cigarjoe

I've read that all of the "Flesh" movies were wildly popular on the Grindhouse circuit back in the day.

It was explained in the interview in the DVD set extras with Charlotte Rae and Hank Garrett the only two surviving cast members. Joe E. Ross's (Toody's) "Ooo-ooh" is what he said when he forgot his lines, much like Curly Howard used "Nuck, nuck, nuck" for the same thing.

It makes a good Noir more interesting and makes a so-so noir more watchable.

Agree with Dargo, for good Noir gotta see Where The Sidewalk Ends, Edge Of Doom, and Fallen Angel

Been re-watching one of the funniest sit-coms ever from early TV - Car 54, Where Are You? (1961–1963). A uniquely New York show filmed practically entirely in the Bronx at Biograph Studios. Created by comedy genius Nat Hiken (The Phil Silvers Show (1955 - 1957) It starred: Joe E. Ross and Fred Gwynne as two squad car patrolmen, a sort of Mutt & Jeff comedy team with the rest of the regulars being... Paul Reed Al Lewis Hank Garrett Beatrice Pons Jack Healy Albert Henderson Frederick O'Neal Jimmy Little Nipsey Russell Ruth Masters Charlotte Rae Jim Gormley Joe Warren Bruce Kirby Duke Farley Phillip Carter Gerald Hiken Mickey Deems Mel Stewart Lawrence Fletcher Ossie Davis And guest starred... Nathaniel Frey Jerome Guardino Martha Greenhouse Heywood Hale Broun Jake LaMotta John C. Becher Matt Crowley Maurice Brenner Lou Polan Larry Storch Billy Sands Shelley Burton Al Nesor Patricia Bright Bernard West Michael Vale Dort Clark Paul Lipson Shari Lewis Charles Nelson Reilly Margaret Hamilton Hugh Downs Maureen Stapleton Wally Cox Mitch Miller Jan Murray Tom Bosley Sugar Ray Robinson Simon Oakland Jack Gilford Rocky Graziano Richard Morse Frank Campanella Godfrey Cambridge Shelley Berman Complete series all available on DVD.

Yes, that was Fred C. Dobbs thread if I remember right.

I just finished reading Charles Williams A Touch of Death a great femme fatale in that one along the likes of Matty Walker in Body Heat and Bridget Gregory in The Last Seduction.

You're right, Brooks paints a cautionary tale, multiple casual hook-ups can get your **** in a jam. It's the law of percentages or Murphy's Law. The only two critiques I've heard of the film are one, Brooks use of Theresa's confusing daydream sequences disrupting the flow of the story, and the initial decision to discard the part the real victim Rosanne Quinn played in her own demise. In the film Theresa Dunn is shown as basically picking her partners on whims or attraction. In the true story Roseann Ouinn was shown to possibly be a bit of a thrill seeking masochist. But questions remain. Was she picking her partners because they displayed damaged egos that she could manipulate, or maybe was it a warped extension of her help giver profession that she channeled into the realm of sexual help? Or was she just kinked that particular way and was looking for rough sex and trouble, and maybe that, was her antidote to being the overly sugary sweet, well loved teacher. Who knows. She just picked the wrong guy, once.

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Ida Lupino looks really hot in this flick.

I wrote this back in 2006 about Sergio Corbucci: "I know I've said this before in other threads, but this director is an enigma, he really needs an SW book devoted to his body of work. Now either Leone is a phenom, or just very lucky in his career arc since it seems to me that every Western film of his pretty much followed a path of getting progressively better and better from A Fistful Of D through the project that he took over, DYS. As budgets increased so did the spectacle. Sergio Solllima to a slightly lesser extent followed suit, Corbucci however seems to be all over the map. Of the ones (SW's) I've seen: Django 1966 (ok), Navajo Joe 1966 (eh), The Mercenary 1968 (great), The Great Silence 1968 (excellent), The Specialists 1969 (W*T*F?), Companero's 1970 (great) So how do the following fit in for those of you that have seen them. Massacre At Grand Canyon 1965, Minnesota Clay 1965, Ringo And His Golden Pistol 1966, The Helbenders 1967, Sony & Jed 1972, What Am I Doing In The Middle of A Revolution 1973, The White The Yellow And The Black 1975. I know some like, The Hellbenders and Sonny & Jed, ..." I've since seen The Hellbenders with Joseph Cotton which is watchable. The Great Silence is probably Corbucci's greatest Western all'italiana (as the Italian's prefer to call them). Two others I really like are Companeros (1970) Vamos a matar, compañeros (original title) with Franco Nero, and Tomas Milian, and The Mercenary (1968) Il mercenario with Franco Nero, Tony Musante, and Jack Palance. Others of note are the original Django (1966) with Franco Nero, and The Cruel Ones (1967) aka "The Hellbenders" with Joseph Cotton. The ones I didn't like are Navajo Joe (1966) with Burt Reynolds, and The Specialists (1969) with French singing star Johnny Hallyday which was pretty ridiculous. Since I like Tomas Milian and I see that Sony & Jed is now out on DVD I may give it a spin. Now the rights to The Great Silence was supposedly bought up by Clint Eastwood or Malpaso and was reworked into the story line for Joe Kidd, there is even a Mauser Bolo machine pistol in it. Also that one scene where Silence reveals his knife scar is awfully similar to a scene in Eastwood's Hang 'em High where Eastwood reveals his hanging rope scar.

