betty. Abigail coerces and threatens the others to "stick to their story" of merely dancing in the woods. The other girls are frightened of the truth being revealed (that in actuality, they tried to conjure a curse) and being labelled witches, so they go along with Abigail. Betty then faints back into unconsciousness.
John Proctor, a local farmer and husband of Elizabeth, enters. He sends the other girls out (including Mary Warren, his family's maid) and confronts Abigail, who tells him that she and the girls were not performing witchcraft. It is revealed that Abigail once worked as a servant for the Proctors, and that she and John had an affair, for which she was fired. Abigail still harbors feelings for John and believes he does as well, but John says he does not. Abigail angrily mocks John for denying his true feelings for her. As they argue, Betty bolts upright and begins screaming.
Rev. Parris runs back into the bedroom and various villagers arrive: the wealthy and influential Thomas and his wife, Ann Putnam, respected local woman Rebecca Nurse, and the Putnam's neighbor, farmer Giles Corey. Tensions between them soon emerge. Mrs. Putnam is a bereaved parent seven times over; she blames witchcraft for her losses and Betty's ailment. Rebecca is rational and suggests a doctor be called instead. Mr. Putnam and Corey have been feuding over land ownership. Parris is unhappy with his salary and living conditions as minister, and accuses Proctor of heading a conspiracy to oust him from the church. Abigail, standing quietly in a corner, witnesses all of this.
Reverend Hale arrives and begins his investigation. Before leaving, Giles fatefully remarks that he has noticed his wife reading unknown books and asks Hale to look into it. Hale questions Rev. Parris, Abigail and Tituba closely over the girls' activities in the woods. As the facts emerge, Abigail claims Tituba forced her to drink blood. Tituba counters that Abigail begged her to conjure a deadly curse. Parris threatens to whip Tituba to death if she doesn't confess to witchcraft. Tituba breaks down and falsely claims that the devil is bewitching her and others in town. With prompting from Hale and Putnam, Tituba accuses Sarah Osborne and Sarah Good of witchcraft. Mrs. Putnam identifies Osborne as her former midwife and asserts that she must have killed her children. Abigail leaps up, begins contorting wildly, and names Osborne and Good, as well as Bridget Bishop as having been "dancing with the devil". Betty suddenly rises and begins mimicking Abigail’s movements and words, and accuses George Jacobs. Hale orders the arrest of the named people and sends for judges to try them.
=== Act Two ===
Act Two is set in the Proctor's home. John and Elizabeth are incredulous that nearly forty people have been arrested for witchcraft based on the pronouncements of Abigail and the other girls. John knows their apparent possession and accusations of witchcraft are untrue, as Abigail told him when they were alone together in the first act. Elizabeth is disconcerted to learn her husband was alone with Abigail. She believes John still lusts after Abigail and tells him that as long as he does, he will never redeem himself.
Mary Warren enters and gives Elizabeth a 'poppet' (doll-like puppet) that she made in court that day while sitting as a witness. Angered that Mary is neglecting her duties, John threatens to beat her. Mary retorts that she saved Elizabeth's life that day, as Elizabeth was accused of witchcraft and was to be arrested until Mary spoke in her defense. Mary refuses to identify Elizabeth's accuser, but Elizabeth surmises accurately that it must have been Abigail. She implores John to go to court and tell the judges that Abigail and the rest of the girls are pretending. John is reluctant, fearing that doing so will require him to publicly reveal his past adultery.
Reverend Hale arrives, stating that he is interviewing all the people named in the proceedings, including Elizabeth. He mentions that Rebecca Nurse was also named, but admits that she is too pious to be a witch. Hale is skeptical about the Proctors' devotion to Christianity, noting that they do not attend church regularly and that their second child has not yet been baptized; John replies that this is because he has no respect for Parris. Challenged to recite the Ten Commandments, John fatefully forgets "thou shalt not commit adultery". When Hale questions her, Elizabeth is angered that he doesn't question Abigail first. Unsure of how to proceed, Hale prepares to take his leave. At Elizabeth's urging, John tells Hale he knows that the girl's afflictions are fake. When Hale responds that many of the accused have confessed, John points out that they were bound to be hanged if they didn’t: Hale reluctantly acknowledges this point.
Suddenly, Giles Corey and Francis Nurse enter the house and inform John and Hale that both of their wives have been arrested on charges of witchcraft; Martha Corey for reading suspicious books and Rebecca Nurse on charges of sacrificing children. A posse led by clerk Ezekiel Cheever and town marshal George Herrick arrive soon afterwards and present a warrant for Elizabeth's arrest, much to Hale's surprise. Cheever picks up the poppet on Elizabeth's table and finds a needle inside. He informs John that Abigail had a pain-induced fit earlier that evening and a needle was found stuck into her stomach; Abigail claimed that Elizabeth stabbed her with the needle through witchcraft, using a poppet as a conduit. John brings Mary into the room to tell the truth; Mary asserts that she made the doll and stuck the needle into it, and that Abigail saw her do so. Cheever is unconvinced and prepares to arrest Elizabeth.
John becomes greatly angered, tearing the arrest warrant to shreds and threatening Herrick and Cheever with a musket until Elizabeth calms him down and surrenders herself. He calls Hale a coward and asks him why the accusers' every utterance goes unchallenged. Hale is conflicted, but suggests that perhaps this misfortune has befallen Salem because of a great, secret crime that must be brought to light. Taking this to heart, John orders Mary to go to court with him and expose the other girls' lies, but she refuses. Aware of John's affair, she warns him that Abigail is willing to expose it if necessary. John is shocked but determines the truth must prevail, whatever the personal cost.
=== Act Three ===
The third act takes place thirty-seven days later in the General Court of Salem, during the trial of Martha Corey. Francis and Giles desperately interrupt the proceedings, demanding to be heard. The court is recessed and the men thrown out of the main room, reconvening in an adjacent room. John Proctor arrives with Mary Warren and they inform Deputy Governor Danforth and Judge Hathorne about the girls' lies. Danforth then informs an unaware John that Elizabeth is pregnant, and promises to spare her from execution until the child is born, hoping to persuade John to withdraw his case. John refuses to back down and submits a deposition signed by ninety-one locals attesting to the good character of Elizabeth, Rebecca Nurse and Martha Corey. Herrick also attests to John's truthfulness as well.
The deposition is dismissed by Parris and Hathorne as illegal. Rev. Hale criticizes the decision and demands to know why the accused are forbidden to defend themselves. Danforth replies that given the "invisible nature" of witchcraft, the word of the accused and their advocates cannot be trusted. He then orders that all ninety-one persons named in the deposition be arrested for questioning. Giles Corey submits his own deposition, accusing Thomas Putnam of forcing his daughter to accuse George Jacobs in order to buy up his land (as convicted witches have to forfeit all of their property.) When asked to reveal the source of his information, Giles refuses, fearing that he or she will also be arrested. When Danforth threatens him with arrest for contempt, Giles argues that he cannot be arrested for "contempt of a hearing." Danforth then declares the court in session and Giles is arrested.
John submits Mary's deposition, which declares that she was coerced to accuse people by Abigail. Abigail denies Mary's assertions that they are pretending, and stands by her story about the poppet. When challenged by Parris and Hathorne to 'pretend to be possessed', Mary is too afraid to comply. John attacks Abigail's character, revealing that she and the other girls were caught dancing naked in the woods by Rev. Parris on the night of Betty Parris' alleged 'bewitchment'. When Danforth begins to questions Abigail, she claims that Mary has begun to bewitch her with a cold wind and John loses his temper, calling Abigail a whore. He confesses their affair, says Abigail was fired from his household over it and that Abigail is trying to murder Elizabeth so that she may "dance with me on my wife's grave."
Danforth brings Elizabeth in to confirm this story, beforehand forbidding anyone to tell her about John's testimony. Unaware of John's public confession, Elizabeth fears that Abigail has revealed the affair in order to discredit John and lies, saying that there was no affair, and that she fired Abigail out of wild suspicion. Hale begs Danforth to reconsider his judgement, now agreeing Abigail is "false", but to no avail; Danforth throws out this testimony based solely upon John's earlier assertion that Elizabeth would never tell a lie.
Confusion and hysteria begin to overtake the room. Abigail and the girls run about screaming, claiming Mary's spirit is attacking them in the form of a yellow bird, which nobody else is able to see. When Danforth tells the increasingly distraught Mary that he will sentence her to hang, she joins with the other girls and recants all her allegations against them, claiming John Proctor forced her to turn her against the others and that he harbors the devil. John, in despair and having given up all hope, declares that "God is dead", and is arrested. Furious, Reverend Hale denounces the proceedings and quits the court.
=== Act Four ===
Act Four takes place three months later in the town jail, early in the morning. Tituba, sharing a cell with Sarah Good, has gone insane from all of the hysteria, hearing voices and now actually claiming to talk to Satan. Marshal Herrick, depressed at having arrested so many of his neighbors, has turned to alcoholism. Many villagers have been charged with witchcraft; most have confessed and been given lengthy prison terms and their property seized by the government; twelve have been hanged; seven more are to be hanged at sunrise for refusing to confess, including John Proctor, Rebecca Nurse and Martha Corey. Giles Corey was tortured to death by pressing as the court tried in vain to extract a plea; by holding out, Giles ensured that his sons would not be disinherited. The village has become dysfunctional with so many people in prison or dead, and with the arrival of news of rebellion against the courts in nearby Andover, whispers abound of an uprising in Salem.
Danforth and Hathorne have returned to Salem to meet with Parris, and are surprised to learn that Hale has returned and is meeting with the condemned. Parris reports that Abigail and Mercy Lewis stole his life's savings from his house and have disappeared, and that he has received death threats. He begs Danforth to postpone the executions in order to secure confessions, hoping to avoid executing some of Salem's most well-regarded citizens. Hale, blaming himself for the hysteria, has returned to counsel the condemned to falsely confess and avoid execution. He presses Danforth to pardon the remaining seven and put the entire affair behind them. Danforth refuses, stating that pardons or postponement would cast doubt on the veracity of previous confessions, not to mention the hangings.
