Posted by bobbywebster1966 on Mar 19, 2010 in
Harlequin: Recipe for Revenge
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Recipe for Revenge is one of the best Harlequin Movies made. I would say that it along with Treacherous Beauties are the best. Both movies give you a touch of everything from Romance, Suspense, Mystery and Action. The movie keeps you watching it from beginning to ruin. I also consider that Corbin Bernsen is an awsome actor. If you like the whole package you need to peer this movie because it gives it all to you. I was very blissful with my consume of this movie.
Got hasty, sizable condition. Tall seller to deal with. Thanks for offering this.
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Posted by bobbywebster1966 on Mar 18, 2010 in Uncategorized
You can thunder from the opening titles that The Timid Palace will be unusually lavish for a Corman movie, even a “Poe adaption” (this nominally combines Poe with a Lovecraft-based spot.) The music is superior, some of the best of any panic film of the 60’s. And the credits play over proper footage, not impartial swirling paint. The sets and compose are pleasurable, far better than the norm for AIP. The script is a solid one, from Charles Beaumont, who was likely hamstrung by circumstance in a few places, but nonetheless spins an effective and detailed if somewhat familiar epic. And the cast delivers: Imprint is his usual improbable, craven, hammy self. The Juniors (Lon Chaney and Elisha Cook) are mostly wasted, but then again with a few principal exceptions (Spider-Baby, House on Frightened Hill) they always were after the 40’s; it’s unprejudiced satisfactory to contemplate them working. And Debra Paget is simply sparkling, with any acting ability being a distinct but superfluous bonus to the proceedings.
The position has to do with a warlock (Tag) being burned but cursing the townfolk and swearing his return and revenge. Years later, the warlock’s good-hearted descendant (also Ticket) returns to the village to claim the warlock’s mansion. He finds a town in end, worried villagers who give birth to evil mutations, and of course, some lingering resentment. How long will it be before Label is possessed by his ancestor through the rank painting over the mantel? As you know, not too long. Note then continues his ancestor’s injurious work of sacrifice and trying to conjure up an weak monster from the pit in his basement. You’ve likely seen it before, though maybe not in a movie from the 60’s, and it’s punched over with luxuriate in and skill here, not to mention some suited gruesomeness, and will be very exquisite to genre fans. And did I mention the music is ample?
Sure, the ending lacks clarity, if not conviction (What exactly happened to the monster? ), but overall HP may unbiased be the best adaptation of Lovecraft material out there, watered-down as it is. (I’m not a fan of Re-Animator and its ilk.)
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Tower of London (1962) is a rather insensible Shakespearian costume drama of intrigue and assassinate. Assume of it as Corman Meets The Bard. Impress is blooming, but he could recount this kind of exasperated monarch in his sleep, and I reflect he did so a few times.
He stars as a 15th-Century English gentryman who will end at nothing to ascend to the throne. He engages in all sorts of torture and abolish, none of it as sadistic or as exciting as it wants to be. He grows more loony each time he murders, until finally in his insanity a vision of all his used victims rise against him…
TofL is not really terror, but has some supernatural overtones in a sense: rats, ravens, magicians and the like. So therefore it ain’t historical, neither, despite being based on accurate events and persons: Richard III, the Plantaganets and such. There is a set-bound quality to it, and the battle scenes (if you can call them that) consist mostly of a few soldiers marching and stock footage and some edits. It all looks cheap, but was probably even cheaper than it looks, even for Corman.
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Having a lesser cast also detracts; the 1939 Universal version had Karloff, Rathbone, Nan Grey and Leo G. Carroll, plus Mark himself as a victim drowned in a wine vat. This has only Note, and he is unable carry this whole cardboard enterprise by his lonesome. Mildly gripping while it’s running, but disappointing at the enact, and quite forgettable.
Still, The Alarmed Palace alone is worth the ticket of a steal, so getting Tower of London on the same disc is merely a bonus. Recommended.
The Midnite Movies DVDs are mountainous. They provide us with some big classics in anxiety at a lovely ticket (as long as they finish in print) and a lot of the times you catch two broad movies on one disc as seen here. The quality is usually ample as well. However from my experience Midnite Movies are distinguished for mistakes and misprints on the wait on of their DVDs. I don’t mind, it’s kind of like when your a kid buying baseball cards and your looking for the error card.
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Haunted Palace:
On the support of the Alarmed Palace they mention it being based on a Edgar Allan Poe poem. However as Roger Corman points out on the “A change of Poe” Interview on the disc AIP gave him a bit of freedom and let him give his capture on Lovecraft and points out the film being based off of H.P Lovecraft’s The Case of Charles Dexter Ward. Corman mentions how he wasn’t going to do a series of Lovecraft films but go befriend to doing Poe afterwards. As a fan of Corman I would’ve liked to seek a series of Lovecraft as well.
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The Timorous Palace is based on an 18th century warlock, Joseph Curwen (Impress) who is burned at the stake by the towns people but not before he places a curse on the village. More then a century goes by and Charles Dexter ward, Curwen’s grandson shows up to the village with his bride to claim the property. Charles Dexter Ward is also played by Impress in this duel role Corman considered his best. Label does do an unbelievable job as always. Joseph begins to posses his grandson Ward to do his work and we earn to inspect Effect change character on the residence. The film also cast Lon Chaney Jr (The Wolf Man.
The DVD also says it provides a mono audio track but it was in 2 channel digital.
