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Joseph Losey


BillyBrown
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TCM just showed 3 pix

 

Boy With Green Hair

Finger Of Guilt

Time Without Pity

 

968full-feed.jpg

 

Time Without Pity is great due to Michael Redgrave.

Finger Of Guilt is what I call a cut-bastardization.

The real title "INTIMATE STRANGER" defines the movie better.  

 

I have a 1980s tv print which looks different.  Anyway TCM  showed them So Lets rejoice.

Anybody knowing this stuff is too old to matter much.  Good movies on TCM  :)

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Look at this:

 

 

 

Those white lines are knives.  On my 80's tv version the contrast was increased so you can easily tell they are knives.

When Turner bought RKO he had the credits bleached so now it is not easy to tell. 

A real collectors item as nobody has seen this movie under the title INTIMATE STRANGER.  Maybe Eddie Muller can answer that.

 

I heard it said somewhere that names of blacklisted artists were being credited on films.  Turner never got around to it.  Must've been too busy.  Yeah most likely.

Edited by TCMModerator1
removed link to movie due to copyright concerns
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During the second wave of anti-Communist hearings by the House Committee on Un-American Activities in 1951, a subpoena was issued for Hollywood filmmaker Joseph Losey to appear in Washington, DC. Instead of waiting around to be served the summons, Losey and his wife took an extended vacation in Europe. His name was then added to the well-known (but officially denied) blacklist of all entertainment workers suspected of leftist political activities or attitudes. For the rest of his life Losey worked in the UK and Europe as a director, initially under an assumed name. His work was always interesting and uniquely his own, but it wasn’t until EVA (1962) and THE SERVANT (1963) that Losey gained an international reputation. Besides working on the latter film, noted playwright Harold Pinter developed two more screenplays with Losey: ACCIDENT and THE GO-BETWEEN. They were a perfect match. But then, some would say unfortunately, the expatriate American director met the Burtons, Richard and Liz. Together, in a drunken spree, they brought the world one of the unheralded camp classics, BOOM! That same year and more sedately Elizabeth Taylor turned in a fine performance for Losey in SECRET CEREMONY (1968). Burton also worked more civilly with Losey as leader of the anti-Stalinists in THE ASSASSINATION OF TROTSKY (1972). The 70s became an increasingly difficult time for Losey who nonetheless managed to work with Julie Christie (THE GO-BETWEEN, 1970), Jane Fonda as Nora in A DOLL’S HOUSE (1973), Glenda Jackson in Tom Stoppard’s adaptation of THE ROMANTIC ENGLISHWOMAN (1975), and Alain Delon and Jeanne Moreau (once again) in the mistaken-identity drama MR KLEIN (1976). As with so many Italian film directors, Losey occasionally turned to directing film versions of operas – DON GIOVANNI (1979) and BORIS GODUNOV (1980). After his foray into the classical world, Losey managed to direct only two more films, LA TRUITE (originally intended for Brigitte Bardot in the 60s but finally cast with Isabelle Huppert, 1982) and STEAMING (1985), a surprisingly feminist film, considering Losey’s notorious penchant for philandering. Only death stopped him from pursuing his two loves: film and women. Joseph Losey left behind a rich body of work that likely benefited from his decision to flee the repressive social/political/aesthetic restrictions which engulfed America in the 1950s. He is an excellent role model whose motto might have been, “Keep your passports ready.”    

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Glad to see a thread about Joseph Losey. Losey was born in my home state, Wisconsin. In fact, his family is from La Crosse, the town I lived in during the past year and a half. There is a Losey Street downtown in La Crosse.

 

He's one of my favorite directors-- love everything he did with Dirk Bogarde.

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