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Posts posted by Sgt_Markoff

  1. It's on my short-list for great comedies too--and I don't even like Doris Day very much. 'Yes', to adroit acting and to smooth direction. I really admire how tightly plotted it is; how effortlessly everything flows. Clever use of split-screen. Huge panache, swank style, and mirth, from start to finish. Entire cast appear to be enjoying themselves.

    'No' to shrill nitpicking over different customs and habits. Totally clueless. I sure as heck did not grow up with "shared party-lines"....but I still know what they were and don't regard them as shocking or backward. Computers had "time sharing" too, when they were first introduced.

    No college kid from today should open their mouth to say anything about anything really; they've grown up in a commercial mono-culture. This foppish, 'know-it-all' conceit...all without a shred of actual experience! Studies indicate that most of them stay home, sheltered little cowards, safely addicted to their phones and television instead of dating, having sex, doing drugs, or partying. Pah!


    Relying on Wikipedia to tell them what life is about, sheeesh.

    • Haha 1
  2. Just a reminder (the 'Saturn 3' thread still on my mind from yesterday). This flick from Kubrick goes to show that raceaway tech trends can give a false sense of 'datedness'. Because while some might say 'Saturn 3' shows up poorly against today's CGI effects; (I disagree but I can see how someone might say so) '2001' blows everything today outta da' water. My point is that a glut of high tech doesn't necessarily equate to better artistry or better result: it can make things cheap and rinky-dink. Kubrick reminds us that simple is best: all you need is good lighting and lenses and it can come out fantastic. Film is a photographic medium, not a 'computer' medium.

    • Like 2
  3. Those are three really quirky, gauzy '70s movies. The only real star in the trio is Anthony Hopkins. The chase scenes are the highlights of these flicks. I can't see TCM honoring your request. There's just not enough there.

  4. Jack Nicholson wrote several screenplays, though he is not often known for this skill. And Monte Hellman yeah...spearheaded 'acid' films of several varieties. He's a favorite of many cult flick fans; his rep is legendary. These two particular movies are very storied in the Nicholson canon. Made right after 'Head'? As I recall? Anyway.

    I am a big fan of 'The Shooting' and rank it in my top twenty westerns of all time. The sub-genre is indeed a fine one. Oh and thump-a-thump (goes my heart) for smokin' hot Millie Perkins. Zowie.

    • Like 1
  5. Quote

    I’m glad TCM has showcased Anthony Mann westerns (...) It seems westerns can have a sub-genre in Anthony Mann-directed westerns: They are among the finest, and are so much more than just good vs. bad. 

    Believe it or not, Western fans rank one director and his westerns even higher. Ask any old-time trail-hand about the films of Bud Boetticher and Randolph Scott.

  6. Thanks. You're good with me as long as you obey orders! :D

    Y'know its always a little odd to see Cooper playing British subjects. "Pride of the Bengal Lancers" is another one. But I guess because its Coop, he carries it off.

  7. "I don't know much about mutinies but one thing I do know is ...you don't plan them at the top of your lungs!"

    There's one other hilarious scene that's very easy to miss:

    For some reason Markoff has gone down to the fort's tiny prison cell to talk to some soldiers he has on detention. They must be utterly miserable, crowded into a tiny room with a slop bucket and reduced rations; also the brutal heat in an enclosed space.

    Anyway, Markoff wants some information or something but whatever the conversation is about he is obviously gloating and smirking at the poor wretches he has locked up. He finishes the little chat with a promise that the men's misery is not about to let up, in fact it's going to get worse if he can do anything about it.

    "I PROMISE you!" he jeers, as usual; chuckling with psychotic glee.

    Now this is the funny part: just before he closes the tiny window in the cell door, one of the inmates inside carefully aims, hawks, and launches a gob of spit--hurls it right through the barred window at Markoff face! Markoff can't hardly believe it. Crazy with rage, he wipes it off and lunges forward to get his hand on the man, but he can't reach. 

    In a moment, he gets control of himself and realizes he can't reach any further than the length of his arm. For once a soldier has insulted him with relative impugnity. But you can see he is devising some further torture for the men inside, which we can't even imagine.

    I just think this scene is astounding. Some helpless prisoner whom Markoff already has at the end of his rope, hates this awful Sergeant so much that he practically signs his own death-warrant by spitting on him. It's crazy brave.

  8. In terms of his TV work; well I haven't seen him in any series but I recommend two TV movies: the wonderful "Cracker Factory' (with Natalie Wood and Shelley Long)....and the gripping true-life account of slain New York patrolmen 'Foster and Lurie'.

    Yes you heard me, I've not seen 'Riptide', (even though it was probably a Stephen J, Cannell production and I generally like all his stuff). But for fun PI series I'm strictly Magnum PI and Simon&Simon.

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  9. Its dismaying to think a production designer could write a little garden-of-eden symbolism like this and get it produced with the likes of Donen at the helm; and top talent like Kirk Douglas and Harvey Kietel. Definitely does not happen these days.

    Hard to believe, but Keitel and Douglas both made at least two other SF romps between them; both of them better. I refer to 'The Final Countdown' and 'Death Watch', respectively.

    Former fashion model Fawcett (who also appeared in one other SF than this, namely "Logan's Run") had a nice body but not enough to carry this flick; (not chesty enough) and yeah the robot Hector had to have a head that could be knocked off. "Robby" the Robot --as I recall--also had an unprotected top.

    Overall: just an oddity, a throwaway film riding on the wave of Luc/Berg. But from a different industry, an industry where wild ideas and small ideas --and wild small ideas--could still get made. Not so in this era.

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  10. This pick may be more sentimental romance than romance-comedy; but it nonetheless is my fave.

    Its a WWII British flick called 'Vacation from Marriage' (alt title, 'Perfect Strangers')

    Stars: Deborah Kerr and Robert Donat; plus Glynis Johns. Tender and light; but with meaning and depth. Only a bare few comedic moments but stays with one a long time.

    Donat and Kerr play a mousy, listless, drab little couple until suddenly WWII intervenes. Their housing flat is bombed; and the War Office calls each of them up and sends them off into opposite services. Separately, they each struggle to cope...missing each other at first..and then they begin to thrive. New romance blooms for each of them. Each of them wonders whether they want to return to their old life before the war. Life seems to be pulling them apart. Then they meet randomly at a chance party; not even recognizing each other...

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  11. I rarely think very much about Burr's characters or his performances. I agree he was a fine talent. But he always impressed me rather negatively; with his huge bulk, fleshy face, and protruding eyeballs.

    And then a few years ago I ran across an anecdote about his real life which further soured me on him. A closeted homosexual, there was apparently an unpleasant incident on some movie set where he took such a intense ardor for some young male actor that it practically led (or was leading up to) male rape. Burr was stalking this kid; or pressuring him; or pursuing him. Making unwelcome advances. For a guy his size to lose control of himself that way...ugh.

    I do like Burr's audio performances. He played the hard-as-nails Inspector Hellman in Jack Webb's "Pat Novak, for Hire" (the best radio noir ever) and Capt. Lee Quince in 'Fort Laramie'.

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