TOWER OF LONDON:
Under the “fun facts” on the aid of the dvd it is pointed out that the unusual effect line for the film was “Do you have the courage to consume 83 minutes in the Tower of London? But the Midnite Movies points out the film is only 80mins, which I found ironic with all their mistakes on the disc, but I probably have a lot of mistakes in this review.
This runt budget gloomy and white gem, also by Corman is chronicle in plan and Price’s acting giving it a larger feel.
Based on Shakespeare’s Richard III the film follows Richard of Gloucester, (Note was also in the 1939 version The Boris Karloff Collection (Tower of London / The Dark Castle / The Climax / The Unique Door / Night Key) starring Basil Rathbone and Boris Karloff, in one of Prices earlier films) this time played by Notice as he murders anyone standing in his diagram of England’s throne. Things do not go as planned as the ghosts of those he killed arrive abet to benefit him in going madd.
The DVD also contains an Interview Producer Gene Corman.
I bought the dvd off here but through a company called Interzone. The shipping was literally next day even though it was supposed to be standard and the dvd arrived in substantial condition, factory sealed as advertised. I recommend them.
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Posted by bobbywebster1966 on Mar 16, 2010 in
Miyuki-Chan in Wonderland
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I kept hearing about this anime from the all-female CLAMP manga collective, so I bought the DVD (which also includes MIYUKI-CHAN IN MIRRORLAND, or ALICE THROUGH THE LOOKING GLASS) . The diminutive anecdote of both short films (actually impartial a series of uncommon events) is of a Japanese schoolgirl, Miyuki, who first disappears down an interdimensional “rabbit hole” along with a PLAYBOY bunny type “white rabbit”, then meets a series of all-female characters in fetishy garb based on the characters in ALICE IN WONDERLAND. All these characters seem to want to fondle, kiss or sexually dominate Miyuki, who fair gets embarrassed, runs off and falls into the next batch of supernatural lesbians who invite her to “near play with us”. MIYUKI-CHAN IN MIRRORLAND repeats this trend – except here Miyuki is pulled through her bedroom mirror by a more sexually quick-witted version of herself, who touches her in an intimate (but non-explicit – so discontinuance drooling, *Okatu-San*!) manner.
The entire tone of the first production is more cute-comical than menacing (even the whip-wielding Red Queen who restrains Miyuki with her bullwhip never actually flogs her), and Miyuki’s greatest dread is being embarrassed by all this free-floating feminine touching and snuggling. The second has a bit more edge to it, as the chess game Miyuki plays with her mirror self has living female pieces who whip each other into (again, non-explicit) nudity, and the loser of the game has to strip (which mirror-Miyuki does willingly as our Miyuki looks really, REALLY embarrassed and tries to earn her to terminate, screaming “But I’m not married yet!” in the English – subtitled only – translation.) Even so, this is as far removed from hardcore BDSM tentacle *hentai* on the order of Maeda’s UROTSUKIDOJI (“Overfiend”) Saga or Pink Pineapple’s ANGEL OF DARKNESS as an episode of Saturday morning’s CARDCAPTORS (also created by CLAMP, incidentially) .
Depending on which theory you read, Carroll’s ALICE books are either a satire of British politics of the time, or a metaphor for a young girl’s sexual awakening. CLAMP seems to have gone full-bore for this second interpretation in their fable – all the characters except the easily-embarrassed Miyuki are dressed in a sexually engaging fashion, most beget seductive advances towards her, and mirror-Miyuki in …MIRRORLAND is not only willing, but alive to to shed her Japanese schoolgirl outfit and stand proudly naked before her other self.
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Complicating this, at least to a Western audience, is that all these characters appear to be cliche’d predatory lesbians; however, as Schodt pointed out in his book MANGA! MANGA!, men are often shown in Japanese celebrated culture as sexually brutal and beastly, whereas women (even sexually active ones) are seen as infinitely more gentle. To the Japanese female fans of CLAMP’s work, even the whip-wielding Red (Bondage) Queen would be a gentler, safer introduction into the mysteries of adult sexuality than any man would have been. Miyuki might be embarrassed by all this sex, but she won’t be tremulous of it coming from other women.
This is the kind of short, slightly-kinky but clearly female-oriented *anime* that you might want to explain to any women friends who are under the impression that “all those Japanese cartoons are nothing but S-M porno and substantial robots.” (Though I’d like to know what’s infamous with great robots, anyway…. Gekiganger – STRIKE! )
Miyuki-chan in Wonderland is incredibly bizarre. The all-female Studio CLAMP has taken the Alice in Wonderland story and given it an anime pseudo-lesbian twist – to the extent that there is not a single male being (Human or otherwise) to be found!!! As such, there is plenty of male-/lesbian-oriented fan service; those offended by scantily-clad females and the like should probably avoid this title.
There are some perhaps-unintended links to other anime series. Bunny girls pop up across a lot of anime series. The card girls are particularly reminiscent of the main warriors of Wild Cardz. The diagram some characters are drawn seem to harken to other CLAMP characters, albeit unprejudiced slightly.
