HollywoodGolightly

It's a great revisionist Western. I'll be writing about it in a bit more detail in the Westerns forum (the thread with all LIF-related Westerns) but I think it's one of the best "recent" movies TCM has shown in a long time. As a bit of trivia, it was also interesting to see two actors from Blade Runner together again (Edward James Olmos and Brion James). P.S. Did anyone else catch Ned Beatty's cameo near the end?

His Brother's Wife Everybody knows that life is like...

I'm sure most Ben Johnson fans already know, Warner HV is releasing Wagon Master on DVD in September. I'm excited to finally add this great western to my collection!

Our Man in Havana - Mysterious Vacuum Cleaners next: The Ballad of Gregorio Cortez

Avanti!

It takes about two minutes to set up your own message board at yuku.com - it may not be the best-looking messageboard in the world, but it should be enough to help fans get by until the SSO and this forum are back to normal.

Bomba the Jungle Boy is a Monogram title, and TCM has played Monogram movies before, so I'm sure they should be able to get the rights to it, if there are good prints available.

The Big Heat is coming up in a couple more hours....

Thought I'd bump this thread back to the top, since the movie is being shown again today on TCM. This is really a pretty good Paul Henreid performance, and the movie has a very nice twist at the end (one could almost call it poetic justice).

Mind? No, of course not. I'm glad you mentioned it. I don't get that channel right now, but I've been considering getting it in the near future. They seem to show some interesting Westerns there. Thanks for mentioning it!

> {quote:title=TikiSoo wrote:}{quote} > I watched it. It was weird, I had no idea Lucille Bremer was a singer. All I could think of while watching it was how obviously this film was made by a homosexual. I'm sure that's one reason it laid an egg in the 40's. > I have a feeling I'll like it more with subsequent viewings. But Minnelli also directed a lot of movies that were commercially successful, like Meet Me in St. Louis (at least I think it was a box-office hit at the time!).

> {quote:title=TikiSoo wrote:}{quote} > Robert Montgomery was great in the role, but a good physique? Why are all the handsomest guys in Hollywood flat bottomed? Even Gable has zero muscle tone in his gluteus maximus. Disappointing. > I have to confess... I never really paid much attention to the gluteus maximus of either actor. Maybe I'll keep an eye out for it next time.

The Little Girl Who Lives Down the Lane It seemed like the start of an ordinary day, except that in the distance....

Violent Saturday

In case anyone's interested, I found a list of all the Jungle Jim movies: *Jungle Jim (1948)* *The Lost Tribe (1949)* *Captive Girl (1950)* *Mark of the Gorilla (1950)* *Pygmy Island (1950)* *Fury of the Congo (1951)* *Jungle Manhunt (1951)* *Jungle Jim in the Forbidden Land (1952)* *Voodoo Tiger (1952)* *Savage Mutiny (1953)* *Killer Ape (1953)* *Valley of the Hunters (1953)* *Jungle Man-Eaters (1954)* *Cannibal Attack (1954)* *Jungle Moon Men (1955)* *Devil Goddess (1955)*

It's probably faster to set up your own Yuku message board than it does to log in to this one most of the time...