Danforth and Hale summon Elizabeth and ask her to persuade John to confess. She is bitter towards Hale, both for doubting her earlier and for wanting John to give in and ruin his good name, but agrees to speak with her husband, if only to say goodbye. She and John have a lengthy discussion, during which she commends him for holding out and not confessing. John says he is refusing to confess not out of religious conviction but through contempt for his accusers and the court. The two finally reconcile, with Elizabeth forgiving John and saddened by the thought that he cannot forgive himself and see his own goodness. Knowing in his heart that it is the wrong thing for him to do, John agrees to falsely confess to engaging in witchcraft, deciding that he has no desire or right to be a martyr.
Danforth, Hathorne, and a relieved Parris ask John to testify to the guilt of the other hold-outs and the executed. John refuses, saying he can only report on his own sins. Danforth is disappointed by this reluctance, but at the urging of Hale and Parris, allows John to sign a written confession, to be displayed on the church door as an example. John is wary, thinking his verbal confession is sufficient. As they press him further John eventually signs, but refuses to hand the paper over, stating he does not want his family and especially his three sons to be stigmatized by the public confession. The men argue until Proctor renounces his confession entirely, ripping up the signed document. Danforth calls for the sheriff and John is led away, to be hanged. Hale pleads with Elizabeth to talk John around but she refuses, stating John has "found his goodness".
|
allegory, revenge, satire
|
train
|
wikipedia
| null |
tt0043564
|
French Rarebit
|
In Paris, France, a delivery truck carrying a crate marked "Carrots from U.S.A." accidentally loses the crate, along with Bugs Bunny, after driving on a bumpy road. As Bugs is trying to figure out where he is, he looks at the Rue de la Paix, the Champs-Élysées, and the Eiffel Tower, he realizes where he is, and decides to "stroll down this boulevard and look over the monsewers and mademoysels" where two French chefs, Louis and François, both want to cook him as a dinner special for their restaurants, and both their dishes involve rabbits. They both spot Bugs and, after secretly measuring him while Bugs is not looking, attempt to catch him. But Bugs is already on to them, and is not caught. He asks François what he has in the tureen, to which François says he has a rabbit. Bugs asks if he could see the "rabbit" and François agrees, but after that, Bugs comments, "Hmm...sort of a short-eared critter, ain't he, doc?" That makes François realize in shock that he has entrapped Louis instead of Bugs and accuses Louis of stealing his rabbit, to which Louis replies that the rabbit is his, to which François points out that the rabbit is his and NOT Louis.
That gives Bugs the perfect idea to trick the two chefs into fighting over who gets to cook him, to which Bugs whispers to the audience, "What a revolting display of temper," until François comes out on top. Bugs tricks François into believing he has a recipe for "a good old Louisiana Back-bay Bayou Bunny Bordelaise, a la Antoine" from the famed Antoine's of New Orleans. François asks for the recipe, which Bugs refuses. But he decides to demonstrate it on him. So he disguises François as a rabbit, dips him in wine, pickles him, and stuffs him full of every spicy ingredient in the kitchen before placing him in flour and into a bowl of vegetables.
Louis comes in and demands that Bugs, who Louis obviously mistakes to be François, that he get the rabbit back until François whacks him on the head with a mallet, making Louis see that François, who asks if he was expecting Humphrey Bogart, is the rabbit. Louis asks, "MONSIEUR FRANÇOIS, WHAT HAPPENED?!" To this, François tells him that Bugs knows the recipe from the famed Antoine, forcing Louis to demand that Bugs now show him the recipe. Bugs agrees and does the same routine to him then places them into an oven (identified on the door as La Oven) with a carrot, which also has a stick of dynamite in it.
After the dynamite explodes, the two goofy chefs, having survived the blast, jauntily sing Alouette, adding, with a cheer, "Vive Antoine!" To this, Bugs remarks as the cartoon closes, "Poi-sonally, I prefer hamboigah."
|
psychedelic
|
train
|
wikipedia
|
Colorful, But Not Too Humorous.
Bugs, hiding inside a crate of carrots, winds up on the streets of Paris when the crate falls off the truck.
He then meanders down the street and is spotted by competing chefs.
They both think the rabbit is what they need to complete their menus.
The colors in here are magnificent as they make Paris look really colorful.Our bunny hero, as he usually does, makes fools of his opponents in a variety of ways that makes them look really stupid.
In this case, one of the chefs is a little too stupid for humor.
Although there were a handful of funny lines at the expense of the French stereotypes at the time, this really wasn't one of the better Bugs Bunny efforts..
Nom de plume!
This is a great cartoon!.
This is the epitome of great comic satire.
No one is safe when they try to conquer Bugs, not even the French.
Ever the victim of species-ism, Bugs is caught between two rival French chefs.
But the tables are turned in the end when Bugs turns them both into rabbits and serves up a tasty dish of revenge..
Starts off slow, but when it livens up it is very amusing.
I do agree that this is not one of Bug's better efforts, but it is an amusing little cartoon.
What doesn't make it as good is that the first two minutes or so is a tad slow and unfunny, but once the action moves to the kitchen it is then when it gets quite amusing.
There are a number of good things, particularly the art work, as the Parisian backgrounds are beautiful to look at.
The music is great, and the sight gags in the latter half range from pretty good to very good indeed.
Bugs himself is great, and the two chefs are not too bad either, personally it would have been better with just one chef but oh well.
Finally, Mel Blanc's vocal characterisations are stellar as always.
Overall, slow to start with, but it is really quite amusing once it kicks off.
8/10 Bethany Cox. Always a favorite!.
For whatever reason, (probably that I saw this cartoon 6 billion times on TV when I was a kid) this one has always stuck with me.
The music stand out for me too.When Bugs is 'kneading" the two Chefsthat "urmf!
oof!
arf!" sound Bugs makes has cracked me up for almost fifty years!I also love the characterizations of the two chefs: their outrageous, over-the-top accents of the Chefs and just their whole lookparticularly with rabbit teeth.I admit, there's not much to the script.
Perhaps it stands out for the never-before-seen characters....
"Uh-oh, something tells me this little grey hare's in the middle again.".
Bugs arrives in Paris via a delivery truck carrying carrots from the US.
As he's walking down the street, he catches the attention of not one but two French chefs who want to cook him for dinner.
The rest of the cartoon has the two rival chefs trying to see who gets Bugs, all the while Bugs is easily outsmarting them both.
It's a perfectly enjoyable cartoon but, as others have said, not one of Bugs' best.
The gags are amusing but nothing really hilarious.
The voice work from Mel Blanc and Tedd Pierce (who also wrote the story) is great.
The music is energetic and fun.
I love the animation in this one.
The colors are lush and bright.
The characters are well-drawn and the backgrounds are quite detailed, which wasn't always the case for a Looney Tunes short..
Minor Bugs.
French Rarebit (1951) ** (out of 4) Bugs Bunny finds himself in Paris, walking down a street when rival chefs start fighting over which one will have Bugs on their menu that night.
Soon Bugs joins the fighting in order to make both of them look like fools.
This was never one of my favorite Bugs shorts and I'd probably say this is one of the least entertaining over all.
There's some nice imagination and good animation but outside of that this thing is pretty lifeless.
You expect a lot more in terms of laughs but there's not a single one here, which is rather shocking.
Another problem are the two chefs and how bland and boring they are.
Not once did they make me laugh and they even manage to bring Bugs down to their unfunny level..
Quoi est up, Doc?.
Bugs Bunny gets caught between two snooty Parisian chefs trying to turn him into their main course.
Once again, the team behind the Looney Tunes cartoons created a clever, irreverent litany of wackiness.
If "French Rarebit" has any problem, it's that the cartoon stereotypes France.
But hey, this is a joke here!
The point is to luxuriate in Bugs's antics.
And believe me, you're sure to have a good time.
As we should all know by now, nothing is sacred to Bugs, as he trashes the rules day in and day out.
It's a hoot from start to finish.
In conclusion: Vive la France!
Because we might just all be the pickle.Moan-sirs and madame-oizels.
Another lackluster Bugs short from McKimson.
Mention the name Robert McKimson to any TRUE Looney Tunes fan and you're likely to get a sad sigh in return.
The man just did not know how to make good Bugs Bunny cartoons.
This one about Bugs in France mixing it up with two rival chefs who each want the rabbit for their own respective cuisines, is not an exception to the rule.
On the contrary, it proves the rule by being yet another lackluster effort by McKimson indeed.
I mean any bugs is good bugs, but his shorts are pretty mundane and I find myself saddened when I have to sit through one.
This animated short can be seen on Disc 1 of the Looney Tunes Golden Collection Volume 2.My Grade: C.
Too many cooks....
When two French chefs face off against each other over who gets to cook Bugs Bunny, Bugs winds up cooking them in this rather bizarre Robert McKimson short.
The main problem with 'French Rarebit' is the chef characters who are both grating stereotypes, less offensive than they are just plain annoying (think the leprechauns from Chuck Jones's 'The Wearing of the Grin').
The whining pseudo-French takes up far more time than it should.
The early scenes in which Bugs plays the two chefs off against each other are slow and unfunny but once he accompanies just one of the chefs to the kitchen, the cartoon begins to liven up.
The scene in which Bugs walks him through a recipe by using him as the main ingredient is very funny indeed.
When the other chef returns, however, the cartoon just begins repeating itself with gags that don't stand up to a second appearance in the same short.
It seems that writer Tedd Pierce over-reached himself by including two chefs as rivals to Bugs when one would have been sufficient and made the film less cluttered.
'French Rarebit', then, is a quintessential example of "Too many cooks spoil the broth"..
When critters chow down on humans .
. it's seldom with this much fanfare.
You might remember that we first meet Bruce the Great White scarfing down Bikini Girl in JAWS.
does not take the time so much as to salt her (though perhaps this would be a redundant condiment, given her basting of seawater).
Similarly, the grizzly did not waste any ketchup on Leo in THE REVENANT.
And while the first title character (SPOILER ALERT!) of A BOY AND HIS DOG feeds the spunky gal to the second, Worchester Sauce is nowhere to be seen (though this pair cannot be classified as savages, as they enjoy their repast well-done over an open flame).
In FRENCH RAREBIT, Bugs Bunny marinates, pickles, flours, kneads, seasons, and finally cooks two Frenchmen.