I don't even know who they are.....

Zabriskie Point (1970) Directed by Michelangelo Antonioni starring Mark Frechette, Daria Halprin, and Rod Taylor. Some beautiful cinematography of Death Valley the Mojave Desert and also of Southern Arizona. Never saw it the first go round, it's of it's time. Counter culture Art Film, politics, smoking weed, civil rights, hippies etc., etc., with a soundtrack by Pink Floyd, The Youngbloods, Kaleidoscope, Jerry Garcia, Patti Page, Grateful Dead, the Rolling Stones, John Fahey and Roy Orbison who wrote and sang the theme song, over the credits, called "So Young (Love Theme From "Zabriskie Point")". 6/10 Source on line screener, that if it wasn't free I probably wouldn't have watched it.

Age Of Consent had a lot of artwork I'm sure most of it was created for the film.

The Wild Bunch Midnight Cowboy They Shoot Horses, Don't They? Burn! True Grit Marlowe Shame, Shame, everybody knows your name The Honeymoon Killers Support Your Local Sheriff! 100 Rifles Age Of Consent

Blindman (1971) Inspired Lunacy Tony Anthony is the iconic philosophical Blindman, he wears a floppy sombrero with a cartridge belt hat band, a patchwork duster with one sleve missing, he has a Winchester rifle that has an extended magazine that comes to a point making it double as a walking stick/cane. He uses a braille map and compass. He wears a leather sign around his neck that he can flip open that reads Blind Man on top and the equivalent in Italian below. He has a seeing eye horse named "Boss" which takes him where he wants to go... when he asks for directions he tells whoever he's asking to "tell the horse". ;D "Boss" is some talented horse the whole credits sequence and about the first 4 minutes features the antics of this extraordinary steed. Besides all this he's got extraordinary hearing and somewhat of a sixth sense and can mow down the baddies as he detects them, ;D this ladies & gentlemen, is the essence of a good SW. Its done well enough that you suspend belief, its a good flick. He enters a cantina with his Winchester in his out stretched hand so naturally everyone scatters as he swings the thing around. When he gets a room for the night he swings the rifle around and breaks a mirror, lol. The story is he's got a contract to deliver 50 mail order brides to a bunch of miners in Lost Creek, Texas. He arrives in the town of Big Inch to collect them but finds out that a bandito/pimp named Domingo has hijacked them to work in a bordello that he runs with his sister "Sweet Mama." They are pimping them to the Mexican Army. Domingo's brother is "Candy" played by Ringo Starr, he fancies a gringo blond and she is his undoing. Ringo does a great job with his character This film even has a train scene that features the same squeeky windmill at a water stop along the railroad from Once Upon A Time In The West, (no I didn't see if it was Morton's RR ;D). I watched two versions of this the English cut and the Italian cut, the English cut has less T&A nudity (what can you expect with 50 women and it being the 70's, (it reminds you an sexploration women in jail flick) and some bloody gunshots cut out so its a tad bit shorter. The Italian Cut has a few more Blindman philosophical one liners that don't show up in the English language version. Here's one: "Being blind is like being half a man, being blind and having no money.....now that's a ****" The sound track is also good. Shrieks, whistles, guitars, whip snaps, sounding a lot like Morricone but its Stelvio Cipriani. Source: SPO Entertainment Japan DVD, but I hear that a German release with an English language version is being released. I didn't know what to expect with this flick but was pleasantly surprised. It's a hoot. 7/10

Lol, that could be taken that way I suppose. Another "Commie Noir" not mentioned above is The Woman on Pier 13 (aka I married a Communist) (1949)

Yes you could definitely cross reference it as a "Commie Noir" also.

