Charles Mcgraw Free Movie Downloads Charles Mcgraw/ Free Movie Downloads

Total Page:16

File Type:pdf, Size:1020Kb

Charles Mcgraw Free Movie Downloads Charles Mcgraw/ Free Movie Downloads charles mcgraw free movie downloads Charles mcgraw/ free movie downloads. Movie Title :Birds, The. Guaranteed to make you want to stop birdwatching and put the old bird feeder to the axmdashat least for a while. The whole thing starts when Melanie Daniels is crossing a lake and is nipped by a gull. Gradually, incidence of bird damage to humans by pecking increases. Glass windows splinter before diving birds, children are sent home from school to safety, townspeople take refuge in a lunchroom, Miss Daniels in a phone booth, and finally everyone hides in homes tightly boarded up against repeated attacks by the birds. It's enough to make you kick the next pigeon you come across. Genres : Fantasy Drama Horror Thriller. Rating [imdb] : 7.80. Suspense and shock beyond anything you have seen or imagined! It could be the most terrifying motion picture I have ever made! Nothing You Have Ever Witnessed Before Has Prepared You for Such Sheer Stabbing Shock! The Birds is coming! . And remember, the next scream you hear could be your own! Click on the link below to start the download Birds, The [ in DVDRip - HDRip - full DVD/HD ] Actors : Tippi Hedren=Melanie Daniels (as 'Tippi' Hedren) Suzanne Pleshette=Annie Hayworth Rod Taylor=Mitch Brenner Jessica Tandy=Lydia Brenner Veronica Cartwright=Cathy Brenner Ethel Griffies=Mrs. Bundy - Ornithologist Charles McGraw=Sebastian Sholes - Fisherman in Diner Doreen Lang=Hysterical Mother in Diner Ruth McDevitt=Mrs. MacGruder - Pet Store Clerk Joe Mantell=Traveling Salesman at Diner's Bar Malcolm Atterbury=Deputy Al Malone Karl Swenson=Drunken Doomsayer in Diner Elizabeth Wilson=Helen Carter Lonny Chapman=Deke Carter - Diner Owner Doodles Weaver=Fisherman Helping with Rental Boat John McGovern=Postal Clerk Richard Deacon=Mitch's City Neighbor Bill Quinn=Sam - Man in Diner (as William Quinn) Morgan Brittany=Brunette Girl at Birthday Party (uncredited) Darlene Conley=Waitress (uncredited) Charles mcgraw/ free movie downloads. Movie Title :Defiant Ones, The. Joker Jackson and Noah Cullen are two convicts on a chain gang who hate each other. After a truck prison accident, they flee and are pursued by the police. While they're chained, the two are dependent on one another. When they eventually get rid of their chains, their hostility has been changed into fellowship and respect. Genres : Crime Drama Thriller. Rating [imdb] : 7.70. One of the great ones! They couldn't like each other less. They couldn't need each other more. Click on the link below to start the download Defiant Ones, The [ in DVDRip - HDRip - full DVD/HD ] Actors : Tony Curtis=John 'Joker' Jackson Sidney Poitier=Noah Cullen Theodore Bikel=Sheriff Max Muller Charles McGraw=Capt. Frank Gibbons Lon Chaney Jr.=Big Sam (as Lon Chaney) King Donovan=Solly Claude Akins=Mack Lawrence Dobkin=Editor Whit Bissell=Lou Gans Carl 'Alfalfa' Switzer=Angus (as Carl Switzer) Kevin Coughlin=Billy Cara Williams=Billy's Mother Harold Jacob Smith=Prison Truck Driver (uncredited) Nedrick Young=Prison Guard in Truck (uncredited) Stanley Kramer= Charles mcgraw/ free movie downloads. Your all-in-one podcasting solution. The best podcast player & podcast app. High-performing audio live, without limits. Easy-to-use audio recorder app. Dynamic Ad Insertion for podcasts. Convert listeners into buyers anywhere, anytime with the convenience of Podbean Premium. The seamless way for fans to support you directly from your podcast. Join Ads Marketplace to earn money through sponsorship on your podcast. The Narrow Margin. John and Hunter discuss Richard Fleischer's lean, tough train thriller, The Narrow Margin , starring Charles McGraw and Marie Windsor. Many, many tangents occur, including Diamonds Are Forever and comparing Richard Fleischer to John Milius. The Narrow Margin (1952) Stream and Watch Online. Want to watch 'The Narrow Margin' on your TV, phone, or tablet? Searching for a streaming service to buy, rent, download, or watch the Richard Fleischer-directed movie via subscription can be confusing, so we here at Moviefone want to do right by you. We've listed a number of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'The Narrow Margin' on each platform. Now, before we get into the nitty-gritty of how you can watch 'The Narrow Margin' right now, here are some specifics about the RKO Radio Pictures mystery flick. Released April 25th, 1952, 'The Narrow Margin' stars Charles McGraw, Marie Windsor, Jacqueline White, Gordon Gebert The movie has a runtime of about 1 hr 11 min, and received a user score of 74 (out of 100) on TMDb, which collated reviews from 83 well-known users. Interested in knowing what the movie's about? Here's the plot: "A tough cop meets his match when he has to guard a gangster's widow on a tense train ride." 