Warner Bros.
cannot be accused of promoting cannibalism, as these Frogs are technically human and Bugs himself is, of course, a rabbit.
Since most people feel no qualms about dismembering, cooking, chewing up, and digesting their fellow mammal friends, Warner is simply presenting Bugs here in a more humane light..
Cooking with Bugs.
"French Rarebit" is a brilliant Bugs Bunny cartoon directed by Robert McKimson.
While in Paris, Bugs becomes the subject of two competing chefs' dinner menus.
As all of us Bugs Bunny fans have come to expect by now, the "wascawwy wabbit" manages to outwit the two French culinary blowhards.
Highlights from "French Rarebit" include the following.
The cartoon opens with the two chefs battling each other in order to capture Bugs.
Bugs shows one of the chefs his "secret recipe" by switching places with him and dressing him up as a rabbit while the popular song "You Must Have Been a Beautiful Baby" (also heard in countless other Warner Bros.
cartoons) plays in the background; Bugs then tortures the chef by immersing him in a wine barrel, stuffing his mouth with tons of HOT ingredients, dipping him in flour, and kneading him!
What's the moral of this story?
Don't ever mess with Bugs Bunny, no matter how hungry your customers are!
|
tt0049131
|
Deduce, You Say
|
Mr. Watkins' narrates throughout the cartoon. Dorlock Holmes lives on Beeker Street in London. Inside of their apartment, Holmes is busily engaged in "deduction" — tax deduction, that is, hoping to write off such costs as "magnifying glasses and gumshoes, taxi fares, to and from murders". Following a knock on the door, a mailman falls into their flat. While Holmes attributes it to curare, a type of poison, the mailman chides him for not fixing the step. The letter says that there is a criminal on the loose named The Shropshire Slasher.
Holmes and Watkins go to a pub where the Slasher is known to hang out. Holmes' attempts to gather clues land darts in his bill. When the Shropshire Slasher is finally revealed, Holmes repeatedly attempts to arrest him, but the Slasher proves much stronger and effortlessly defeats Holmes; meanwhile, Watkins speaks reasonably to the suspect and he not only willingly divulges his identity but is peacefully persuaded to turn himself in to the police.
Just then, a woman arrives selling flowers. Holmes accuses her of selling them without a license and threatens to arrest her. The Shropshire Slasher moans "Mother!" Before Holmes has time to consider what has happened, the Shropshire Slasher grabs him by the neck and starts shaking him violently, causing all of Holmes' possessions to fall out of his pockets. The Shropshire Slasher and his mother then leave. Watkins asks a beat-up looking Holmes in what school he learned to be a detective. Holmes answers: "Elementary, my dear Watkins. Elementary".
|
psychedelic
|
train
|
wikipedia
|
An awkward, angular cartoon which is saved by a great script.
Chuck Jones's 'Deduce, You Say' is one of the least celebrated of his genre spoofs in which he cast Porky and Daffy in well known roles.
Although it is an enjoyable cartoon, 'Deduce, You Say' is undoubtedly inferior to instant classics such as 'Robin Hood Daffy', 'Duck Dodgers in the 24th ½ Century' and 'Dripalong Daffy'.
Although it boasts a magnificent script from Michael Maltese, Jones has opted for an angular, stylised look which doesn't quite work.
The premise of having Daffy and Porky fill in for Sherlock Holmes and Doctor Watson ought to be comedy gold but the odd look of 'Deduce You Say' is detrimental.
Also, Maltese's otherwise fantastic script suddenly flags when the main villain, the Shropshire Strangler, shows up.
It suddenly goes from razor wit to predictable antics, only regaining its footing with the smart climactic quip.
Despite its flaws, 'Deduce, You Say' is a fun piece which is significantly dwarfed by the solid gold classics it aspires to emulate..
A Stupid Sherlock.
Being a big fan of Sherlock Holmes, I was pumped when I saw this cartoon is a parody of him.
Daffy Duck is "Dorlock Homes," who recalls one of his cases: "The Case of the Shropshire Slasher." His assistant, "Dr. Watkins," is played by Porky Pig. First off, the drawings of London and its streets are magnificent.
Kudos to the artist(s).Unfortunately, the rest of the cartoon didn't live up to that anticipated gem I was expecting.
Instead of clever material about a clever detective, it was just stupid with zero cleverness.
Basil Rathbone would roll over in his grave watching this, but Nigel Bruce might like it..
Sherlock Holmes.
This is a pretty amusing cartoon with Daffy Duck as a detective named Dorlock Holmes and is little helper is Porky Pig as Watkins, both with the voice of Mel Blanc.
Of course set in London they investigate a case that involves the Shropshire Slasher.
Although Daffy thinks he is the smart detective he makes mistakes over and over again.
Porky seems the more suitable man for the job.This Looney Tunes take on Sherlock Holmes and Watkins is a pretty funny one, although it not very memorable.
It has some nice moments, especially Porky Pig made me laugh quite some times.
'Deduce, You Say' is worth watching but not much more than that..
A send-up of the Basil Rathbone-Nigel Bruce series...
7 out of 10, mainly because the design is excellent, as is the script.
For those who have watched and enjoyed the series of 'Sherlock Holmes' movies made from 1939 - 1946 (all starring Basil Rathbone and Nigel Bruce) then this animated short would be a 10/10.
Daffy's prickly, know-it-all personality satirizes the Basil Rathbone interpretation of Holmes, and Porky Pig as 'Watkins' does pretty much what Nigel Bruce did in all the films--nothing.
Though at one point a frustrated Daffy barks: "All right, Watkins--enough of your bumbling!" which is a reference to how Watson was portrayed as a clueless idiot by Bruce.
And as a topper, writer Michael Maltese is able to insert the line "Elementary, my dear Watkins (Watson.)" in a perfect spot..
Dorlock Holmes, Porky Watkins and the Shropshire Slasher in a funny and affectionate take on Sherlock Holmes.
'Deduce You Say' may not be among the best of Daffy Duck and Porky Pig's cartoons, but it still has many pleasures and as a fan of Sherlock Holmes this reviewer loved its fun and affectionate take on the characters and such.It is agreed that 'Deduce You Say' loses its energy when the Shropshire Slasher shows up, and that the humour lacks the same timing, quality (the antics indeed are very predictable and not as funny as the rest of the cartoon) and bite of the material beforehand.
Shropshire Slasher pales in comparison to Daffy and Porky in the humour stakes and is also not as threatening as he could have been, despite being set up so well when off-screen to be so, and while this reviewer had no problem with the animation the design of the Shropshire Slasher is pretty odd.However, while very different to usual Chuck Jones animation standards and more angular (so it is understandable that the animation won't be to everybody's tastes) the animation is mostly very good, with great use of shadings, shadows and shapes, a hauntingly atmospheric noir-ish feel to it which is wholly appropriate for a cartoon putting its spin on Sherlock Holmes.
Milt Franklyn has his usual characterful energy and orchestral lushness, while also having a chillingly effective gloominess at particularly the start.Also am in agreement that Michael Maltese's script and the gags are top-notch here.
There is some razor-sharp and hilarious writing here for a vast majority of 'Deduce You Say' and the final quip is very funny though not exactly new.
The gags are well-animated and imaginative, and there is a great Conan-Doyle-like atmosphere in the story throughout while with shades (as you can guess though this is very atypical Looney Tunes and Chuck Jones, and some may find it somewhat too different) of the loony Looney Tunes style.Pacing for a vast majority of 'Deduce You Say' is vibrant and crisp, if slackening when the villain shows up.
Daffy is hilarious in the "Dorlock Holmes" role and Porky is wonderfully reserved as "Watkins".
Mel Blanc does a brilliant job with the voices, considering Blanc's outstanding calibre as a voice actor one doesn't expect any less.In conclusion, funny, affectionate and atmospheric.
Not a classic, but very good though with a couple of things that bring it down a touch.
8/10 Bethany Cox. Amusing takeoff on Holmes and Watson.
This cartoon, while not as funny as Boobs in the Woods, most certainly has its moments.
Pay attention to the drink orders in the pub and watch Porky in his scenes.
Daffy is even more of a twit here than normal, but that's part of his charm.
The cartoon is an affectionate takeoff on the Sherlock Holmes stories with an achingly bad last line.
All in all, a very enjoyable effort.
Well worth watching, although I'm not sure Sir Arthur or many Baker Street Irregulars would be as amused as I am..
Daffy Holmes.
Deduce, You Say (1954) *** (out of 4) Nice spoof of Sherlock Holmes has Dorlock Homes (Daffy Duck) and Watkins (Porky Pig) trying to locate the Shropshire Slasher, who just happens to be looking for them as well.
If you're a fan of the Universal Holmes series then I'm sure you'll get a kick out of this short, which actually manages to pay nice homage to the earlier series but it also works perfectly well as a cartoon.
The animation by Jones is brilliant, especially all the dark colors that are in the bar that the film takes place in.
Both Daffy and Porky are at the top of their game and the villain also manages to get some very good laughs.
The final joke with a famous line from the Holmes films are also priceless..
An awkward cartoon which is saved by a great script*.
I enjoyed this Looney Tune very much - especially as Porky and Daffy were partners here.
Daffy Duck is "Dorlock Holmes" and Porky is Watkins, his assistant.
You have probably guessed already what this episode is about even if you did not know what happens beforehand.
I didn't know what would happen - which is why it was such a great surprise for me that Daffy Duck was Sherlock Holmes!
The way he has an unintelligent character here is something annoying that could have been changed, but in some aspects he was smart.
As Watkins says at the beginning of the episode (which I think Watson himself says in the book), "I discovered he was a very observant person".
Someone here said in his/her review that Daffy Duck has 0 intelligence as Sherlock Holmes but this is not true.Dorlock Holmes has to track down the criminal Shropshire Slasher and so he and Watkins set off.
The Shropshire Slasher that the pair find is not who they expect to find...I recommend this episode to people who like Daffy when he is less intelligent than Porky, people who want to see Porky and Daffy as partners rather than enemies and people who love Looney Tunes in general.
Enjoy "Deduce You Say"!