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The main drawback to Miyuki-chan in Wonderland is that it is incredibly short – only about thirty minutes total. It would have been nice if the DVD offered some obedient extras, but all there is here is scene selection and trailers for other ADV Films offerings 
Also, the music is incessantly repetitive, to the point that it becomes annoying on the level of “Don’t Distress Be Delighted” by the raze of the thirty minutes!!! Smooth, [...] it is hard to go evil buying this hilarious PS2-compatible DVD 
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Posted by bobbywebster1966 on Mar 15, 2010 in
In Too Deep Great performance by LL Frigid J and Omar Epps. Epps is a undercover trying to bring down a renowned gangster LL who find’s himself getting in too deep he forget’s who he is. You have some kindly actor’s in this film Nina Long,Pam Grier,and apperiences by,Nas,Shyhiem,and Jermanie Dupri. This film is worth getting and for LL fans you net to gaze a thug side of him.
This is a huge movie with a cast of large actors. Omar Epps plays Jeff Cole a rookie detective that goes undercover as J.Reid to take the deplorable drug pusher ‘God’ played by LL Chilly J. As Jeff plays the role he starts to really become J. Reid, his boss notices that he is in too deep and pulls him from the case and sends him away until things cools out. Thats where he meets and falls in care for with Myra played by Nia Long. He eventually find do help on the case and proceeds to become J.Reid. Because god’s main man crossed him J.Reid becomes his main man and god trust him with everything which brings about his down tumble. Omar Epps was so convensing in this movie that I belief he wasn’t going to turn him over, but in the raze he remember who he is and does. Unprejudiced all around expansive
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Posted by bobbywebster1966 on Mar 15, 2010 in Uncategorized
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Stupidity–not innocence, not heroism, not any virtue at all–is the major theme of *The Lady from Shanghai*. Therefore, to some viewers this film will appear to be a humdrum movie. That’s miserable, but that’s Orson Welles.
Everybody–EVERYBODY–is slow in *Lady*! The Welles character, Michael O’Hara, admits he is monotonous lawful off the bat. Elsa, played by Rita Hayworth, seems to be the cleverest of them all until the ruin…when she and her husband Arthur Bannister die together in the Crazy House, her husband gasping at her, “For a clever girl you fabricate a lot of mistakes.” Arthur, “the world’s greatest lawyer”, obviously has brains and knows what’s going on through the whole myth, but he’s so grotesque (practically crawling through his scenes like a daddy longlegs spider) that his intellect is self-defeating: he’s honest one of the sharks that Welles describes in the beach scene, ravenously devouring himself. And the Grisby character…seize one glance at this guy and it’s hard to hold *Lady* was made in 1946. Grisby’s proper out of David Lynch, or more like it, David Cronenberg! The contemplate, the folks in the courtroom…all Boring and distorted, objective like the images in the funhouse mirrors!
Portraying American people in that unflattering light was fair not “on” in the early postwar period. No wonder Orson Welles was being watched by the FBI during those years. Even today, many filmgoers demand movies to give them at least one or two valorous characters that they can identify with. Sorry, friends, *Lady* jumps factual into your face and proper into your status (like the scene with O’Hara and Grisby overlooking the ocean) and blurts drunkenly, “Yer STOO-pid too, FELLAH!”
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But why on earth is Orson Welles telling us we’re all insensible? That’s made very definite. We are blissfully living out our grubby cramped lives on the brink of self-destruction. “Do you have the world is gonna destroy? ” asks Grisby of O’Hara in that ocean overlook scene. That’s the request Welles tells us we should be asking ourselves. But unbiased as O’Hara was too tiresome to ask himself a few simple questions, like “how can Grisby score the insurance money if he’s declared legally tedious? “, we don’t ask ourselves the indispensable questions that overshadow our laughable small existences.
A lot of people won’t like it. They certain didn’t when *Lady* was released in ‘48.
But I like it! *Lady* was “postmodern” before postmodern was cold (before anybody knew what postmodern was)! It is deliciously self-referential: the scene in the Shanghai Improper Chinese theater, with the irregular Oriental play being performed onstage, instantly reminds one of all the irregular characters and goings-on in the “proper” account, the movie itself. But the movie itself is not actual either, of course–it too is a play that reflects the bizarre world of human events, OUR world, the world of the moviegoer who seeks meaning in film and theater. House of mirrors! Movies of the ’40’s were fair NOT self-referential, they really tried to compose an alternative world that the audience could run from its troubles into. Almost all movies then, and serene most today, do not beget up a mirror to the audience. But *Lady* does. And smooth today many people aren’t going to like what they sight. “It’s a sparkling guilty world,” sayeth Welles/O’Hara.
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The close-ups of Rita Hayworth singing “Please Don’t Kiss Me” set aside her as THE most shapely woman to have ever graced the silver conceal. Sorry Marilyn, Lana, Bette, and you too Nicole. “Rita Hayworth gave advantageous face” indeed. I’d have paid the imprint of the whole DVD objective to have those few seconds of film. But there’s so worthy more in *Lady* that’s worth watching than the lady.
Peter Bogdanovich’s interview and commentary is handsome superior, though as a Welles/Hayworth fan there was a respectable deal of stuff I already knew. But some stuff I didn’t know, so I appreciated Peter’s contribution.
*The Lady From Shanghai* and *Gilda*…movies unprejudiced don’t collect any better!