'The Narrow Margin' is currently available to rent, purchase, or stream via subscription on Amazon Video, Google Play Movies, Vudu, and YouTube . Twilight for the Gods. The sailing vessel Cannibal has a leaking hull. The captain (Rock Hudson) reluctantly changes course for Honolulu, where one passenger (Cyd Charisse) is wanted by the law. The water ri. Read all The sailing vessel Cannibal has a leaking hull. The captain (Rock Hudson) reluctantly changes course for Honolulu, where one passenger (Cyd Charisse) is wanted by the law. The water rising, everyone struggles against nature to survive. The sailing vessel Cannibal has a leaking hull. The captain (Rock Hudson) reluctantly changes course for Honolulu, where one passenger (Cyd Charisse) is wanted by the law. The water rising, everyone struggles against nature to survive. Director. Director. See production, box office & company info. See production, box office & company info. Photos 12. Top cast. Director. (novel) (screenplay) See production, box office, & company info. More like this. Storyline. Loved. Hated. Feared. Envied. but only this woman wanted him enough to break the laws of Gods and men ! Approved. Did you know. First Mate Ramsay: Simple men always solve problems with their fists. User reviews 9. Cyd Charisse takes passage out of the Marquessas on a hulk of a brigantine skippered by Rock Hudson. They are bound for Mexico, but a leak fills the bilges as fast as they can pump, and the crew is on te verge of mutiny. Meanwhile, every passenger has a story. Ernest Gann wrote the screenplay based on his own book, and it looks like a lot of the stories have been lost in translation. The leads offer very simple performances, which makes them both seem wooden, especially with the lsuh performances offered by the supporting cast, which includes Arthur Kennedy, Charles McGraw, Wallace Ford and Ernest Truex. In the end, another movie to cross off the list..
Recommended publications
  • Richard Fleischer
    Richard Fleischer Un grande de Hollywood No cuenten con Richard Fleischer, nacido en Brooklyn en 1916, hijo de uno de los maestros de la animación de Hollywood, el creador de Betty Boop y de Popeye, rival de Walt Disney, etc., para gemir romántica, hipócrita o inmaduramente sobre los infranqueables obstáculos a los que hay que enfrentarse cuando se lleva un nombre famoso y se ha nacido en el serrallo. (...) Se diría que el haber nacido allí acentuó sus cualidades innatas: la serenidad en las relaciones con su ego, la discreción, la modestia, una especie de equilibrio interno en su forma de trabajar, de abordar y profundizar un tema, ya se trate del más anodino o el más atroz. Incluso antes de abordar los aspectos de su obra que le señalan como autor, en el sentido estético filosófico que ese término ha adoptado en el seno de la expresión "política de los autores", conviene definirlo como el autor de una serie de hazañas, el superdotado de la puesta en escena que, en cada uno de los géneros que probó (y sabe Dios que fueron muchos) buscó consciente o inconscientemente, pero siempre con la misma paradójica humildad, regalar la película más lograda, la más increíble, la de mayor inventiva, la definitiva. Hasta el punto de que muchos espectadores que apenas conocen su nombre guardan en lo más profundo de sus recuerdos cinematográficos un lugar especial para una u otra de sus obras maestras. Citemos en revoltijo algunos de sus logros: le debemos entre otras cosas la mejor película de aventuras históricas (Los vikingos, documentada y lírica y, en su terreno, nunca superada), la mejor adaptación de Julio Verne (Veinte mil leguas de viaje submarino), una obra que es también una de las mejores películas para niños en el doble sentido del término, a saber: película que debe complacer a los niños y a los adultos.