http://www.musicboxtheatre.com/collections/noir-city-chicago/ *The Lady From Shanghai* July 31; August 4 Orson Welles, 1948, 86m Welles? dazzling and dizzying adaptation of Sherwood King?s novel If I Die Before I Wake takes the classic femme fatale tale to globe-spanning lengths and hallucinatory heights. Hard-luck Irish seaman Michael O?Hara (Welles) eagerly tumbles into the net of gorgeous and mysterious Elsa Bannister (Hayworth) only to find himself caught in the murderous conspiracies of her viperous cohorts. Welles took Columbia?s money and improvised a brilliant, chaotic 155-minute noir epic, which the studio pruned to 86 feverish minutes. What remained was one of the most startlingly inventive crime films released by a Hollywood studio in the 1940s. *Framed* July 31; August 4 Richard Wallace, 1947, 86m In this rarely-seen piece of prime pulp, taciturn everyman Glenn Ford barrels his broken-down truck into a rural Northern California town and is quickly engulfed in a tangle of adultery, embezzlement, and murder. Janis Carter is the long, tall drink of delicious poison he can?t resist, a frosty exemplar of the forties? film noir femme fatale. Barry Sullivan is his usual sly self as the not-so-unwilling cuckold. The script by Ben Maddow (The Asphalt Jungle) hits all the notes originated by James M. Cain, and has a fiendishly good time playing with them. *Double Indemnity* August 1; August 5 Billy Wilder, 1944, 106m The ne plus ultra of film noir. James M. Cain?s follow-up to his seminal 1934 novel The Postman Always Rings Twice made it to the screen first, thanks to the savvy showmanship and creative ?lan of Billy Wilder, who was determined to out-do Hitchcock in suspense?while testing the limits of Hollywood?s Production Code. This classic tale of ill-fated lovers who plot murder for lust and profit was nominated for seven Oscars, lighting the fuse for the explosion of mordant murder dramas that erupted in Hollywood during the postwar years. From Chandler?s stinging dialogue to John Seitz?s stunning cinematography to Mikl?s R?zsa?s driving, doom-laden score to the archetypal performances of the three leads, Double Indemnity has been often imitated but never equaled. *The Prowler* August 1; August 5 Joseph Losey, 1951, 92m Joseph Losey?s greatest American film, from a script by legendary blacklisted screenwriter Dalton Trumbo, is resurrected in all its bleak splendor in this 35mm restoration by the UCLA Film & Television Archive, funded by the Film Noir Foundation. Desperate, materialistic cop Webb Garwood (Heflin) stalks a lonely, affluent Los Angeles housewife and decides to win her love in time-honored noir tradition: by knocking off her husband. Intense performances by Heflin and Keyes drive this daring Cain-style tale of adultery, which is daring and disturbing for its time. This is a don?t-miss-it opportunity to see one of the rarest?and most unusual?of all films noir, one not available in any broadcast, video, or digital media format. *The Killers* August 2; August 6 Robert Siodmak, 1946, 105m This landmark in the Hollywood noir movement takes the famous 1927 Ernest Hemingway short story as the jumping-off point for a crime saga often called the Citizen Kane of film noir. Like Kane, it starts with a death and backtracks through interweaving stories to reveal the lust, lies, and betrayal that caused a man to welcome his own execution. At the center of the whirlwind of double-crosses are white hot stars-to-be Lancaster and Gardner?perhaps the sexiest pairing ever in a film noir. Presented in a restored 35mm print with remastered soundtrack, finally doing full justice to Mikl?s R?zsa?s lush, haunting score. *The Breaking Point* August 2; August 6 Michael Curtiz Hemingway?s To Have and Have Not had already been filmed at Warner Bros. in 1944 as a fanciful vehicle for Bogart and Bacall, but star John Garfield convinced the studio to let him re-adapt the novel five years later. Serving as de facto producer, Garfield created, with director Curtiz, a more faithful adaptation?and one of the great, if unjustly neglected, masterpieces of noir. In perhaps his finest performance, Garfield plays fishing boat skipper Harry Morgan, a desperate man in the throes of a mid-life crisis whose acceptance of a nefarious operator?s ?easy money? brings heartbreaking results. The entire cast is pitch-perfect, with Patricia Neal (the tart-tongued ?other woman?) and Phyllis Thaxter (Morgan?s devoted wife) particular standouts. Don?t miss a chance to see this ultra-rare classic. *Chicago Syndicate* August 3 Fred F. Sears, 1955, 83m A rarely-seen example of 1950s-syle ?expos? noir,? purporting to show the inner workings of American organized crime. Dennis O?Keefe plays a ?forensic accountant? enlisted by the cops to go undercover in the gang of local crime boss Arnie Valent. Luckily for us, Valent is played by Paul Stewart, one of the greatest portrayers of cinematic sleazeballs: He loves his mama, but other women beware! Chanteuse Abbe Lane is his moll (her real hubby, bandleader Xavier Cugat, performs) and Allison Hayes (The Amazing 50-Foot Woman!) is a sexy dame bent on revenge. The story may be predictable, but the on-location tour of 1955 Chicago is absolutely priceless. *Call Northside 777* August 3 Henry Hathaway, 1948, 111m The first Hollywood film shot on location in Chicago is a ?semi-documentary? dramatization of the famous local story of Joseph Majczek, wrongly convicted of killing a policeman in 1932 and sentenced to life in prison. In the retelling, jaded newspaper reporter P.J. McNeal (Stewart) takes up the cause of convict Frank Wiecek (Richard Conte) after the con?s washerwoman mother spends her life savings trying to clear her son. Today, Call Northside 777 plays more as an elegiac ode to the vanished old-school newspaper business than as a true film noir, but either way it?s a terrific film?especially for Chicagoans eager to see a big screen version of the city, circa 1948.

The Rains Came - watch that dam. next: Gilda

Vidor, King - directed Duel in the Sun

Treasure Island

Speaking of euro blu-ray releases: Paramount Paramount Home Entertainment has announced the Blu-ray release of 'The Italian Job' (40th Anniversary Special Edition) on June 15th. This 1969 heist movie starring Michael Caine is not available on BD in the US (only its 2003 remake is). No information on region coding has been given, but Paramount usually doesn't region-lock its titles

Richard III

This is a link to the Region 2 DVD on the UK Amazon site, in case you're ever interested: http://www.amazon.co.uk/Iron-Petticoat-Hope-Katherine-Hepburn/dp/B000WC8H9C Either way, hope you'll get to watch it soon!

Those are all great afterlife movies as well, CineSage. Thank you for refreshing my memory.

I do want to watch Terror in a Texas Town, but it probably won't be this time, I don't have any space left to record it, but it's available on DVD so I can get to it later. And that reviewer really didn't seem to like Eddie Dean... Did you (or anyone) watch The Ballad of Gregorio Cortez last night? I think it's one of the best westerns of the last 30 years, and one of the very best revisionist westerns _ever_ made, right up there with The Man Who Shot Liberty Valance. It's a great thing that it was shown as part of LIF, because it is very culturally-appropriate to show how a simple error of translation can have life-or-death consequences for innocent people. It also has what may be one of Edward James Olmos' best performances ever. It's amazing that he filmed this right around the same time as Blade Runner, because he looks so different here - there's a gauntness to him that I don't recall in any other part he played. The story, of course, is expertly told, because it hinges on turning around the somewhat clich?d old story of a bad Mexican (or Mexican-American) being chased by white law enforcement agents (in this case the Texas rangers). Someone not familiar with the story could think that's what they're watching as the movie starts; those already familiar with the story of Gregorio Cortez obviously have a head start. *(SPOILERS)* Of course, if you already know the story or if you can understand the Spanish being spoken in the film, you know this is actually the story of an innocent, law-abiding man being threatened with unreasonable force and seeing his brother shot down by a misinformed Sheriff. The courtroom scene was well-handled, in my opinion, although I don't think they did not sufficiently dwell on the fact that Cortez couldn't really hope to be judged by a jury of his "peers", because it seemed like the jury was made up entirely by non-Latinos. Finally, the print of this movie looked a bit dark in places (nighttime and jail scenes, mostly) but I think this may be due to a poor film-to-video transfer, rather than to the way the film was shot - in super-16mm, rather than 35mm.