:-)P.S The last line is the funniest - so wait patiently for it.*Sorry to use your summary magicunicorn, but I agree with you so much that I had to use it (almost to the word) as well.
Deduce, You Say is another legendary heroes spoof from Daffy and Porky.
This is another Daffy Duck-Porky Pig cartoon short directed by Chuck Jones in which the two leads portray legendary folk heroes.
In this one the duck is Dorlock Holmes and the pig is Watkins.
They're on the search for the Shropshire Slasher.
Daffy, as usual, has trouble taking him in while Porky manages to convince him to turn himself over especially after Daffy insults the Slasher's mother.
Not hilarious but has many very amusing bits like the times when Daffy loses his beak after tripping on the stairs or some of the clues he takes.
Notice in the credits the director actually is credited as "Chuck Jones" and not his previous "Charles M.
Jones".
This was on disc 2 of The Looney Tunes Golden Collection, Vol. 1..
For elementary students, my dear Watson (and for other age groups, too).
Usually, Daffy Duck and Porky Pig are enemies, but here, they're partners.
Daffy plays Dorlock Holmes and Porky is Watson.
The two are investigating crimes committed by someone known as "The Shropshire Slasher".
When they finally meet the Shropshire Slasher, Daffy tries to overpower him, but always gets overpowered.
Porky, on the other hand, knows exactly what to do every time.
When the Shropshire Slasher's mother arrives, Daffy accuses her of selling flowers illegally, and...well, let's just say that was biggest mistake of his life.I don't know how the Looney Tunes creative team was able to come up with something every time, but they did it again.
Let's face it, those men were geniuses..
Elementary, it's an average short.
A fairly silly take-off on the Sherlock Holmes stories.
Daffy Duck playing a bombastic shrill Sherlock, and Porky Pig as a calm and reserved Watson.
A few good laughs, but not enough to elevate it above most Looney Tune shorts.
A few grown inducing play on words, but I like that type of humour, so this short was just alright by me.
Not my favorite, but nor the worst Tune that I've seen.
Don't misunderstand me as the worst Looney Tune is still a million times better then 'The Simpsons" has been in the last handful of years.
This cartoon is on Disk 2 of the "Looney Tunes Golden Collection Volume 1" My Grade: C+.
"You may be big .
but I am small!" Daffy Duck (as Dorlock Homes) challenges Scotland Yard's Public Enemy Number One, the hulking Shropshire Slasher.
More than ably assisted by his pipe-smoking sidekick Dr. Watkins (played in DEDUCE, YOU SAY by Porky Pig), Dorlock shares a wealth of Bon Mots here.
"I'm brown as a nut, and fit as a lath" (perhaps meaning to say "fit as a lathe") Daffy reveals midway through this Looney Tune.
"You Ruddy Coastermongers," Dorlock addresses the denizens of Henry the Eighth's Fifths Pub (featuring "Selzer Water," most likely in honor of this animated short's producer, Edward S.).
As Dr. Watkins observes, he and Dorlock are "in for a rum go" before this episode concludes.
And well they should be, masquerading as indigenous English types after venturing thousands of miles away from America's friendly confines.
If this pair were trying to apprehend a Wreaker of Havoc on U.S. soil who'd subsequently fled to Britain (such as Sweeney Todd, Edward Scissorhands, Captain Jack Sparrow, or the Mad Hatter), their dogged pursuit of a suspect might be hailed as patriotic if foolhardy.
However, Daffy's bravado seems totally misplaced here, no matter how elementary his schooling..
"Eh, r-re-really, Homes, you, you never cease to amaze me.".
"Deduce, You Say" is a fine Daffy Duck/Porky Pig cartoon directed by Chuck Jones.
Daffy and Porky work together in different ways, depending on who is directing the cartoon.
But under the helm of Chuck Jones, Daffy is a brash, cocky, loudmouthed blowhard who believes he is the best at what he is given to do, usually resulting in him not being effective at all and getting the stuffing beat out of him.
Porky, on the other hand, keeps his cool and simply observes Daffy making the biggest ass out of himself.
In this case, Daffy is Dorlock Homes and Porky is his assistant Watkins, and together they must locate the Shropshire Slasher and place him behind bars.
They find him inside a tavern, where we see a handful of well-drawn seedy-looking oddballs.Here are my favorite sequences from "Deduce, You Say".
I love the very opening panning shot of the darkened streets of London, accompanied by some wonderfully gloomy music by Milt Franklyn.
When Dorlock enters the tavern he falls bill first onto the floor.
The telegram deliveryman appears to be dead when he falls over into Dorlock's threshold, but he merely gets up and, in a humorous Cockney voice, tells Dorlock to have that one step fixed.Upon recently watching "Deduce, You Say", I was reminded of the great comedian Shemp Howard (best known as one of the Three Stooges) when Dorlock (Daffy) tries to be wildly physical with the big, burly Shropshire Slasher.
In a fair number of films, Shemp would often perform a hilarious fighter's dance when confronted with an adversary, but of course, Shemp himself would always be the recipient of the first punch!
|
tt0115683
|
Bio-Dome
|
Bud "Squirrel" Macintosh and Doyle "Stubs" Johnson are best friends who live together. Bud wins a round of Rock, Paper, Scissors and gets to hit Doyle in the head with a book. Their girlfriends Monique and Jen arrive to take them to an Environmental Party when they discover the injured Doyle. The girls learn that the book was used to injure Doyle as an excuse to not go. The girls call the boys from a payphone to announce they'll be joining some hot swim team guys at a party down by a lake. Bud and Doyle drive out to the lake, only to find they have been had.
Driving back home, they pass by the Bio-Dome, where scientist Dr. Noah Faulkner is about to seal his team in for a year without outside contact. Mistaking the Bio-Dome for a mall, Bud and Doyle go inside to use the bathroom, to be sealed in along with the scientists. Dr. Leaky, the project's investor, discovers them and demands that they be kicked out. Dr. Faulkner refuses, claiming it would destroy the purpose of the experiment, and so Bud and Doyle remain. This proves to be a mistake, as Bud and Doyle continue their antics, harming themselves and destroying many of the scientists' projects. The scientists plead to Dr. Faulkner, but he only relents after the two find a secret stash of junk food and experiment with laughing gas. Bud and Doyle are then banished to the desert environment section and after three days of being stuck, they discover a key in the lock of one of the windows, which opens a back door, and they escape the Bio-Dome.
As Bud and Doyle are receiving a pizza delivery at the dome, they learn Jen and Monique are attending an environmental party with other men. Bud and Doyle decide to outdo the party and hold one inside the Bio-Dome to win them back. The party backfires as it throws the experiment into chaos and Jen and Monique disavow the boys. The scientists prepare to exit out the desert through the door. Doyle intervenes and demands they all stay and restore the dome to full health, swallowing the key as a last resort. As the group gets a grip on the situation and begins to fix the dome, Dr. Faulkner, who had disappeared the night of the party, has gone insane and is starting plans to blow up the Dome with homemade coconut bombs. As Earth Day approaches, the team is successful in restoring the dome and on the night before the doors open again, Bud and Doyle discover Dr. Faulkner. He tells the two that he is rigging pyrotechnics for the door opening ceremony and gets them to help plant the bombs. Once Bud and Doyle are on their own with the bombs, they goof off with one of the coconuts and after a failed long pass, discover their explosive nature. They alert the others and try to exit the dome early, but the door cannot be opened until the clock hits zero, when the bombs will go off. Bud and Doyle run back into the dome to find Dr. Faulkner and get him to deactivate the bombs. They wind up finding him and through a chase and struggle, knock him out and use the remote to disable the coconuts.
The team gets ready to exit the now open door, but as they begin to walk out, Dr. Faulkner returns with one last coconut bomb, trips, and the bomb detonates at the entrance. It turns out everyone is ok with Bud and Doyle reuniting with Jen and Monique who are proud of what they have been able to achieve. As Bud, Doyle, Jen and Monique drive off, Doyle yet again has to use the bathroom and the car is seen driving toward a mysterious nuclear power plant. Dr. Faulkner, however, has escaped the dome through the desert window door, having retrieved the key Doyle swallowed.
|
bleak, stupid
|
train
|
wikipedia
|
Great for Pauly Shore fans and for those who enjoy slapstick comedy.
I'm actually quite surprised at the low user rating of 3.8 when movies like "You don't mess with the Zohan" which is possibly the worst film ever made manage to get over 5.0!!!!
Bio-dome is a great "swith-off your brain" type of film which shouldn't be taken seriously at all.
Pauly Shore with his ability to destroy any script steals the show from every other cast member, including stars with amazing film pedigree like Kylie Minogue (Street Fighter).
They have of course been involved with such films as Outside Providence, Double Tap and Double Bang.But back with the film...For you who have had the privilege, yes PRIVILEGE to have enjoyed this film, I'm sure you will agree that this classic must never be forgotten, and certainly this awe-struck fan will always have it at the forefront of his mind.Go for the Baldwin, stay for the Shore....
No film which boasts Pauly Shore and Kylie Minogue as two of the main characters was ever going to be tasteful or deeply philosophical but hey, you don't always have to find meaning in a movie.
I can only assume those that have given high rapts to this poor excuse for a comedy film are either die-hard Baldwin and Shore fans or family related.After the film bombed in American cinemas, in Australia it was decided by it's distributors that it would be dumped straight to video-store shelves, even though it had huge Aussie-born singing star Kylie Minogue(Dr. Petra von Kant) co-staring.
I've even re-watched it stoned (let's be honest, it was probably made to be viewed that way) just to see if the altered perception would make it any better, and it actually killed my buzz.Pauly Shore and one of the Baldwins that's not Alec seem to be in a pissing contest to see who can come off as more talentless.
Follow Pauley Shore and Stephen Baldwin as they unearth the cruel and meaningless system set inside the confines of the dark and steely Bio-Dome.
Admittedly, the scene where Bud & Doyle inhale laughing gas ala Dennis Hopper in "Blue Velvet" is the funniest spoof I've ever seen in a movie!!
All in all, this was a fun, feel good movie, and yes, Pauly Shore does get VERY annoying at times, but hey, this is all just for fun.