    [Show full text]
  • Nosferatu. Revista De Cine (Donostia Kultura)
    Nosferatu. Revista de cine (Donostia Kultura) Título: The Narrow Margin (Richard Fleischer, 1951). Autor/es: Casas, Quim Citar como: Casas, Q. (2006). The Narrow Margin (Richard Fleischer, 1951). Nosferatu. Revista de cine. (53):146-147. Documento descargado de: http://hdl.handle.net/10251/41484 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: ~ 'l--· ·-- 146 The Narrow Margin (Richard Fleischer, 1951) Quim Casas he NatTOW Margin ( 1951) es la última tor un proceso de aprendizaje, y podríamos decir, película de serie B realizada por Richard utilizando un símil escolar, que se graduó con nota F leischer, que pocos meses después alta antes de aventurarse en empresas mayores. T completaría T he Happy T ime ( 1952), Como tantas otras películas policiacas no beneficia­ según la obra de Sam Taylor y la opereta de Rod­ das de la mitología Bogart, fueran de presupuesto A gers-Hanunerstein, para rodar a continuación Arena o B, estuvo muchos años arrinconada hasta que, ( 1953) en 3-D y sumergirse en las profundidades de curiosamente, volvió a salir a la luz gracias al remake los estudios Disney para materializar las obsesiones que de ella reali zó Peter 1-lyams, Testigo accidental del capitán Nema.
    [Show full text]
  • THE NARROW MARGIN / 1952 (Forças Secretas)
    CINEMATECA PORTUGUESA-MUSEU DO CINEMA REVISITAR OS GRANDES GÉNEROS: FILM NOIR - NO CORAÇÃO DO NOIR 19 e 23 de junho de 2021 THE NARROW MARGIN / 1952 (Forças Secretas) um filme de Richard Fleischer Realização: Richard Fleischer / Argumento: Earl Fenton, segundo uma história de Martin Goldsmith e Jack Leonard / Fotografia: George E. Diskant / Direcção Artística: Albert S. D’Agostino, Jack Okey / Montagem: Robert Swink / Som: Clem Portman, Francis Sarver / Intérpretes: Charles McGraw (Walter Brown), Marie Windsor (Mrs. Neall), Jacqueline White (Ann Sinclair/Mrs. Neall), Gordon Gebert (Tommy Sinclair), David Clarke (Joseph Kemp), Peter Virgo (Densel), Don Beddoe (Gus Forbes), Paul Maxey (Sam Jennings), Queenie Leonard (Mrs. Troll), Harry Harvey (o revisor), Peter Brocco (Vincent Yost), Mike Lally (taxista), etc. Produção: Stanley Rubin para a RKO / Cópia: Digital, preto e branco, versão original legendada eletronicamente em português, 71 minutos / Estreia Mundial: Nova Iorque, em 3 de Maio de 1952 / Estreia em Portugal: Capitólio, em 17 de Março de 1953. _______________________________ Quando dirige The Narrow Margin, Richard Fleischer já tem atrás de si cerca de uma dezena de filmes, numa carreira iniciada em 1946 já na RKO. Filmes de série B que são uma verdadeira escola para o seu trabalho futuro. Neste grupo de filmes começam já a destacar-se as qualidades na direcção do filho de Max Fleischer (pioneiro do cinema de animação, campo em que foi, durante bastante tempo, o principal rival de Walt Disney), em particular nalguns “thrillers” de estilo “negro”. O primeiro é exactamente o seu “opus” número cinco, Bodyguard/O Meu Guarda-Costas (1948), e o resultado é que Fleischer passa quase exclusivamente a concentrar- se nesse tipo de filmes, The Clay Pigeon/O Pombo de Barro (1949), Follow Me Quietly/Segue-me Em Silêncio (1949), Trapped/Fuga para a Morte (1949) e Armored Car Robbery/Brigada Criminal (1950), talvez o melhor da série, quase um filme de “procedural”, sobre os métodos de investigação da polícia, na linha das produções de Louis de Rochemont e Mark Hellinger.