The more one reviews the Welles’ oeuvre, the more painful it becomes to examine his eternal attempts to disguise himself. This may seem a rather positive observation, given the intrinsically autobiographical nature of Welles’ art, but the boy genius was always cognizant of this confessional, which makes it all the more difficult and compelling. It seems that, for every film made after “Citizen Kane”, the hasten to dissemble becomes more pronounced, more helpless in its transparency and failure. From a desperate Irish accent in “The Lady from Shanghai” to the patently counterfeit beard of “Mr. Arkadin” all the contrivance to the volumes of onerous padding that bloat his Captain Quinlan in “Touch of Imperfect”, Welles has created the ultimate gallery of character refractions in cinema. The character of Michael O’Hara in “Shanghai”, however, holds a special uniqueness in its reliance on and combination of youth, attractiveness, vigor, restlessness, sexual yearning, and finally, shrugging resignation and pessimism. This was 1948, Welles was 33 years-old, five years wed to the exquisite Rita Hayworth, two and one-half years estranged from her, unexcited pseudo-blacklisted after “Kane”, unbiased returning from a much-publicized theater flop (“Around the World”), and like always, ready and confident in his ability to disclose something that no one had ever seen before.
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Welles was able to effect this ambition with relative frequency because of his complete fascination with film and complete belief of it as a transformative medium. There are moments of rapture and “pure cinema” in “The Lady from Shanghai” to rival “Kane”. Where else can something as ineffably sensual as the camera’s flight over Hayworth’s unrequited cigarette ballad on Bannister’s yacht, or as ephemeral as the procession of barcos and torches to the bass thump of “Baia” in Acapulco be found on celluloid? Welles always bemoaned the brevity of the film post-studio cutting, but in truth, these moments enjoy unbiased the perfect duration, and this essentially being a film about worship interrupted, thwarted, and finally imploding, I suspect that Welles’ pacing of most of the scenes in the movie was not entirely different.
Interruption and all its cosmic ramifications seem to be a primal force and theme in “The Lady from Shanghai”. Many of the most indelible moments erupt or are born out of seemingly nowhere. The wordless scene in which a gloriously clad Hayworth sprints desperately through the deteriorating arches of an Acapulco street against the strains of a Mexican band lasts nearly half-a-minute and emanates almost inexplicably from the memoir. A man coughs ceaselessly in a courtroom, oversized marine life intrude on the central fancy scene, and finally, in the most conspicuous eruption, the three central characters are arbitrarily led into a hall of mirrors, where they move to blow the entire site apart. In short, whether the interruption is obstructive or cathartic, it throws the equilibrium off balance, and that may be why this film is so emotionally turbulent, why the playing of Welles and Hayworth at times resembles the rupturing of two adjacent membranes against one another, unable to touch without bruising themselves. The celebrated interpretation of the film as a comment on the two’s marriage, as a confession of the boy genius’ inability to mantain a relationship with a frail, robust woman should therefore not imply that the experience of making or watching such a film is a fluid or healing one. Not even the fluidity of the film making, blithely inconsiderate of extinct and “coherent” memoir create, should suggest that. Both the allure and danger of the Welles canon is its destructive tumultuous self-romance and destructiveness, and “Lady from Shanghai” is no exception.
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Posted by bobbywebster1966 on Mar 13, 2010 in
Executive Decision Okay, it’s Die-Hard-on-an-airplane the draw _Speed_ is Die-Hard-on-a-bus, _Under Siege_ is Die-Hard-on-a-battleship, and _The Rock_ is Die-Hard-at-Alcatraz. But it’s a gorgeous action flick and it beats the heck out of _Air Force One_.
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I like Kurt Russell; to my mind he’s never gotten the credit he deserves as an actor. And if (like me) you’re not a tremendous Steven Seagal fan, you’ll be cheerful to learn (about half an hour into the film) that he’s _not_ the hero of the yarn.
This film probably couldn’t have been made today. In the post-9/11 world, every moviemaker is carefully shying away from the ‘Arab terrorist’ stereotype; the veil adaptation of Tom Clancy’s _The Sum of All Fears_ substituted neo-Nazis, and even the Gubernator took the obliging route (using Columbian drug lords in _Collateral Damage_) . But in fact, this script does a beautiful suitable job of making determined that the head terrorist (David Suchet) is a loon who doesn’t record even the views of his collaborators, let alone those of the larger Arab/Muslim world.
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Anyway, if you like a ample action-suspense story, you’ll like this one. Distinct, parts of it are implausible, but less so than in lots of other edifying action films. And Russell makes an grand hero.
Even though Executive Decision today would remind the viewing audience of the tragic, if not cowardly attacks made by Islamic terrorists on September 11, 2001 AD, it is serene an exciting and delightful action/suspensful/political thriller. I mean, if any film has Steven Segal killed off within the first 40 minutes of the describe (mirroring Roy Thinnes’s demise in Airport 1975) and British actor David Suchet playing an superior heavy, then it has to be worth watching.
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Released in 1996 by Warner Brothers, Executive Decision was the directorial debut of British film editor Stuart Baird (Superman – The Movie and Outland) . With the material he had been given by screenwriters Jim and John Thomas, Baird does an advantageous, if not distinguished job in film direction. Especially when it comes to the staging and filming of the action sequences.
The station of the storyline centers around a group of Islamic Terrorists from the Middle East who hijack a 747 en route from Athens to Washington DC. The Islamic extremists main belief is to force the release of a known terrorist leader, who had been captured and imprisoned by British and American military forces.
Unknown to some of the terrorists, their leader has smuggled a Soviet nerve toxin gas left over from the Wintry War. A nerve gas zigzag up to a bomb, which is controlled by an al-Queida sleeper agent. The precise purpose of the terrorist leader is soon revealed. His plans are to expend the 747 as a weapon and detonate the nerve agent over Washington, killing all citizens there and those living along most of the East Waft.