Shakespeare it ain't, but if you're in the mood for a fun, feel-good movie to watch on a lazy weekend, check Bio-Dome out!
The single best reason for watching Bio-Dome is the sexy as hell Joey Lauren Adams (From Mallrats, Chasing Amy, SFW) dressed in possibly the sexiest white-trash-girl-next-door outfits ever committed to screen.
Although I might sneak into a Bio-Dome just to swim in the lagoon or sleep in a storage room just like the characters of Stephen Baldwin and Pauly Shore appropriately named "Bud" and "Doyle".
When this movie came out to theaters and not even seeing any previews I sensed it was going to be a stinker, since I saw most of Pauly Shore's previous movies and had yet to utter even a single laugh or chuckle.
I enjoy stupid humor but stupid with no humor is just plain annoying, and that's what you get with a Pauly Shore movie.
This contrived piece of "film" is one that is deserving of a death sentence for the studio executive who green lit this project.The acting is poor, considerably so because of the incipient moron Pauly Shore, the script sub-par, and would only appeal to an uncouth savage.
In fact, anything Malcolm McDowell did with a newlywed couple and a fistful of mashed potatoes in CALIGULA was a thousand times funnier than the collective 'jokes' of BIO-DOME.Movies like this always raise frightening questions.
Why is Pauly Shore still paid to appear in movies when the world, by now, should have made him feel unsafe in going outdoors lest a crippling injury befall him?
How can a movie be so bad that even a four-second appearance by Tenacious D isn't worth sitting through it?In closing, I share the words of a good friend who watched the film with me.
Bio Dome is not the absolute worst movie I have ever seen, and by no means deserves to be on the bottom 100 list, but it's pretty darn close.
Anyone who says this movie is not worth watching does not know how to enjoy everything in life.
Bio Dome is a funny display of those people in high school that you thought would never amount to anything might actually be as adults.
Bud Macintosh (Pauly Shore) is wonderful in this film...I believe its one of his best.
A Few Reasons to Watch Bio Dome...This movie is my favorite movie of all time!
Pauly Shore is a real problem with this movie, I never liked his acting style and this movie has done nothing for me to say otherwise.
It did not have the goofy likability of "Dumb and Dumber", nor the laughs of comedies like "Tommy Boy" or "Monty Python." It only possessed pure idiocy, which apparently all the actors and actresses in this movie thrived on..
Anything about a biosphere should be funny as there is really nothing much to do than think about anything that is a distraction from work at certain times .The movie should really succeed here .On the other hand the survival of mankind may depend on the functionality of these friends..
Bud Weisman (Pauly Shore) and Doyle Johnson (Stephen Baldwin) are two idiot best friends.
The idiots take a drive and end up at the Bio-Dome where Dr. Noah Faulkner (William Atherton) leading a group of scientists are about to begin an one-year experiment.
go get this movie, it is great for hanging out with friends, and getting a good laugh..
Bio-Dome is the Worst Movie Ever!.
Bio-Dome is the most disgraced comedy I've ever seen and there are so many reasons why do I hate this movie so much?
The question is...Yes. This movie is about two stupidest dudes are planning stay over at Bio-Dome for next 365 days, until they started to ruin the entire experiment where no else to get out of this damn dome.
Pauly Shore and Stephen Baldwin are the worst annoying characters that I rather kill myself watching these dumb idiots are acting like monkeys and they have no charm like these goofy funny people like Lloyd and Harry from "Dumb and Dumber." One of the biggest problem about this piece of crap is annoying.
This could be a holocaust of a bad comedy to suffer their humanity of getting suicide while watching this terrible movie.
Most Pauly Shore movies suck most of the time.
Pauly Shore, far from being an incipient moron, is in fact a genius, he is so weird yet it's completely hilarious and Stephen Baldwin is unbelievably funny too.
The movie is not about the acting talents of Pauly Shore and Stephen Baldwin (although Stephen Baldwin clearly is a composite actor, exemplified in films such as The Usual Suspects, the fact he can play a diverse range of roles is another testament to his competence).
Its an easy going, endlessly funny film, perfect for when you wanna watch a movie but don't want some epic Hollywood visual diatribe about mankind or love or some pretentious crap like that.Go see..
This film is all you can expect from a film staring Pauly Shore and has everything you would want from a movie that was created to be watched with beer, pizza and mates.
Some times it's good to put on a movie you don't need to concentrate on, have fun chatting to friends, have a drink and say "aaaaaaaaaahhhhhhhh" every time someone makes a joke about sex.
Pauly Shore and Stephen Baldwin are best friends from childhood.
Having been convinced (more like forced) to sit through this movie, I can only hope that they find a toxic waste dump, throw Pauly Shore into it and head for the hills.
Shore and Baldwin's characters are people you're not supposed to like until they change, but surprise they're still not any more likable than when they were introduced in this movie.
I am not a big fan of Pauly Shore and this is the kind of movie I would expect from him, but Stephen Baldwin, c'mon man!
BIO-DOME is recommended for sissies who worship Pauly Shore's teachings of illicit ways.
I hate that we could have made an ACTUAL BIO-DOME for 15 million dollars (the movies budget), and most of all, I hate myself for putting up with it.
Bio-Dome is one of those comedies where the bad humor is good.
In a weird distorted way it's nearly on the same level of making a comedy that has "good" jokes.Sure, Bud and Doyle do a bunch of annoying and stupid things throughout the film but it's obvious that the film wants them to learn from their annoyances and be better people.
There are those who believe that this movie is harmless fun, when in fact you would have to be one of the hysterically laughing stoners from Reefer Madness to find it at all entertaining.
Again, the idea that this whole movie might actually be a social allegory about man partying over Mother Nature's deathbed may occur to those viewers who are still aware of their surroundings, but it quickly gets lost thanks to several long scenes involving Pauly Shore not being funny.This whole business goes on for ninety fairly painful minutes.
The best part of the movie was that it did not end with a title card that read Pauly Shore Returns In....
Even though you KNOW they're just actors playing a role (Incidentally, did Pauly Shore and Stephen Baldwin have any idea how irritating they were while playing these wretched parts?
Someone must LOVE wasting money) In fact, pretty much everything.It's just a colossal FAIL from top to bottom, a film which should be laughed at and despised until the Earth DOES end.Which will be a lot quicker, if crap like this is the best they've got as propaganda...
Poo. Bio-Dome is one of the very few movies I couldn't even finish watching.
I always despised Paully Shore because he sucks and just isn't funny at all, but after this movie I really could not stand him at all.
This film is anti comedy, so bad and so unfunny it begs the question how it was made, and somewhat a success.Pauley Shore and Stephen Baldwin plays two dimwit best friends who accidentally become test subjects of a Bio Dome project to sustain life for a year.
Being forced to stay in the Bio Dome with the other scientists, their goofy antics ultimately ruin everything, including what comedy stands for.A lot of the comedy comes from Pauley and Stephen making goofy faces and noises.
"Two twits from Tucson," pompous Pauly Shore (as Bud Macintosh) and brain-dead Stephen Baldwin (as Doyle Johnson), have a fight with their girlfriends and go out for a drive on "Earth Day".
More annoying than funny, the co-leads make you wonder how they became movie stars.** Bio-Dome (1/12/96) Jason Bloom ~ Pauly Shore, Stephen Baldwin, William Atherton, Joey Adams.
Pauly Shore may be obnoxious and not that funny, but with Bio-Dome he has made art.
These great ideas I have for movies pale in comparison to BIO-DOME..
i actually enjoyed Bio-dome sure the premise and the actors all sucked but it was a funny movie.
Pauly Shore wasn't the best choice for this movie.
I think if you want a good laugh and are hangin out with your "buddy" then this is the movie for you.But if you are one of those people who do not like teen-like movies then you should not watch it.
In my opinion Bio-Dome is the single worst movie I've ever seen.There is not one funny moment in the entire movie and almost every scene was just bad, not to mention the ridiculous plot.
Then you pick up a job lot of old VHS and find one of these films then feel a strange urge to take another look, maybe there is something you missed........let's be completely honest from the get-go, Pauly Shore is Marmite, hated by most.
We originally thought films like this were garbage simply because there were a lot more things that were funny in those days.
In summary: rent it/download it now if you want a silly comedy with plenty of laughs.I recently watched this movie again after a few years and I still find it hilarious.
I don't know what kind of serious plot people are expecting, but it's meant to be taken as seriously as something like Billy Madison.The dialogue is full of great one-liners that you don't always pick up the first couple times watching, because you're too busy laughing at something else.The total randomness and watching these guys constantly dancing around for no reason just cracks me up.It slows down a bit near the end where it turns into the usual Hollywood 'get the bad guy, save the day' stuff.
I've seen other Pauly Shore movies, and although they were bad, they were at least watchable.
bio dome is a stupid movie, yes i know, but the movie has something that makes you want to watch the movie over and over again.
A strangely amusing movie about two stoners dealing with the environment (great combination).Idiot collegians, Bud Macintosh (Pauly Shore) and Doyle Johnson (Stephen Baldwin).
Pre-Half Baked.Starring: Pauly Shore, Stephen Baldwin, William Atherton, Joey, Lauren Adams, and Kylie Minogue.
it is pretty darn funny to me why people waste their time on here complaining about how bad a movie was!
Bio-Dome has obviously accomplished something if people are still complaining about it nearly a decade later.So you think Pauley Shore is a crappy actor, great.
sorry guys, there goes you stoner flick stereotype).I love this movie, every time I watch it I see subtle things that stick out that make it even more enjoyable.
Bio-Dome is not the best movie ever.
You just have to watch Bio-Dome with the expectations that its going to be stupid.
Not everybody is Kevin Smith, but if you hate Pauly Shore and you hate Bio Dome you probably hate Adam Sandler and Kevin Smith.
Bio-Dome just is what it is, its a weird little movie thats still funny because its so absurd.
Okay, so I'm asking for it by voluntarily watching a Pauly Shore movie, I know.
Shore makes Adam Sandler look like a comic genius, and Stephen Baldwin manages to destroy all the good will he achieved from The Usual Suspects in about, oh, ten minutes.
This is however, a good-time movie.Like I just said, to enjoy this movie best you should watch it with a group of friends and be prepared to quote it until the end of time.