    [Show full text]
  • Ernst Lubitsch
    filmedinburgh guild PROGRAMME 2018/2019 filmedinburgh guild The Edinburgh Film Guild, established in 1929, is Between October 2018 and March 2019 the Guild How to join: the oldest continuously running film society in will be showing over 60 films, three a week: Becoming a member is easy. You must be aged 18 the world. • Sunday afternoon, starting at 4:30pm or over, and you can join in person before any of • Sunday evening, starting at 7pm our screenings or online. The Guild is run and managed by volunteers. • Friday evening, starting at 8pm Membership: Full Membership...........£60 The Guild has its own cinema and clubrooms We do not sell tickets for individual films, or (complete 2018/19 season of films) within the Filmhouse building, which are located for any particular films − members choose the Basic Membership.........£20 next to Screen 3. films that they wish to see within the terms of (5 tickets - any 5 films) their membership. Top-Up Subscription......£20 Our 30-seat cinema has a state-of-the-art digital (5 tickets - any 5 films). Those with a ‘Basic’ projector and a 5.1 sound system. membership can purchase additional ‘top-up’ blocks of 5 tickets until they reach a total of £60, You can enjoy a drink and a chat in the Guild when they automatically become Full Members. Clubrooms before a film. EDINBURGH FILM GUILD, FILMHOUSE, 88 LOTHIAN ROAD, EDINBURGH EH3 9BZ www.edinburghfilmguild.org.uk OCTOBER — NOVEMBER 2018 page PROGRAMME Film Noir | USA 04 2018/2019 Paul Fejos 05 May ’68 | 50th Anniversary 06 Lino Brocka | Philippines 07
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Virginia Woolf, Hd, Germaine Dulac, and Walter Benjamin
    LYRIC NARRATIVE IN LATE MODERNISM: VIRGINIA WOOLF, H.D., GERMAINE DULAC, AND WALTER BENJAMIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Cheryl Lynn Hindrichs, M.A. * * * * * The Ohio State University 2006 Dissertation Committee: Professor Sebastian Knowles, Adviser Approved by Professor Brian McHale ______________________________ Professor James Phelan Adviser Graduate Program in English ABSTRACT This dissertation redefines lyric narrative—forms of narration that fuse the associative resonance of lyric with the linear progression of narrative—as both an aesthetic mode and a strategy for responding ethically to the political challenges of the period of late modernism. Underscoring the vital role of lyric narrative as a late- modernist technique, I focus on its use during the period 1925-1945 by British writer Virginia Woolf, American expatriate poet H.D., French filmmaker Germaine Dulac, and German critic Walter Benjamin. Locating themselves as outsiders free to move across generic and national boundaries, each insisted on the importance of a dialectical vision: that is, holding in a productive tension the timeless vision of the lyric mode and the dynamic energy of narrative progression. Further, I argue that a transdisciplinary, feminist impulse informed this experimentation, leading these authors to incorporate innovations in fiction, music, cinema, and psychoanalysis. Consequently, I combine a narratological and historicist approach to reveal parallel evolutions of lyric narrative across disciplines—fiction, criticism, and film. Through an interpretive lens that uses rhetorical theory to attend to the ethical dimensions of their aesthetics, I show how Woolf’s, H.D.’s, Dulac’s, and Benjamin’s lyric narratives create unique relationships with their audiences.