Enter into the represent a group of U.S. Army anti-terrorist commadoes, along with a intelligence analyst/field operative from the Pentagon and an aircraft designer. Their mission is to transfer from a U.S. Air Force stealth fighter onto the 747 in mid-air, locate the nerve toxin, deactivate the bomb, raze all of the terrorists and sleeper agents with gross prejudice, re-take the plane, and ensure the safety of the passengers and flight crew. Easier said than done. With the befriend of a doughty flight attendant/stewardess and a U.S. Sky Marshal, it becomes a fight to the death five miles above the Earth, with the fate of the U.S. Capitol and the eastern seaboard hanging in the balance.
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Better than Air Force One, The Delta Force, The Die Hard Trilogy, and the Under Siege films, Executive Decision pulls all the punches and the stops when it comes to high flying action and high octane political thrillers. With a cast that consists of Kurt Russell, David Suchet (in a non-Hercule Poirot role), Halle Berry, Whip Hubley, Oliver Platt, B.D.Wong, Joe Morton, John Leguizamo, Andreas Katsulas, the slack Charles Hallahan and J.T. Walsh, it is an ultimate winner in explosive action and political thrillers. Even the soundtrack by faded composer Jerry Goldsmith is explosive and trustworthy. One of his best soundtracks since the 1968 version of Planet Of the Apes.
If you be pleased films that deal with politics, the U.S. Government’s policy of not negotiating with terrorists, and the right-winged, if not the best map, to eliminate Middle Eastern terrorism, then Executive Decision is the film for you. Civilian, used, any patriotic citizen who wants to close terrorism stupid in its tracks!
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Posted by bobbywebster1966 on Mar 13, 2010 in
Tiny Planets: Bing Bong Bell
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My kids (2 & 5) both fancy it! I only wish there was more Bing and Bong out there for the grasp because its hard to get this note on TV. And as a graduate of CLUB KID UNIVERSITY myself, I savor the funky tribal serve beats. Unbiased bought one for my friend who’s having a baby!
This present is ADORABLE. The characters are so cute that you honest want to squeeze them. (At least that’s what my 4 yr aged says) . Bing and Bong go on all sorts of adventures, traveling to different planets where they gape and learn all sorts of ample things, like numbers, shapes, sounds, colors, etc. The program is really though-provoking, silly, and did I mention cute!? Definitely take it up if you’ve got a preschooler in your life!
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Posted by bobbywebster1966 on Mar 10, 2010 in
Carole Lombard - The Glamour Collection
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I’m updating this review since the DVD has now been released (and will further update it when I have viewed all of the films in the space) . I gave this one a pre-release review with five stars because because it has THREE movies I have NEVER seen in my 25+ years as a Lombard fan!! It’s hard enough to pick up Paramount or Universal CLASSICS from the early 30’s, but ultra-rare programmers like MAN OF THE WORLD and Admire BEFORE BREAKFAST??? And how about Right CONFESSION, which has been locked away in the vaults for ages despite the awesome cast of Lombard, Fred MacMurray, John Barrymore, and Una Merkel!!
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Even the three better known titles – HANDS ACROSS THE TABLE, THE PRINCESS COMES ACROSS, WE’RE NOT DRESSING – are not that well-liked, although they were all released on video in the 1990’s. Carole Lombard was a major Paramount star but she made virtually all of her most celebrated films on loanout or after she left the studio.
All the crying about “multi movies” crammed on to discs seems a total extinguish of tears. I’ve watched Admire BEFORE BREAKFAST and MAN OF THE WORLD and the prints are satisfactory, not perfect perhaps but definately top-notch to prints that Warner Bros. faded for LIBELED LADY and several THIN MAN titles – movies that WERE released “one to a disc” and cost about as powerful as the collection of FIVE Lombard films. Universal gets a bum rap for their various multi-movie sets from a lot of people who don’t even bother viewing the movies first!! Maybe some people believe it’s worth $20 to have a case and paper sleeve for every movie, but not this kid. MAN OF THE WORLD is one of Carole’s first leading lady parts – she is only 22 here – and she’s very gorgeous but her future husband William Powell dominates this legend of a con man who unexpectedly finds like. This movie isn’t very proper but it is a thrill to observe a Lombard and Powell rarity. Cherish BEFORE BREAKFAST on the other hand is an absolute delight. Often referred to as a screwball comedy by historians who apparently have never seen it, it’s trusty more of a straight romance (from a book by romance novelist Faith Baldwin) with some amusing scenes and touches. Lombard plays Cesar Romero’s fiancee who is detached agressively pursued by Preston Foster. Foster’s arrogance at the beginning of the film is a turn off, one certainly sides with Lombard that he is a bit of a jerk but as you may guess Carole can give it abet and then some whenever someone gets out of line. This movie boasts some of the most blooming photography of Lombard ever, lovingly shot by her accepted cinematographer Ted Tetzlaff and some of Travis Banton’s loveliest fashions for her (with the distinguished exception of a bizarre feather-rampant jacket she wears in the charity tickets scene) . This film is an art deco treat and certainly one of the most gorgeous Universal productions from the thirties.
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The release of this DVD is truly involving news for movie buffs – even more so than the comparable releases on Mae West and Marlene Dietrich, since those ladies’ Paramount/Universal titles have been far more accessible than Carole Lombard’s although Carole is every bit as common and remembered as those other two Paramount blondes.