This movie has Pauly Shore in it.
Look, every Pauly Shore movie is about seeing a loser stoner guy irritate intelligent people around him and somehow either cause their downfall or change their mind about him.
This movie is one of the best examples of Paulie Shores genius.
I definitely recommend this movie to anyone who loves Paulie Shores unique humor and even those who don't.
Even if you HATE Pauly Shore you need to see this movie!
Bio-Dome has got to be the funniest movie ever made.
The only Pauly Shore movie worth watching.
I've seen other Pauly Shore movies and I was bored with them & never found them funny, Bio-Dome is the exception.
A lot of my friends as well find this movie funny so it's not just meIf I were to give any reason as to why I find it so funny it would probably be the interaction between Pauly Shore an the Baldwin guy.
I had to make an account to say that the movie didn't get worse, they just got older and forgot how to laugh at dumb things.Bio-dome is an awesome stoner comedy to watch with your friends as are all of Pauly Shore's movies.
The only reason the movie doesn't have better reviews is because people that enjoy these films are too busy out having fun with life and not writing bad things about everything they didn't enjoy online..
i would recommend this movie to anyone who likes a good laugh.
Shore and Baldwin are unwatchable - and so is this movie..
OK anyone who thinks this movie sucks really wouldn't like me.
I don't really know Pauly Shore that well, I saw him in Encino man and he wasn't to bad, but judging from some of the comments I've read he is not exactly a well liked man!
Bio-Dome is so bad a movie that I refuse to waste my time by writing any more than a paragraph on it.
It's a "Bio-Hazard" to any person who watches movies.
If you walk into this (or any other Pauly Shore movie) expecting much more than that, then you are setting yourself up for disappointment.
This movie is stupid yet funny and I don't know why.
I just cannot figure out why Pauly Shore is so funny to me.
Well anyways this is worth a rental if you want to see a stupid movie, if you are bored watch it on tv save your money.3/10 (just for some funny scenes).
It is so funny (even for Pauly Shore)!
I have to admit, I am not a big fan of Pauly Shore, but I really loved this movie!!
If you actually sat down and watched the movie, I bet a lot of people would end up laughing a lot more than they thought they would..
i am a HUGE HUGE Stephen Baldwin fan and i dont think him or this movie ever get enough credit..sure Pauley Shores in it but really its not that bad.
I think that if you like Stephen and are looking for some comedy you should watch this movie.
|
tt0117653
|
Silent Trigger
|
The movie takes place in and around an unfinished city skyscraper, the "Algonquin", where a sniper/spotter team (Waxman and Clegg) set up a firing platform on a top floor. The two arrive independently of each other, two of the Agency's assassins. As they meet, they recognize each other, as they have been on a mission together before.
This mission is portrayed in a series of flashbacks. In the first flashback, Waxman and Clegg were supposed to assassinate a female politician. Waxman hesitates when the politician lifts a child and, while hesitating, a helicopter appears, air assaulting soldiers in the courtyard behind the team's firing position. The two defeat the attacking force, including the machine gun-equipped helicopter, whose pilot and copilot are shot through the canopy.
Returning to the primary scene, one of the construction site security personnel is new on the job. The drug-addicted regular, O'Hara (Christopher Heyerdahl) attempts to win a statutory position over him by scaring him. As Waxman opens a roof door, a light by the security personnel turns on, and the newcomer, Klein (Conrad Dunn) leaves in search of it.
The internal lift of the building is clearly audible, and Clegg surveys Klein's movements, when he arrives. She interrupts his inspections when he is about to open the roof door. She takes him to the lift, sending him downwards. However, just as she is talking him off, she sees Waxman sitting on top of the lift car. He mounts a bomb on the lift car and, when the car begins moving, nearly falls down the shaft. He is saved by Clegg, and they both attempt keeping up the "just business"-facade, although some romantic appreciation is apparent.
While the two on the rooftop readjust their gear, O'Hara, presumably, decides to rape Clegg. However, Clegg pulls her small-caliber sidearm, and threatens O'Hara into the lift. When O'Hara returns downstairs, he picks up his gun and puts on body armor. He then surprises Clegg, while she is standing over the sink of the top-floor bathrooms. Clegg points her gun at him, and shoots a well-aimed bullet into his chest. Unsurprised by this, O'Hara attacks Clegg, but is encountered by Waxman, and a violent fight takes place in an unfinished hall between various building materials. The fight is won by Waxman, and he ties the now bloody O'Hara to a toilet.
Clegg and Waxman consummate their feelings for each other. Afterwards, as duty continues, Waxman heads for the bathrooms, but sees water running out under the door to the bathroom. He pulls his gun, and discovers that O'Hara has disappeared.
O'Hara bears the toilet with him down the stairs. A vengeful O'Hara grabs his shotgun and is about to go upstairs to finish off Waxman. Klein, the new security guard, shoots O'Hara with his shotgun, walks to the spot where the dying O'Hara lies and, in cold blood, puts a final shot into him.
Upstairs, the two are engaging the target. As before, Waxman hesitates and doesn't take the shot. As history repeats itself for the two, Clegg pulls her sidearm and implores Waxman to do his duty. Before the situation escalates, another shooter shoots the target four times and, when finished, takes aim for Clegg and Waxman. Waxman quickly throws himself and Clegg away from the shot, grabs his rifle and shoots the adversary. Waxman and Clegg defend themselves from Special Forces personnel raiding the skyscraper. Waxman and Clegg are surprised by Klein, who has stealthily entered the room. He shoots Waxman in the chest with his shotgun, but is threatened by Clegg who has picked up an MP5 submachinegun. He takes the lift car and leaves when the planted bomb explodes.
Believing Waxman to be dead, Clegg flees the skyscraper. As she walks away from the building, the top of a nearby fire hydrant is shot off. She looks up, and sees Waxman throwing his sniper rifle from the building. Clegg walks away, smiling.
|
violence, plot twist, flashback
|
train
|
wikipedia
|
Gina Bellman is difficult to watch, being from the UK I'm acquainted with her later (emetic) sitcom work, and seeing her try to hold down a serious role is very funny.
Most of the film is set in the penthouse of a skyscraper (the Algonquin) at night time during heavy thunder and rain.
The rest of the film is shown in flashbacks of Waxman and his spotter's exfiltration following an abortive assassination attempt.
Good though.In true B-movie tradition we have a freak, Christopher Heyerdahl, as the night-shift security guard in the Algonquin.
This one is more for the B-movie mavens.Plot-whores don't really like this movie because it is a bit discontinuous, for example why on earth is Waxman given a second chance after his first failure to complete his assignment?
But Silent Trigger is perhaps the most entertaining movie I have ever watched, and I could see it again and again.
`Silent Trigger`is the best actioner Dolph Lundgren made in years and it looks absolutely fantastic for a B-movie.This feature owes a lot to dynamite direction of Aussie-shooter Russell Mulcahy who made a really significant contribution in this one.
The whole movie relies entirely on Mulcahy`s direction that is still hip and vital.The script is average with lots of flaws in the middle of the movie but the writing overall does the trick.Plotting is trashy but the ending is twist-oriented and it really freshens up the whole concept.The script isn`t witty enough but those gaps could`ve been filled by bigger budget since the movie has only two capital A,action set-pieces.I wonder how Mulcahy got expelled from the Hollywood action mainstream since lots of hackers like Hyams or Dwight H.Little get to do mainstream movies even though they haven`t had a hit for years.
This movie is the right way for Dolph to go because such action vehicles are hard to find in Hollywood these days.Lundgren`s martial art scenes are great since he is tall and bulky so his kicks really pack a punch.His face isn`t as pretty as Van Damme`s but he hits harder.Of course `Silent Trigger` ain`t no `Citizen Kane` but it sure does go way beyond anyone`s expectations from a movie that lays in the dust of the video-store back-shelf.
No Kevin Hooks or Peter Hyams can overthrow this wet of hip visual directing.Let me remind you that Mulcahy brought video clip aesthetics to the Hollywood mainstream at the time when David Fincher,Simon West and Domenic Sena used to dress in diapers.Sadly,he never had an idea of his own like Fincher but he still made groundbreaking videos for `Queen` and movies like `Highlander` or `Ricochet`.Let`s hope he finds his way back to the maistream..
Paranoid assassin Waxman (Dolph Lundgren) is hired to perform a high value hit from the top of an under construction high rise.
Trouble starts right away when he finds out his spotter, Clegg (Gina Bellman), worked with him a few years previous on a job that went incredibly wrong.
Dolph also provided you with fantastic action scenes that will take your breath away.
The movie is about an assassin (Dolph) who was the best in the business.
If you like Dolph, he looks really good in this film and his acting isn't bad.
He does deliver one boring monologue that you should just skip, and the girl in the film (Gina Bellman) has an annoying voice.
However, the action scenes are good and the film looks really slick.
He does a great job as a weirdo guard, and is an excellent filler for action during the assassins set up.
The action scenes were good; some extreme, but not too outrageous like a lot of other flicks.
And maybe I could include that the Canadians seem to have a higher percentage of good action movies than Hollywood..
Waxman ( Dolph Lundgren ) is a highly trained, expert assassin working for a secretive undercover organization known as The Agency.
After failing to pull the trigger at his target in a previous mission in a unnamed war-torn East European country, Waxman ( Dolph Lundgren )and Clegg ( Gina Bellman ) his beautiful accomplice who is his "spotter" are given one last chance to make things right.When i saw this movie i was very surprised how creative and stylish this movie turned out to be, the lighting, the soundtrack, locations and characters made this movie my favourite Dolph lundgren movie.
I must say that most of the credit must go to the director of this movie Russell Mulcahy, not only he made this movie a very entertaining action film for action fans, he also creates a good style of suspense..
The movie has a good plot, great acting, interesting stuff, well scripted bad guys, and is very beautifully shot.
The flashback of the shooter and spotter were interesting, one of the two security guards is one messed-up-in-the-brain, coke-sniffer, the other was a very annoying by-the-book rookie, the shooter was a "paranoid" man, and the spotter was a beautiful woman that "got along with everybody", or so she thought, I would dare say Russel Mulcahy did an excellent job at directing and recommend it..