    [Show full text]
  • Crime Wave for Clara CRIME WAVE
    Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International,
    [Show full text]
  • Afro-Amerikaanse Slaven Op Het Witte Doek Representatie Van Zwarte Slavernij in De Amerikaanse Speelfilm
    FACULTEIT LETTEREN EN WIJSBEGEERTE OPLEIDING GESCHIEDENIS VAKGROEP NIEUWSTE GESCHIEDENIS Academiejaar 2006-2007 Scriptie voorgedragen tot het behalen van de graad Licentiaat in de Geschiedenis, optie Nieuwste Tijden. Afro-Amerikaanse Slaven op het Witte Doek Representatie van Zwarte Slavernij in de Amerikaanse Speelfilm Door Evie Dammans Stamnummer 20033955 Promotor: Prof. Dr. B. De Wever Commissaris: Prof. Dr. J. Deploige Commissaris: Dr. R. Vande Winkel INHOUDSTABEL INHOUDSTABEL .............................................................................................. 2 INLEIDING ...................................................................................................... 7 DANKWOORD ................................................................................................ 9 DEEL I – FILM ALS HISTORISCHE BRON ........................................................... 10 1. WAT MET FILM? ................................................................................................................ 10 2. DE HISTORISCHE FILM ........................................................................................................ 13 3. DE MAINSTREAM HISTORISCHE FILM ..................................................................................... 14 3.1 Filmisch Realisme ............................................................................................................................... 14 3.2 Fictionaliseren van de Geschiedenis: Invention .................................................................................
    [Show full text]
  • The Forgotten Man Richard Fleischer’S RKO Years Jason Ney
    THE FORGOTTEN MAN Richard Fleischer’s RKO Years Jason Ney f you were to ask a group of film noir fans to come up with a single list of the best film noir directors of all time, a spirited debate would no doubt ensue. Those who prefer the big-ticket “A” pictures would put Billy Wilder and John Huston at the top. The low-rent, Poverty Row aficionados would argue passionately in favor of Edgar G. Ulmer and Anthony Mann. A few would loudly clamor for Sam Fuller. Ida Lupino, the lone lady of the bunch, would surely get at least a handful of votes. Orson Welles fans would have intricately detailed arguments for why their guy deserved to be on the list. Others would argue in favor of Edward Dmytryk, Robert Wise, Nicholas Ray, Jacques Tourneur, and Robert Siodmak. Despite his debatable noir pedigree, Alfred Hitchcock would probably get at least a few mentions. However, there’s one name that probably wouldn’t come up often, Ursini. The book provides profiles of no less than twenty-eight noir Iif at all: Richard Fleischer. directors, but Fleischer is nowhere to be found—except as the tar- While Welles, Wilder, and other noir heavyweights continue to get of a quick brush-off in Silver’s introduction, who explains that be celebrated and studied decades after their films were originally Fleischer’s lack of inclusion is because he is “not necessarily” one released, Fleischer remains noir’s forgotten man. Despite a success- of “the best examples” of a noir director. However, a fresh look at ful directorial career that spanned nearly fifty years, he never man- Fleischer’s accomplishments in the noir genre while under contract aged to carry the same level of brand-name recognition that his at RKO Radio Pictures in the late 1940s and early 1950s, reveals a more famous colleagues enjoyed.