I am hoping sales for this series goes through the roof and we procure second volumes on all three stars – and FIRST volumes on those Paramount superstar brunettes : Claudette Colbert, Dorothy Lamour, and Clara Bow.
The early death of Carole Lombard at 33 from a January 1942 plane wreck remains one of cinema’s most tragic episodes. During the 1930’s, she was the most brilliant of cloak beauties yet innately likeable. What made her novel was the scintillating, often ribald and satisfactory manner in her performances. Even though she delivered profitable dramatic performances, especially toward the slay of her career, it is her comedies that continue to reinforce her legacy. It’s almost impossible not to worship Lombard for the map she downplayed her looks, coming across as a proto-feminist in many of her roles. In fact, of all her contemporaries, Lombard smooth comes across as the most current and self-aware, which is proven by this gorgeous two-disc dwelling of six of her lesser known films. Granted none of them are discontinuance to the quality of her acknowledged classics – “Twentieth Century”, “My Man Godfrey”, “Nothing Sacred”, “Mr. and Mrs. Smith”, “To Be or Not to Be” – but each provides grand evidence of her abundant comical talent during the middle of her career between 1931 and 1937.
The first disc contains the earliest three movies. A 23-year used Lombard is merely the innocent leading lady to William Powell (before they were briefly married in exact life) in 1931’s “Man of the World”, directed by Richard Wallace and written by Herman J. Mankiewicz, a pre-code dramedy about a sophisticated con man, an American in Paris named Michael Trevor, who attempts to choose advantage of Mary Kendall, the niece of a foolhardy millionaire he has befriended. As Trevor, Powell gets surprisingly dour in the heavier second half, and miniature of Lombard’s natural élan is on prove playing the love-blind Mary. It’s hard to fathom that this classic pair would team again for one of the gigantic screwball social comedies, Gregory La Cava’s “My Man Godfrey”, only five years later.
Three years and fifteen films after “Man of the World”, a more confident Lombard shows up as share of a humorous ensemble farce, 1934’s “We’re Not Dressing”, directed by Norman Taurog, in which she plays Doris Worthington, an ice-cold, rich yacht owner who gets into a shipwreck and an untidy residence where she is beholden to her venerable crew, in particular, the first mate who has a tendency to wreck out in song quite often. That’s because this movie is an early Bing Crosby musical where the crooner’s main fair is to melt Doris’ heart. Lombard is considerable more in her element here as she plays her cardboard character’s unattractive aspects while collected generating her natural warmth. The film’s plight is that her hide time is tiny since the movie not only stars Crosby but also features George Burns, Gracie Allen and Ethel Merman. It’s a variety hodgepodge but quiet worth seeing.
My popular film of the six is 1935’s “Hands Across the Table”, directed by Mitchell Leisen, Lombard’s first genuine starring vehicle and a disarming romantic comedy about Depression-era class struggles. She plays Regi Allen, a hotel manicurist distinct to marry for money and quite launch about her intentions. She immediately befriends a recent client, Allen Macklyn, an ideal target for Regi except that he is a archaic pilot who has become a paraplegic. Enter Theodore Drew III, a flaky but charming playboy already engaged to an heiress. The standard complications ensue but not before the stars bicker and banter with dexterity. Lombard is terrifically winning as a working girl who ends up falling for Drew and even cohabitates with him before getting married.
As Drew, Fred MacMurray makes a strapping leading man and displays entertaining laughable timing. This was the first of four fruitful teamings he had with Lombard. Cinema’s perennial third wheel, Ralph Bellamy, plays the smitten Macklyn with surprising romantic fervor, enough sometimes to appear like a accurate contender for Regi’s affections. There are some startlingly sexy, noirish close-ups between Lombard and MacMurray as the film moves toward its inevitable conclusion. Spy for an uncredited William Demarest as Regi’s hapless blind date caught in a frustrating dialogue with MacMurray three decades before they co-starred in TV’s “My Three Sons”.
The second disc opens with an overly contrived romantic comedy, 1936’s “Care For Before Breakfast”, directed by Walter Lang, which suffers for its lackluster leading man, Preston Foster. He plays Scott Miller, a rich Wall Street tycoon madly infatuated with Kay Colby, a Park Avenue girl already engaged to hard-working Bill Wadsworth. Miller pulls strings to have Wadsworth transferred to Japan, so he can pursue Kay against her outward wishes. It all sputters by expeditiously at only seventy minutes, and it takes all of Lombard’s natural wit and charm to levitate the absurd dwelling and humanize such a hysterical loon. Long before he became the Joker on the “Batman” TV series, Cesar Romero plays the hapless Wadsworth for what the one-dimensional role is worth. I also glean it consuming how Lang cast an uncredited Japanese actress, Mia Ichioka, as Kay’s tea-leaf-reading maid Yuki.
Lombard re-teams with MacMurray on 1936’s “The Princess Comes Across”, an oddly conceived romantic comedy that suddenly turns into a kill mystery after the first half-hour. Directed by William K. Howard, the movie has Lombard cast as Wanda Nash, a struggling Brooklyn chorine disguising herself as Swedish royalty to gather a film studio contract. It’s determined that she is doing a not-so-subtle impersonation of Garbo as Princess Olga, but it is a laughable take-off. MacMurray plays a singing bandleader who, bear it or not, plays the concertina professionally. They banter until things gain serious, as she gets implicated in the execute and remains panicked about being exposed. Eminent for her roles in W.C. Fields comedies, Alison Skipworth is a scene-stealer as Olga’s phony dowager guardian. It’s involving to discover MacMurray reveal glimpses of his cynical “Double Indemnity” personality in swiftly fashion before the mystery is solved.