After reading the other reviews I can say what some may not like about this film makes it a hit for me.
You might like this movie less if you need a visible plot and an even pace (it's not here!).
It's got some problems that threaten my rating and may limit it to a niche audience, but for the most part, this is a successful experiment the likes of which Lundgren has yet to reproduce.The story: A mysterious sniper (Lundgren) and his spotter (Gina Bellman) face a series of internal and external threats as they prepare to eliminate a target from an unfinished high-rise building.From a thematic standpoint, this is an extremely ambitious effort for an action movie starring a performer best known for punching people.
There are some lapses and excesses to this moody atmosphere, but for the most part, the filmmakers are very successful at striking the tone they want.The one major qualm I personally have with the picture is its treatment of Gina Bellman's character, which makes painfully clear that this is a movie written by men and for men.
Bellman's talent shines through even in the most indignant of situations, but aside from the usual tropes of turning a highly-trained female operative into a damsel and a random sex scene, it's a challenge to find any statements or actions the character makes that aren't in some way critiqued by her male counterparts.The action content is measured.
Two major shootouts compose the highlights of the action, and Lundgren's weapon of choice – with its immensely powerful bullets but agonizingly slow rate of fire – gives these scenes a unique pace that you don't get when both sides of a firefight are blazing away with automatic weapons.
Essentially, this is an action movie that asks you to take a chance on something other than the strength of its action, and if you'd rather spend your time on less of a gamble, Lundgren has an entire library of other flicks to check out.Personally, I had a good time with this one.
The fact that the star has not attempted to make another film along these lines is a little disappointing, since Lundgren does well with the minimalist touch.
Nevertheless, this helps make SILENT TRIGGER something of a hidden gem, and if nothing else, the strength of its production places it on the list of high-end offerings among Lundgren's non-theatrical features..
Some of the over excited Lundgren fans compare this to "Reservoir dogs" and say that this movie has a very clever plot.
I mean, when it ended I felt almost like characters in the movie.
But what I do know, is that despite being a quite generic action movie (hits almost everything in the cliché check-list) it has some amazing atmosphere which actually works fantastic with such special kind of acting (phlegmatic I would say) and some weird-cheap special effects.
It's OK, Just Not A Great Dolph Lundgren Movie.
Overall, I always want to like Dolph Lundgren movies but seldom do?
I think he chooses action movies with poor storylines and crummy directors.
A different kind of Dolph Lundgren movie.
Of all the movies I've seen from Dolph Lundgren until now Silent Trigger is the most unusual one and it sure surprise me in a good way.
The movie is very stylish with the look and the shot for a B-grade action movie starring Dolph and for 1h and a haft the movie definitely take a large amount of it runtime to set of the relationship between two main character so for some people who just want to be entertain that maybe a downside but don't worry too much cause when the action finally kick in it very bloody and squishy.
For me I think the real downside of Silent Trigger is not the limited action scene but the cat and mouse game with those two guard cause this time it actually bugging the hell of out me for long it take and if you look at the situation from a logical angle get rid of those two from the get-go will make thing much easier later on.
Good Hit-man Movie.
i am Really Big Fan of Dolph Lundgren but there is not much of Actors on this movie but in this movie it's Really fun flick,Really Fun Entering Film Ever made well shot film i like Dolph Lundgren cool name in this movie Waxman that is Hit-man name perfect killer name.Gina Bellman did well in this movie but not that hot women i think it would be perfect if they get perfect women that would be so hot Pamela Anderson would be perfect for this movie rather then Gina Bellman,any way it doesn't matter that's what they choose i love Action scene when Helicopter shootout crashed in to the building that was awesome and there is a lot of Action in this movie 5 minutes of Action non stop is so awesome i think this was before Dolph Lundgren went into low budget movies that was OK but i want Dolph Lundgren to get into more Big Budget Movies, there is cool Action Scene when Dolph Lundgren and Security Guard was Fighting each another i love shootout at building and Explosion scene was Awesome i am Big Fan of Dolph Lundgren he is Awesome this movie was amazing..
It's an interesting concept that allows the filmmaker to produce 90 minutes of tasteless crap and bad acting without having to invent reasons for it or waste time to explain things, time better used to cram in even more blood, bullets and bodies.
OK normally i wouldn't bother commenting on a movie like this, but honestly, what is with the good reviews for it?!
And Dolph Lundgren....i don't know why anyone ever let him near a film set!Basically, unless you want to laugh yourself senseless at the stupidity of the plot and how little sense it makes, AVOID..
They work for an unnamed agency, their jobs have no motive, the flashback story is set in an unnamed country etc.
The director has done some OK action movies and did some cool shots with this.
Also, the flashback story goes absolutely no where, and actually ends in a situation that makes the present hit make absolutely no sense..
This movie should be an excelent guide movie on how to use spectacular lighting the correct way if anyone are teaching a course in this.So, to sum up, slow movie, some stupid scenes that people have mentioned here before, but nice lighting makes it worth watching..
Dolph Lundgren stars as Waxman an assassin who becomes the target when his supervisor (Conrad Dunn) double crosses him, while Klegg (Gina Bellman) has an agenda of her own in this strictly routine "hitman with a heart" caper.
I mean, come on, it's Dolph Lundgren, and he's got a *really* big gun!
The main threat most of the time seems to be two security guards who would last about 5 seconds in any self-respecting action movie, one of whom, for no discernible reason, wants to rape the female lead, who would be quite capable of eating him for breakfast.
The point is, I saw this this movie twice and still didn't get the plot because there's so many events keep occurring around two Assassins (Dolph Lungdren and Gina Bellman) living in some high rise blocks of flat as they await orders to assassinate someone.Although this is not one of Dolph's best, he may be an action hero but someone's gonna give this guy a decent script.If he wants to be bigger than Schwarzenegger, he's gotta find something new rather than do something which is not really entertaining..!.
Therefore, based on my nostalgia for Dolph Lundgren's stints in such 'classics' (well, I thought so!) in 'He-Man, Dark Angel and Universal Soldier,' I thought I'd give 'Silent Trigger' a go.Now, normally this is the time I say something like 'You should know what you're getting with a film called 'Silent Trigger.' I know it's a B-movie.
Whether it was due to the blatantly computer-generated attempts at major action set pieces, or just the ludicrousness of the script – it did hold my attention, sadly just to see how bad it gets.
The plot (and I use that term loosely) begins with Dolph Lundgren failing to assassinate his target (did I mention he was an assassin?
Either way there's a lot of 'cat and mouse' which takes place, leaving me a little unsure as who I'm supposed to be rooting for – the killers, or the nut jobs guarding the place.So, there's basically only four people in the cast and therefore what little action there is is sparse and hardly high-octane.
So, in order to pad out the film's runtime there's more flashbacks which don't really make an awful lot of sense and all could have been left out of the story if truth be told.I like a good B-movie.
Yes, if you're a REAL die-hard fan of Dolph himself I guess you'll like it more than normal, but even he can do better (I take it you've seen the Expendables?).
Actually its a slow Action Movie.
I don't know if the word Action is right for this Movie.
What I liked and can never forget about the Movie WERE the last 15 Minutes.
Gina Bellman such a cool Actress, I like her acting and even her real personality.
I use to like this guys acting and hope he goes on making some great Movies, but I think he should take roles which suite his age.
A movie that even makes Dolph Lundgren look good.
In Fact the plot is not the work of a real genius but this film thrills.
Not least the work of Gina Bellman which gives the film a warm note in this cold location and her character will be stronger as the viewer thinks at the beginning of the movie..
Silent Trigger is worth seeing but it's not the best Dolph vehicle out there..
Apart from that, this was the beginning of a phase of more serious-minded films from Dolph, leading up to Hidden Assassin (1995).
In Silent Trigger, however, there's a lot of set-up in the plot (perhaps too much), but what's good about this movie is that it is at least trying to be different.
What helps that are the stylistic flourishes by Russell Mulcahy that provide atmosphere and interesting shots, camera-work and set design.On the flipside of that, however, the fact that the movie takes place in one location (except for Dolph's flashbacks/memories) impedes the movie, even though the set is impressive.
That would have helped this movie a lot.On the bad news front, there is some really stupid and unnecessary (well, it's always unnecessary) CGI at times.
But the violent bits that are in the movie are great, and that keeps the viewers' interest.Also it should be pointed out that Dolph has an extremely large, complicated gun.
More like an art-house movie than an action thriller.
A cat and mouse game between a heroic sniper and sinister assassins, all set in a super high-rise building miles above the ground, directed by Russell Mulcahy, the man who gave us that '80s cult classic HIGHLANDER.
Wrong, unfortunately, as Mulcahy yet again proves himself to be a one hit wonder with this watchable but disappointing story that suffers from a slow pacing, a lack of decent action, and a budget that really hurts.
You know the film is in trouble when there are only four cast members and the story is set in one location, but despite this, there are flashes of style and inspiration to keep you watching and wanting more.
For a start, the camera-work isn't bad at all and manages to make the setting pretty interesting, if bleak; a deserted and run-down building soaked by the constantly pouring rain and covered in grime, littered in dirt.Into this setting comes all-round action man Dolph Lundgren, one of the more dependable actors in the straight-to-video crowd whose work I'm quite fond of; his highs may not be as high as the high points in Van Damme's and Seagal's respective careers, but at least he usually hits the mark more often than those two with his movies and rarely lets his audience down.
After an incredibly slow first hour (which introduces and explores the characters to a minimal level, whilst they walk and sit around a lot) there is one major set-piece towards the finale which provides something of what I was expecting from this movie, but it really isn't enough and the end result is that I'm left feeling a little cheated.