    [Show full text]
  • Press Information February 2016 Partly Preminger Films by Otto
    Press Information February 2016 In February, the Austrian Film Museum presents a retrospective dedicated to Otto Preminger and his contexts. At the same time, we are pleased to premiere a major archival project in a prominent framework: the Film Museum's new restoration of Robert Beavers' early masterpiece From the Notebook of… (1971) has been selected for the Forum Expanded section of the forthcoming Berlinale (February 11 to 21) – in glorious 35mm. The restoration of From the Notebook of… has been made possible thanks of the support of Markus Schleinzer within the framework of the fundraising project “50 Years of Film Preservation - 50 New Acquisitions”. Partly Preminger Films by Otto Preminger and others „Two things are magnificent here: the unique beauty of this country and the unbelievable organization of film production – the consummate silent interlocking of a thousand cogs and gears, technical perfection down to the smallest detail, and all of this without clamor or pathos. The artistic side is more dubious. Only a few here can truly make the films they want. Whether I will belong to them is still to be determined.“ (Otto Preminger, letter to Ferdinand Bruckner, April 23, 1936) Among the numerous Austrian exiles and émigrés who made film history in Hollywood, Otto Preminger (1905–1986) was one of the best-known – a trademark of sorts . Beginning with the film noir classic Laura (1944), he established himself at 20th Century Fox as a director of complex crime films (Fallen Angel, Whirlpool ) and modernist melodramas such as Daisy Kenyon , an astonishing Joan Crawford vehicle, before forming his own independent production company in 1953.
    [Show full text]
  • John Mccarty
    John McCarty: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: McCarty, John, 1944- Title: John McCarty Papers Dates: 1912-2010 Extent: 15 document boxes (6.30 linear feet), 1 oversize box (osb) Abstract: The John McCarty Papers contain film stills, clippings, film and fan magazines, pressbooks, and McCarthy's writings which document the evolution of the horror and thriller film genres. Call Number: Film Collection FI-055 Language: English and Spanish Access: Open for research Administrative Information Acquisition: Gifts, 2011-2012 (10-12-012-G, 11-03-008G) Processed by: Michael Rodney and Amy Armstrong, 2012 Repository: The University of Texas at Austin, Harry Ransom Center McCarty, John, 1944- Film Collection FI-055 Biographical Sketch John McCarty was born in Albany, New York, in 1944. He graduated with a communications degree in broadcasting and film from Boston University in 1966. After serving as a Peace Corps volunteer in Bogotá, Columbia, McCarty lived in Hollywood from 1968 to 1970, and wrote several unproduced scripts for the television series Family Affair and Death Valley Days. After working in broadcasting and as a copywriter for General Electric Company, McCarty published his first book, You're on Open Line: Inside the Wacky World of Late-Night Talk Radio, in 1978. He became a full time author in 1983, and has written over twenty non-fiction books on business, film, and the entertainment industry. He is often credited with coining the phrase "splatter film" to describe the subgenre of bloody horror film that graphically portrays violence and gore, when his book Splatter Movies: Breaking the Last Taboo of the Screen (1981) was published.
    [Show full text]
  • Aboard the Noir Train by Fearless Young Orphan
    Aboard the Noir Train By Fearless Young Orphan The Narrow Margin (1952) Directed by Richard Fleischer Tense and action-packed from beginning to end, with a couple of twists that, while not completely unpredictable to a jaded audience, still manage to bring a smile of satisfaction, The Narrow Margin is a helluva taut little noir film. Maybe “little” is not a fair word to use, either, but I refer only to its relative brevity (71 minutes) and the fact that it takes place over the course of one train trip and almost entirely within the cramped, rattling train. It is not an expansive movie, but one tightly focused and relentlessly suspenseful. You may have seen this remade in 1990 and starring Gene Hackman – opinions vary widely on how good that might have been. I saw it and remember almost nothing about it, which is telling in itself. I watch a lot of movies, sure, but I do tend to remember the ones I love. Detective Sergeant Walter Brown (Charles McGraw) is assigned to escort a grand jury witness on a cross-country train trip to Los Angeles, where she will testify as to the mob activities of her dead husband. The woman, Mrs. Neal (Marie Windsor) is wanted dead by everybody and their mama, and has been promised police protection. Brown dislikes her before he ever meets her: what kind of woman would marry a mobster, anyway? No kind of woman he’d care to know. Mrs. Neal does not disappoint his expectations, either. She’s a shrill, selfish bit of nerves, demanding protection and hardly batting an eye when Brown’s partner takes a bullet for her within five minutes of their first meeting.
    [Show full text]