The last film is 1937’s `True Confessions” directed by Wesley Ruggles and again co-starring MacMurray. It’s a complete lark showcasing Lombard’s farceur skills as Helen Bartlett, the wife of a struggling lawyer. A compulsive liar who literally plants her tongue in her cheek unprejudiced before letting go with a whopper, Helen gets fervent in the kill of her lecherous employer of less than an hour. Seeing this as an opportunity for her husband Kenneth to point to off his litigation skills, she pleads guilty to the crime impartial so he can fetch her acquitted. Complicating matters is an outlandish eccentric who watches the case in the courtroom and gains evidence to the contrary. With the various deceptions getting bigger and bigger, the film plays out like an extended “I Adore Lucy” episode well before the TV series was conceived, and indeed Lombard was Lucille Ball’s mentor and role model. Una Merkel plays the Ethel piece of best friend Daisy, while John Barrymore, long gone to seed, hammily plays the irritating eccentric. MacMurray is a bit of a bore in this one since he has to narrate the pillar of honesty top his wife.
Be aware that the two discs consume both sides to fit all the films. The print transfer on all six films is surprisingly natty considering their seventy-year venerable age. Unfortunately there are no extras, not even theatrical trailers, but seeing the unparalleled Lombard is treat enough. She made 78 movies in her brief career, so I hope more of her titles will approach up in future DVD releases.
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Tags: Carole Lombard - The Glamour Collection, Carole Lombard - The Glamour Collection Streaming, Download Carole Lombard - The Glamour Collection Online, Stream Carole Lombard - The Glamour Collection, Watch Carole Lombard - The Glamour Collection Online
Posted by bobbywebster1966 on Mar 5, 2010 in
The Stunt Man … he’d be a gay man!
I objective finished watching the DVD of “The Stunt Man.” It’s mild a colorful, unbelievable, laughable, scary, exhilirating experience. This is what spacious movie making (and mountainous acting) is all about. Richard Rush’s direction, the acting from Peter O’Toole and the rest, the terrific screenplay, the expansive music … it’s fair … perfect. As unusual now as the day it rolled out of the camera.
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It’s a shame Bustle hasn’t been able to gain more films, but with this classic to his credit he can rest assured that his set in cinema history is complete. Thanks, Mr. Urge!
And Peter O’Toole … nothing will top his work in “Lawrence of Arabia,” but this comes darned end. Eli Tainted is the classic “film director as god.” O’Toole makes him more than honest a petty movie-set tyrant. Detestable is sly, witty, mysterious and all-knowing. He’s ghastly but involving. You wouldn’t want to introduce him to your mother but you would want to hold him out to dinner unprejudiced to listen to him flow his stories. When he descends from above in his camera crane you’ll inaugurate to mediate he’s god incarnate … objective as the stunt man does.
And the area? That’s what made “The Stunt Man” such a hard sell to the movie studios and what makes it a classic. What is reality and what isn’t? Are we in control of our lives or aren’t we? How do we know what’s really going on and what it all means? Is Eli trying to end the stunt man or unprejudiced trying to accomplish his movie on time?
Anchor Bay’s DVD transfer is suitable. The “Petite Edition” includes Rush’s documentary on the making the film. Don’t miss it!
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If you’ve never seen this film, earn it Lickety-split and indulge in! If you haven’t seen it in a while, rediscover why it’s so mammoth.
Amen!
Peter O’Toole, Barbara Hershey and Steve Railsback are obedient in this movie. Railsback is a Vietnam vet who accidently kills a copy and stumble upon a WW I movie being shot by O’Toole, who plays the director. After his stunt man is killed, O’Toole blackmails Railsback into becoming his stunt man, and Railsback thinks O’Toole is trying to destroy him.
Barbara Hershey as Railsback care for interest looks heavenly. O’Toole is unbelievable. Not your usual, predictable Hollywood set. A very special movie worth owning for recount viewing.
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Posted by bobbywebster1966 on Mar 3, 2010 in
The Cat Returns
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I am not doing this review based on the Disney release, but on the fresh Japanese release. This charming cramped memoir is a product of Hayao Miyazaki’s Studio Ghibli, but it is directed by Miyazaki’s associate, Hiroyuki Morita. It is actually a sequel to the suitable and equally charming Sing of the Heart, another comely though very low-key Ghibli product. The outlandish thing is that Impart of the Heart has never been released in the U.S.; releasing the sequel before the new is a bit exclusive.
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That being said, a wealth of details about the films (and everything from Studio Ghibli) can be found on the tremendously informative nausicaa.salvage Web position. Since this film is being released with Nausicaa of the Valley of Wind and Porco Rosso on February 22, it can only be hoped that it will scuttle somewhat on the coattails of the two better-known Miyazaki works and will have decent sales. It’s an honorable family film and is a refreshing change (like all of Ghibli’s works) from giant robots, ninjas, vampires, brainless lowbrow comedy mixed with mindless violence, and the other junk that pervades method too grand of contemporary anime releases.