A waste of Lundgren and a bare minimum of an entertainment value, SILENT TRIGGER is recommended for dedicated drama fans only, as its cold atmosphere makes it seem more like an art-house movie than the action flick which it masquerades as.
|
tt0078797
|
Arrebato
|
José Sirgado (Eusebio Poncela) is a frustrated horror film director and heroin addict in a tumultuous relationship with Ana (Celicia Roth). The cousin of his ex-girlfriend Marta, Pedro (Will More), sends him a film, an audio cassette, and the key to his apartment despite the fact that the two have only met twice; once when José came with Marta to visit the family and Pedro asked for his help in controlling time in his films, and a second time when José returns with Ana to give Pedro a device for his camera that can help him in achieving this goal. Pedro describes his life after the gift on the cassette as José watches his film at the same time, explaining that one night after falling asleep he discovered that his camera turned on by itself and filmed him. After developing the film, he discovers a red frame in which the camera has lost the image of his sleeping. Curious, Pedro allows the camera to film him multiple times as he sleeps, only to discover that the red still frames are growing in number. Unsure of what the frames mean, he asks his cousin Marta to watch him as he sleeps. As she watches one of his films, the camera moves on its own to face Marta, who disappears. When he only has one more frame left before the entire film becomes red, Pedro sends the film, his audio instructions, and the key to José, instructing him to come to his apartment and develop the final film. José complies, finding the apartment empty, and discovers the film to be entirely red except for one frame of Pedro's face. The image begins to move, with Pedro gesturing towards the bed with a subtle smile, implying that José should also let the camera film him as he sleeps; the image becomes blurred and then changes into José's own face, which makes a similar gesture. The final scene of the film finds José getting into Pedro's bed to experience the same "rapture" as his friend.
|
cult, psychedelic, comic
|
train
|
wikipedia
|
Little known masterpiece.
Get hold of it if you can.
Best vampires movie ever without even showing any teeth...If you thing you are committed to your work, see the protagonist of this movie.The director had to adapt to stern constrains in number of characters and locales and still he came up with a modern classic, catching the spirit of the "movida madrileña" ( a musical an cultural boom in Madrid eighties) and providing a metaphor for the trail of wasted talent this outburst leave, because of drugs, diversion and basic human frailty.
In my personal top 5 Spanish movies of all time..
One of the greatest Spanish Movies.
Arrebato by Ivan Zulueta is a wonderful, strange movie.
The desire and the magic of cinema full the screen.
This extremely beautiful film describes clearly the darkness state of things, the joy and pain of living, taking drugs, being and loving the cinema.
A little big jewel to feel..
An extraordinary, oblique, and disturbing celluloid nightmare!.
Extraordinary, oblique, disturbing, and somewhat rare Spanish feature from 1979.
This stylish piece documents the gradual subversion, and inexorable collapse of a young, dope-addled, wholly jaded filmmaker's life.
A dark, surrealist nightmare about the apparently vampiric properties of a hypnotic, phantasmagorical super-8 film that once seen is not soon forgotten!
(including the viewer and main character alike!) 'Arrebato' is a strikingly lucid and fiercely imaginative work of pure cinema that includes some genuinely unsettling sequences; the narrative enigma grips right from the terse opening gambit, and swiftly immerses the giddy viewer in its unrelenting maelstrom of hallucinatory strangeness..
A cult-movie which is also an enormous film.
Arrebato is an unknown film also in Spain because it's very difficult to access to one copy of this inimitable film.
In fact I think that Arrebato had been seen by a minoritary group of all the people who loves deeply the good cinema.
It is a cult movie made with the same cast and professionals than Almodovar first films, but it isn't an Almodovar's film.
It is one of this films that change your impressions about the cinema and without any doubt, we can say that is the history which better reflects the vampiric relationship which we can see between the movies and those people who believes that the cinema is more important than live..
An enrapturing film.
Obviously, you will receive a surprise from this enrapturing film due to strange denounement and secondary characters.
Slowly in the begining, it justifies that scenes during the film while you get catch for the story unconciously.
Special mention to the work of Will More, a curious actor who didn´t work in cinema never more, only little appearances on TV series.
Correct performance of Eusebio Poncela but he is better actor now, the same to a young and inexpert Cecilia Roth.
Definitely you have to see this movie and think about it during hours before you beat the insomnia that the film could produce.
Very disturbing..
excellent.
no more words.
a guy is vamprized by a super-8 camera in the late seventies, in a thick atmosphere of drugs, alcohol and sex.
the film catches you from the first second and vampirizes you as well.
if you happen to have the chance to see it - i doubt it, don't lose it.
A major cult film from Spain.
From initial ridicule (despite the official recommendation as a quality feature) to flat-out praise, it took more than twenty years to realize the seminal influence of this film on Spanish production, from Almodovar onwards.
It draws many influences from the Warhol-esque New York underground scene but has tremendous scenes.Whoever wants to understand what Betty Boop was all about, must see Cecilia Roth dance scene, it is fabulous.Contains a lot of drug addiction references, which should be seen as an analogy to the addiction to capturing moving pictures and watching them.
The only way for a film director to get rid of the latter is to dissolve into the industry..
Love, drugs, vampires and film reels with a Bergman touch.
A very disturbing Spanish cult movie, involving drugs addiction, the dark side of love and the passion of filming.
For most of the critics is also a horror movie and a vampires story.
And every time you watch it you can find in it something new, indeed.Shooted in the years of the Spanish political and cultural dawn, but going away from the mainstream, and with a very low budget, it drives you from the beginning to the end in so a magnetic and weird plot that you can't stop watching.But Arrebato is also remarkable because of the astonishing performance of the main characters couple, Eusebio Poncela and Cecilia Roth.
Most in the claustrophobic atmosphere of their bedroom, it reminds some highlights of Ingmar Bergman films like 'Scener ur ett aktenskapps' o 'Saraband'.
Absorbing 70's bizarre.
Film maker José Sirgado (Poncela) gets to know amateur film director and freak Pedro though an acquaintance of both.
Pedro's bizarre movies and José's personal problems and drug addictions act as the glue that forges a master-pupil relationship, especially when José makes a technical improvement to Pedro's camera that allows interval shooting.
All this with some undefined gay twist to their relationship.After the relationship is put to sleep and José is back to his gloomy apartment in Madrid and his drug-driven love relationship with Cecilia Roth, he is surprised to receive a package from Pedro one day.
And inside the package, a film and a cassette tape seem to indicate that a vampire lives inside Pedro's Super-8 camera, a vampire that absorbs people and makes them disappear when they are filmed.Could it be true?
Or is it just a result of too much drug intake?
The story becomes then a vehicle for theorizing on the creative process in arts, the relationship between the artist and his product, and finally the fascination with cinema in our lives ("Arrebato" can be translated as "raptum" and refers to the impact of certain artistic clichés -- King Solomon's mines for Sirgado, Betty Boop for his girlfriend-- in our feelings)As a very thin backdrop to the story, Zulueta portraits an sfumatto of the Spain of the late 70's: a society that used drugs liberally, craved for freedom, and made the way of sexual liberation while challenging the statu quo of decades of dictatorships.
|
tt0055423
|
The Secret Ways
|
In Vienna, 1956, after Soviet tanks crush the Hungarian uprising, American adventurer Michael Reynolds (Richard Widmark) is hired by an international espionage ring to smuggle a noted scholar and resistance leader, Professor Jansci (Walter Rilla), out of Communist-ruled Hungary during the Hungarian Revolution. Reynolds goes to Vienna to see the professor's daughter, Julia (Sonja Ziemann), and he persuades her to accompany him to Budapest. Once there, Reynolds is kidnapped by freedom fighters who take him to the professor's secret headquarters.
Meanwhile, one of Jansci's trusted aides is captured by the Hungarian Secret Police and forced to reveal the professor's hiding place. Reynolds, Julia, and Jansci are quickly rounded up and taken to Szarhaza Prison, where they are tortured by the sadistic Colonel Hidas (Howard Vernon).
They are rescued by a resistance fighter known as The Count (Charles Régnier), who tricks the Communists into placing the prisoners in his custody. At the last moment the ruse is discovered. The Count is killed as the other three race to the airport where a chartered plane is waiting. Hidas pursues them but is killed in an accident on the runway. Safe at last, Reynolds, Julia, and the professor leave Hungary.
|
melodrama
|
train
|
wikipedia
| null |
tt2025667
|
Smiley
|
The plot revolves around the titular Smiley killer, the subject of an Internet myth. Supposedly, if a person on a ChatRoulette-style website types the phrase "I did it for the lulz" three times, their chat partner will be murdered by a killer called Smiley, so named because he mutilated his own face by stitching his own eyes shut and carved his mouth into a smile, before they themselves are killed.
A college student named Ashley (Gerard) becomes roommates with Proxy (Papalia), Ashley decides to go to a party where she meets Zane (Allen), Mark (Turner) and Binder (Dawson), who is mocked by his classmates for having reported a case of pedophilia, earning him the nickname Pedobear.
One night Ashley and Proxy test out the Smiley myth with a random person online. After typing "I did it for the lulz" three times, to their horror, the stranger is murdered. Proxy convinces Ashley to stay silent. However, Ashley begins experiencing guilt over the stranger's death. She also begins to believe that Smiley is stalking her and intends to kill her; her friends and a psychiatrist write this off as anxious hallucinations and nightmares. Ashley eventually goes to the police; there she tries to convince them, to no avail, to investigate the murders caused by Smiley. The police basically dismiss her, implying that she is going crazy and quite possibly on the receiving end of a large, elaborate prank.
When Proxy loses contact with Zane, she video chats Ashley, in hysterics. Ashley goes to his house to check on him, only to find him shot dead with a handgun he purchased for self-defense. Instead of calling the police, Ashley picks up the gun and orders Proxy to type "I did it for the lulz" three times, hoping to ambush and kill Smiley. However, she accidentally shoots Binder, who had been coming over to check on her. Moments later, Smiley appears and slits Binder's throat. Ashley is then attacked by multiple Smileys, finally throwing herself out a window to her presumed death to escape them.
It is then revealed that all Ashley's classmates, including Proxy, Binder, and the babysitter murdered in the opening, are all part of a fringe group of Anonymous. They created the Smiley myth as a large-scale prank, although they are satisfied with Ashley's death. Binder states that Smiley will likely live on long after them and inspire copycat killings.
Later, Proxy is video-chatting with Zane, questioning their morality. Zane dismisses her worries and types "I did it for the lulz" three times as a joke. However, a real Smiley appears behind Proxy, kills her, and then waves at Zane via webcam. In a post-credits scene, Ashley is revealed to have survived her fall.
|
murder, prank
|
train
|
wikipedia
| null |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.