The Blue Lamp (1950) Directed by Basil Deardon with Jack Warner, Jimmy Hanley, Dirk Bogarde, Robert Flemyng, Bernard Lee, and Peggy Evans. A good British police procedural about a rookie bobbie (Jimmy Hanley) and his veteran partner (Jack Warner) on their daily beats. Two hoods Tom (Dirk Bogarde) and Spud (Patric Doonan) commit a series of robberies with Tom's girlfriend Diana (Peggy Evans) a runaway teen acting as the insider. When Warner is shot during one of the robberies, the entire city's police force is after them. The film features an abondanza of gritty London locations. The restored Bluray is very nice with a few interesting London then and now features. 7/10 Source StudioCanal Bluray Gunn (1967) Directed by Blake Edwards, starring Craig Stevens reprising his roll as Peter Gunn from the Peter Gunn (1958-1961) TV series. It's a decent effort. Stevens and the classic theme by Mancini are the only returnees from the series but the film is quite noir-ish and (then) up to date "hip." Ed Asner takes over the Herschel Bernardi role in the role of the police detective. The action all looks moved to Southern California or Florida (glimpses of palm trees in the darkness). Mother's is now a beach bar. You can see the influence of the demise of the M.P.P.C. and James Bond films in Stevens' interaction with Sherry Jackson as a sexy babe who turns up naked in Gunn's bed and quite a few bloody action sequences. Gunn's chanteuse gal pal Edie is played by Laura Devon. Carol Wayne makes a cameo. This could use a decent release. 7/10 Source online streamer.

Golden Night (Nuit d'or) (1976) 4/10 or more possibly with a definitive copy. It's sort of a surreal mystery. I watched a screener from what looks like a cable TV cablecast so some of it may have been trimmed. It is also in French with English Subtitles. Michel Fournier (Klaus Kinsky) was an heir to what looks like a department store dynasty and an amateur puppeteer. His wealthy family wants to get rid of him and frames him as the "golden chain" child killer who strangled an 11-year-old girl with a golden chain. Somehow he get's dead (never made clear (either its been cut or its lost in translation)), his body is cremated. But he returns from the dead (is he a ghost an avenging spirit (again either its been cut or its lost in translation)) and harasses them and the police commissioner. He sends each of them sort of voodoo dolls starting with the commissioner. Michel Fournier visits his sister-in-law Véronique who was his former lover, her daughter Catherine is most likely his. All he wants to do is take off with them and make a new life. After he was declared dead he was hiding out at a cult called Temple of the Son of the True Light somewhere in the French countryside, but he also runs quite openly a puppet/doll shop in Paris. Anyway Michel kidnaps his daughter and uses her to arrange a final confrontation. Also figuring in all this is a gambling casino called the Nuit D'or, which is probably a metaphor for life as a big casino, a gamble presided over by maybe the devil. It's a mess. It's been compared as a mix of Fritz Lang's German Expressionistic Noir style and Dario Argento's Italian giallos. To me I saw Marc Caro, Jean-Pierre Jeunet and Twin Peaks David Lynch. The film stars Kinsky, Bernard Blier, Marie Dubois, Jean-Luc Bideau, and Charles Vanel.

I love that cinematography also. They (the studio sets) still worked in the early fifties but as more and more on location shots became common they start to loose that magic and look like what they were. John Alton could still work that magic. By the sixties though the magic is gone. Looney if you want to see a glaring contrast between a studio sets and an on location shots in one film check out The Money Trap. They use suburban L.A. then cut to your typical NYC/Chicago type brownstone looking inner-city and also use the Brousseau Mansion ( which was at 238 S Bunker Hill Ave), but by 1965 the whole Bunker Hill area was almost gone, that Brouseau Mansion may have been all that is left. It's also a good example of a Noir and a Transitional Noir in one film. The cinematographer on The Money Trap was Paul Vogle who shot Lady in the Lake, High Wall, Scene of the Crime, Black Hand, Dial 1119, The Tall Target, and The Sellout.

I loved them as a kid too, but I think those were out of the supermarket frozen Swanson Chichen Pot Pies. I've had them (the frozen) since in a pinch, but a gourmet chicken pot pie now that sounds quite yummy.

Barely made it through that one.

Yea hot dogs...

I'm talkin' about Crawford she looks like a bad caricature of herself.