Let me originate off this review by saying the movie itself is a five star treat. I rented, after being on a Miyazaki and Ghibli crawl, wanting to gape all this Japanese studio had to offer. This one blew me away. It made me renew my treasure for cats, and I know this is one that my best friend, a feline fanatic himself, will probably be proudly displaying next to his What’s Michael? japanese comics. Something the collective asian conscience gives them an affinity for cats, and it helps this movie shine. Anyone who has kids or cat lovers will relish this sage, but some may be a slight lost. There was a movie before this one called Allege of The Heart, not translated into english, but it isn’t the same storyline, honest the same characters, so you wont be missing any info, impartial dealing with a expansive position. Its worth investing in though.
WARNING!: Long Site Ahead! (You should probably objective skip to the kill and then glance the movie, but it’s here for the confused)
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School girl Haru has problems. She can’t seem to obtain up on time, execute it school, or maintain it together in class. She has a crush on the coolest kid in class, but he unbiased got a girlfriend. Her self like is draw down. On her design home from school, her and her friend inspect a cat with a gold chain carrying a package. They sight it spy both ways, and immoral the street. It’s carrying a slight package in its mouth, and trips in the street, dropping the diminutive package. They gasp, and Haru rushes into the street. As a truck is about to squish the runt cat, she scoops him up with her lacrosse stick (carried home from school) and sweeps him into a bush. Upon landing in the bush alongside, she breaks her stick. The cat gets up, and then stands on it’s hindlegs. After brushing himself off, he bows and says ‘Thank you for saving my life. I will repay you.’ and skitters off. Haru thinks she’s crazy. When she tells her mom she replies that she has said the same thing before, that she could talk to cats when she was diminutive. She shrugs it off, and heads to bed. In the night, however, the King of Cats and a procession of cats (including the most hilarious shaded cats, who have a suit-and-tie pattern in their fur, and are the kings secret service) and hotfoot up to her door. She has snuck down to spy the commotion, and the steward for the king speaks. He tells her that the cat she saved was Prince of the Cat Kingdom, and they would repay her starting the next day, handing her a list of the gifts. She sleeps and wakes, thinking it’s a dream. But, the scroll remains, and the things open happening from the scroll (a hilarious scene where her friend is at school, knee deep in lacrosse sticks had me laughing for about five minutes) . Soon, she is overwhelmed by it all, and the last gift is revealed. She must marry the prince, and go to the cat kingdom to live in their palace! Distraught, she is told by a mysterious say to come by a huge white cat, and he will lead her to the Cat Bureau. Once found, vast cat Muta leads her to a cramped town, with a microscopic cat. This is the cat pictured on the box. He introduces himself as Baron von Gikkingen, but The Baron works dazzling.(because his creator gave him a ridiculous name) . A crow statue named Toto comes to life and Haru finds out that Baron and Toto were both given souls because their creators loved them so mighty, and started the Buearu with refugee Muta. With that, The Baron agrees to succor Haru and visit the Cat Kingdom to talk sense into them. Impartial in time, because the cat vanguard arrives to engage her away. The Bureau pursues, and Muta and Haru are whisked away, with The Baron and Toto in hot pursuit.
Whew.
Anyway, this movie is by director Hiroyuki Morita, his first head directing credit. Most other Ghibli movies had been done by Miyazaki or Takahata, with the major exceotion of ‘Whisper of the Heart’, a detailed characterize about a young writer who meets the Baron and he inspires her. Miyazaki wrote it and boarded it, then passed it to Yoshifumi Kondo, who died tragically after the release. So, Miyazaki passed this project (the ’sequel’) to Morita. Many on the review boards don’t like his style. I judge it’s vast, a soft and more new arrive for the fable of a soft and fresh girl thrown into a fantasy world. It’s peaceful ravishing and has astronomical art direction throughout. The cats are well done, making me marvel at how they captured so many nuances. In objective an hour and almost a half, Morita tells his five hundred page storyboard, with 900 lines of dialouge. And it never gets unimaginative, kids wont be dulled by the dialouge and they’ll learn a lesson (it’s not fair about believing in yourself, it’s about loving who you are)
The quality of the video is astronomical, not the best of the disney transfers, but its soft lensed scrutinize adds instead of subtracts from the narrative, and the audio is improbable. The fetch is special, as it contains a complete orchestra, something that Ghibli hadn’t done before. The theme song is also fresh, as its theme was done by an artist Ayano Tsuji, with honest her fabulous vocals and a Ukelaili. All of the info on the audio and art can be seen on the Making of featurette.
Speaking of:
There is a Leisurely The Microphone featurette, covering the grunt cast of the american dubbing. This features stars such as Cary Elwes as the Baron (from Princess Bride), Anne Hathaway as Haru (from the Princess Diaries), Peter Boyle as Muta (the dad from everybody loves raymond), Tim Curry as the King of Cats (from lots of movies) and Andy Richter as Natoru, secretary to the king (from… no one remembers his prove) . Next is an in depth Making Of featurette, that covers the current, the process of making the movie, scoring it and promoting it. Last, the second disc, which features a Complete Storyboard. It’s objective the audio from the movie residence to these storyboards. It’s a treat for art students and superfans, casual observers and families will pass this disc by.
Overall, a unbelievable movie, with a titanic and deep position, proving that Ghibli has a radiant future even after Takahata and Miyazaki aren’t directing their features. Compassionate, creative and icy, Cat lovers and families need this movie!
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